Dawn Landes: Returning to York on July 2 after playing there in 2015 and 2018
AMERICAN country roots singer-songwriter Dawn Landes will present The Liberated Woman’s Songbook at Rise@Bluebird Bakery, Acomb Road, Acomb, York, on July 2.
She is to play ten British dates, including Glastonbury Festival on June 29 and Hebden Bridge Trades Club on July 3, on her return to British shores after last autumn’s stirring performance at the Barbican, London, where she captivated her audience with a powerful, history-rich set celebrating women’s voices.
Folk icon Peggy Seeger, who appeared with Landes at the Barbican, said of The Liberated Woman’s Songbook shows: “Dawn Landes has conceived and carried out a stunning programme of selections from The Liberated Woman’s Songbook and is touring with it, using only female singers plus a band, all sourced from wherever her next programme will take place.
“I was part of it in September 2024 at London’s Barbican and would gladly do so again wherever it travels. A must-see, must-hear, must-applaud, vigorously wonderful evening for men and women of any age. An about-time happening.”
The Liberated Woman’s Songbook reimagines music from the women’s liberation movement. Inspired by a 1971 songbook of the same name, Landes and producer Josh Kaufman (Bonny Light Horseman, Bob Weir, Cassandra Jenkins) breathe new life into 11 powerful songs spanning 1830 to 1970, amplifying the voices of women who fought for equality throughout history.
The album cover artwork for 2024’s The Liberated Woman’s Songbook. Design by Nathan Golub; photo by Shervin Lainez
The project began when Landes stumbled upon The Liberated Woman’s Songbook at a thrift store during the pandemic. Following the 2022 overturn of the Roe v. Wade case in the United States, the songs took on an even greater urgency.
“We’re suddenly back in 1971 all over again,” Landes reflects. “I know we’re in for a long fight, and it helps to find solidarity where you can.” Kaufman adds: “Many of these songs were never meant to travel beyond the picket line. I hope our work helps to amplify their message of freedom and equity anew.”
Recorded in Upstate New York and Chapel Hill, North Carolina, The Liberated Woman’s Songbook features contributions from Emily Frantz (Watchhouse), Kanene Pipkin (The Lone Bellow), Rissi Palmer, Charly Lowry, Annie Nero and Lizzy Ross (Violet Bell).
The album was first brought to life on stage by Landes and Kaufman at the Newport Folk Festival in July 2023, when the set was recognised by Rolling Stone magazine as “one of the best things we saw at Newport”, reinforcing the record’s relevance and power.
“There was always going to be plenty of room to roam within these centuries-old compositions,” Landes told Uncut magazine. “When we do the full show, it’s just so powerful, because there’s that great feeling of solidarity between women.”
Dawn Landes: Wistful country singer, songwriter and guitarist
BORN in Louisville, Kentucky, December 5 1980. Spent many years living and performing in Brooklyn, New York, where she studied at university, then in Nashville. Now based in Chapel Hill, North Carolina.
Recorded seven albums and five EPs since 2005, with her songs featuring in The Good Wife, House and Gossip Girl. Frequent collaborator with contemporary artists such as Sufjan Stevens, Nora Jones and composer Nico Muhly. Once part of the group The Bandana Splits.
Married to Idaho singer-songwriter Josh Ritter from 2009 to 2011. Ritter addressed their marital breakdown on 2013 album The Beast In Its Tracks, but rather than taking the chance to get things off her chest in response, Dawn chose to write a record that points more towards hope than heartache, 2014’s Bluebird.
Her transformative skill with covers caught fire with 2007 bluegrass rendition of Peter Bjorn And John’s whistling hit Young Folks.
February 2015’s Covers EP was led off by Bruce Springsteen’s Atlantic City, performed as a duet with My Morning Jacket’s Jim James, complemented by Tom Petty’s Southern Accents, Dolly Parton’s Longer Than Always, Roxy Music’s More Than This and Henry Mancini’s Moon River. Has French EP to her name too, Mal Habillee.
Has appeared with Boston Pops, NYC Ballet and on TED main stage. Her musical ROW, about fellow Kentucky native Tori Murden McClure’s quest to become first woman to row across the Atlantic Ocean, premiered in 2021 at Williamstown Theatre Festival and is available on Audible.
Latest album The Liberated Woman’s Songbook was released on March 29 2024 during Women’s History Month, showcasing folk songs in her guide to women’s activism from 1800s to high times of 1970s’ Women’s Lib.
Last played York in November 2018 gig at The Basement, City Screen, with husband Creighton Irons on keyboards, in low-key show that contemplated the “big themes of midlife” in mid-tempo songs of heartbreak, youth fading into the distance, and love lost and found. Previously opened five-date UK and Irish tour at Fibbers, Toft Green, in January 2015. Played Fibbers twice in 2006, supporting The Earlies in May and Fionn Regan in September.
JENEFER Fraser, flute, and Chris Hughes, piano, will perform this month’s Dementia Friendly Tea Concert on Maundy Thursday at St Chad’s Church, Campleshon Road, York.
“I’m really looking forward to this solo flute recital, playing some really lovely and fun repertoire, including La Flute de Pan by Mouquet and Carmen Fantasy by Francis Borne,” says Jenefer, who is studying for a MMus in Performance at the University of Leeds.
She will be joined by accompanist Hughes for the 2.30pm programme on April 17 that also will feature music by John Rutter and Massanet’s Meditation before concluding with Borne’s Carmen Fantasy, based on tunes from Bizet’s opera.
“It will be a great start to the Easter weekend,” says co-organiser Alison Gammon. “Please encourage your friends to come too! As usual, 45 minutes of music will be followed by tea, coffee and homemade cakes in the church hall.
“The event is a relaxed concert and ideal for people who may not feel comfortable at a formal classical concert, so we do not mind if the audience wants to talk or move about.
“Seating is unreserved and there is no charge although donations are welcome. We give a donation to the church to cover heating and the rest goes to Alzheimer’s charities.”
Along with a small car park at the church, on-street parking can be found on Campleshon Road, but it can become busy, so do allow plenty of time. “If you are more mobile, it would really help if you could park on the street to allow for disabled parking in the car park,” advises Alison. Wheelchair access is via the church hall.
Dates for the 2025 diary of Dementia Friendly Tea Concerts are: May 22, York Guitar Quartet; June 19, Patrick Wilson, trumpet, Maria Marshall, cello, and Robert Gammon, piano; July 17, Flauti Felice flute ensemble; Aug 14, Tina Sanderson and friends, string ensemble.
The season will continue on September 18, Robert Gammon, piano; October 16, Giocoso Wind Ensemble; November 20, Billy Marshall, French horn, and Robert Gammon, piano, and December 11, Ripon Resound Choir.
THE concert opened with the student-led chamber choir Animas singing Messiaen’s O Sacrum Convivium. And very good it was too.
The singing was pretty much pitch perfect and the balance was impressive. The choir captured the contemplative, sacred mood of this devotional work well; the soprano Alleluia near the close had a wonderful stillness.
The performance of Fauré’s Cantique de Jean Racine, with its luxurious, quite intense choral wring with organ accompaniment, reminded me of the later Requiem. The tenors were impressive, always a good thing, and the performance left a ‘happy ever after’ glow.
The part-singing in Elgar’s My Love Dwelt In A Northern Land was confident and clean, with fine tenor and soprano contributions. John Seymour’s I Will Lift Up Mine Eyes is an unashamedly sugary-sweet setting and no less enjoyable for that.
It has to be said that Samuel Wesley’s Blessed Be The God And Father was, to use a cricketing term, a “poor shot selection”. Not even the sweetest of solos and earnest commitment from the choir could redeem this ridiculous piece of music.
Anyway, from the ridiculous to the sublime in the form of Rachmaninoff’s Bogoróditse Devo. The performance was richly rewarding with impressive dynamic range and contrasts.
Vox opened their set with Katie Laing’s Sea Shanty Mashup. This was an impressive work and an impressive performance to go with it. The stand-out sea shanty was the arrangement of the Cornish folk group Fisherman’s Friends’ Keep Hauling. Goodness me this was moving, but it is a deeply moving song.
Not for the first time, I would question the term “arrangement”, which doesn’t adequately embrace the creativity expressed in Ms Laing’s Mashup.
To be honest, I was genuinely nervous about any arrangement of Paul Simon’s masterly Sound Of Silence. I mean, it’s just perfect. But Ms Laing’s version was respectful, touching and impressive.
Another notable “arranger” was Milo Morrod, whose reworking of Runaway and Sh-boom stood out as being notably creative. A fine singer too.
I loved Ted Jenkins’s funky arrangement of Tom Misch’s Disco Yes, particularly the electric bass guitar imitation. So too, Vox’s arrangement of Fleet Foxes’ Mykonos, with the pizzicato ‘chirping’ accompaniment signing the song off.
But the “coolest a cappella group at the University of York”, nah, that accolade goes to the student-led gospel choir, Zamar. Dressed in majestic purple cassocks, swishing in time to the beat of the music, they were on a musical mission.
They opened their set with an energetic arrangement of the soul classic Ain’t No Mountain High Enough (Marvin Gaye/Tammi Terrell), originally sung by Diana Ross. And for a bonus point, used in the closing scene in the first, and best, Bridget Jones film.
Whatever Zamar sang filled the whole auditorium with a bouncing, infectious joy. Eva Cassidy’s How Can I Keep From Singing was quite delightful, as were Andrew Lloyd Webber’s Any Dream Will Do and Go Go Go Joseph arrangements.
Stephen Schwartz’s Wicked’s For Good has an instinctively engaging, albeit sugary tune. But what it lacks in originality was transcended by this full-on, infectious performance.
The set closed with a remarkable, inclusive version of Steven Taylor’s Hallelujah You’re Worthy. The audience were invited to join in the fun. Well, naturally, I didn’t, but what appeared to be the whole of the audience, however, did. They were in on the act. Standing up, jiving, arm rolls, the lot. It was like a Holy, cleansed version of the gothic, irreverent classic musical The Rocky Horror Picture Show, without suspenders or lipstick. Just great fun.
The finale brought the three choirs together in Olivia Ryan’s arrangement of Fleetwood Mac’s Go Your Own Way. They got on famously.
And that was that: great songs, impressive arrangements, talented and creative musiciansand singers. Who could ask for anything more.
Dan Poppitt’s Roger, left, Gi Vasey’s Mimi and Mikhail Lim’s Benny in Inspired By Theatre’s RENT, opening at the Joseph Rowntree Theatre tomorrow. Picture: Dan Crawfurd-Porter
“THIS isn’t just another revival; for us, it’s personal,” says Inspired By Theatre director Dan Crawfurd-Porter as the York company prepares to open RENT at the Joseph Rowntree Theatre tomorrow (10/4/2025).
“RENT was the show that opened my eyes to what theatre could truly be, beyond just performance, and beyond just entertainment,” says Dan, recalling his first encounter with Jonathan Larson’s groundbreaking American musical in 2021.
“It fuelled my love for stories that matter and ignited my desire to produce theatre. I discovered community theatre after a crisis point in my own life, joining my first show, Jesus Christ Superstar, at 21.
“That same year, 2021, I saw RENT for the first time, and everything changed. I fell in love with Jonathan Larson’s work, from his early pieces to his role in transforming what musical theatre could say and do.
“It inspired me to create a company with a purpose. We started by producing Tick, Tick… BOOM!, Larson’s semi-autobiographical piece, always with the long-term intention of bringing RENT to life.”
Dan continues: “For Inspired By Theatre as a whole, RENT reflects our core values: community, inclusion, and using theatre as a tool for connection and change. This show allows us to bring those values to the forefront, and create work that inspires, just like RENT once inspired me.”
RENT follows on from Crawfurd-Porter’s July 2024 staging of another iconic American rock musical, Green Day’s American Idiot. “RENT tells a story of love, resilience and artistic defiance, making it as relevant today as it was when it debuted 30 years ago,” says Dan.
On the boulevard of broken dreams: Dan Poppitt’s Tunny, left, Iain Harvey’s Johhny and William Thirlaway’s Will in Bright Light Musical Productions’ York premiere of Green Day’s American Idiot last July. Picture: Dan Crawfurd-Porter
Set in the heart of New York City’s East Village at the apex of the AIDS epidemic, RENT follows a group of young artists struggling to survive, create and hold onto hope in the face of uncertainty.
“RENT redefined what musical theatre could be,” says Dan. “It brought rock music, queer voices and the reality of the HIV/AIDS crisis to the mainstream stage with honesty and heart. You can draw a straight line from RENT to shows like Spring Awakening, Next To Normal, Dear Evan Hansen, and Hadestown. It paved the way for modern musical theatre to be bold, raw and real.”
Larson’s musical made its Broadway debut on April 29 1996 and has not dated over the past three decades, reckons Dan. “Homophobia, housing insecurity, the cost of living crisis, cuts to arts funding, and the pressure on young people to ‘make it’ in a gig economy, these are all still with us,” he says. “The show may be set in the ’90s, but its message is absolutely timeless. And that reminder, to love boldly, live fully, and stand by your community, feels more essential than ever.
“RENT celebrates bravery, defiance, creativity and unconditional love. It shows young people at their most vulnerable, but also their most powerful, unafraid to break rules, build community and fight for something better.”
In his directorial role, Dan’s biggest challenge has been to strike a balance between emotional truth and theatricality. “With RENT, you can’t fake it,” he says. “It requires vulnerability and sincerity, every single night. The other challenge has been finding the balance between honouring the original and bringing our own perspective to it, making sure it feels fresh while staying true to Larson’s vision.”
Dan holds no truck with naysayers’ contention that Rent has only good song, the life-measuring Seasons Of Love. “Reducing the score to just one number completely overlooks the musical and emotional richness of the show,” he counters.
“Jonathan Larson created a soundtrack that doesn’t just support the story, it is the story. “Light My Candle and Goodbye Love are two of the finest examples of storytelling through song in musical theatre. One Song Glory is heartbreakingly raw. Take Me Or Leave Me is a powerhouse duet that has become a rite of passage for performers.
“This isn’t just another revival; for us, it’s personal,” says RENT director Dan Crawfurd-Porter
“And La Vie Bohème? It’s more than a song, it’s a celebration and a protest. Even the quieter numbers, Halloween, Without You and I’ll Cover You (Reprise), are deeply affecting, layered with vulnerability and truth. “The brilliance of RENT’s score is that it’s urgent, messy and honest, just like the characters themselves. Larson created a musical landscape that’s not only memorable, but profoundly human too.”
Describing the set and costume design for RENT, Dan says: “It’s layered, authentic and curated with so much thought. Days spent painting by a team led by Gi Vasey. A scaffold making a return to the stage but being transformed.
“So many set pieces and props have been built or sourced for this show. There will be no doubt what world the audience has entered into. Our set incorporates real panels from the AIDS Memorial Quilt, giving a powerful visual tribute to those lost to HIV/AIDS.
“The costumes are grounded in 1990s’ realism. But they’re not just era-accurate, they’re character-driven. Each look reflects not just the time, but the personality, story and identity of the person wearing it.”
Why should anyone who has not seen RENT see it for the first time, Dan? “Because it’s theatre that hits you in the heart,” he says. “You’ll laugh, cry and maybe leave thinking a little differently about the people around you. It’s the kind of show that stays with you.”
Why should someone who has seen RENT see it again? “Like with every production of RENT, we’re telling this story with new energy and new voices, no version of the show is the same,” says Dan. “This production will move you, challenge you and remind you to measure your life in love.”
Inspired By Theatre in RENT, Joseph Rowntree Theatre, York, tomorrow (10/4/2025) to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: https://www.josephrowntreetheatre.co.uk/whats-on/all-shows/rent/2761.
Director Dan Crawfurd-Porter on Inspired By Theatre’s cast for RENT
Inspired By Theatre’s principal cast for RENT: left to right, Maddie Jones, Jess Gardham, Iain Harvey, Dan Poppitt, Gi Vasey, Mikhail Lim, Joseph Hayes and Fen Greatley-Hirsch. Picture: Dan Crawfurd-Porter
THE principal cast comprises Green Day’s American Idiot leading man Iain Harvey as Mark; Dan Poppitt as Roger; Gi Vasey as Mimi; Joseph Hayes as Tom Collins; Maddie Jones as Maureen; York blues singer Jess Gardham as Joanne; Fen Greatley-Hirsch as Angel and Mikhail Lim as Benny.
In the ensemble will be: Richard Bayton; Katie Brier; Kailum Farmery; Rebecca Firth; Jack Fry; Chloe Pearson; Lucy Plimmer-Clough; Fernadna Aqueveque Retamal; Connie Richards; Josh Woodgate and Tiggy-Jade.
“This production brings together returning favourites and exciting new members of the company, and I’ve never seen a cast quite like this before,” says Dan. “We’ve assembled a powerhouse of performers, ready to bring this iconic show to life like never before.
“What excited me about this cast is first and foremost their commitment to the project. It’s unwavering. Their passion for the project matches mine. And then the talent that goes with that is so high.
“Our audition standard was incredible, which although it led to tough decisions with those we had to turn away, it meant we could really curate the perfect cast for my vision. This commitment and talent has felt like an absolute blessing throughout the process. The talent, commitment, closeness, understanding and diversity, makes them a force to be reckoned with within any amateur theatre scene.”
Dan, introduce your new cast members and why you choose them…
“BUILDING on the strength of our American Idiot company, we’ve welcomed an incredible group of new performers into the Inspired By Theatre family for RENT. Each brings something uniquely powerful to the production.
“Gi Vasey trained at Bristol Old Vic Theatre School in Performance Design and is a multidisciplinary theatre-maker. She’s a standout talent as Mimi, with a voice and emotional depth that captivate, but her contribution goes far beyond performance. As an experienced scenic designer, Gi has spent entire days painting. Her presence has elevated every aspect of the production.
Maddie Jones’s Maureen, left, and Jess Gardham’s Joanne in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter
“Maddie Jones, returning to the stage after a break, has delivered a Maureen that’s bold, eccentric and magnetic. Her RENT audition left no doubt, she had it. Every rehearsal since has confirmed she’s the perfect mix of chaos, charm, and charisma.
“Jess Gardham is a multi-award-winning singer-songwriter with international touring experience and a rich theatre background. Her professionalism, warmth and sheer vocal ability have been a gift to this process.
“Mikhail Lim is well known in the York theatre scene as both a performer and director, and we’re thrilled to finally have him in an Inspired By Theatre production. His stage presence is commanding, his voice outstanding, and he brings an emotional honesty that makes every scene land. “Fen Greatley-Hirsch has one of the most impressive CVs we’ve seen, with experience across Shakespeare, contemporary plays and musicals. His portrayal of Angel is nothing short of beautiful, sensitive, joyful and deeply moving.
“Joseph Hayes returned to the stage for the first time in seven years to join RENT, and his audition stunned the panel. His command of the role and delivery of I’ll Cover You (Reprise) is emotionally devastating in the best possible way. His name was the very first on our cast list.
“Katie Brier, a trained musical theatre performer (Leeds College of Music and London College of Music), brings not just vocal brilliance but also humour, musical intelligence and an infectious energy to the room. Having worked with her previously in York, we knew she was the perfect fit for this show and company.
“Lucy Plimmer-Clough, with a BA and MA in Music from the University of York, brings exceptional musicianship and vocal strength to the production. Her standout performance in one of RENT’s most iconic musical moments will leave audiences speechless.
“Connie Richards, who was due to play Mimi in another RENT production that was sadly cancelled, was a brilliant surprise at auditions. Her talent is immense, and having someone of her calibre in our ensemble is a testament to just how deep the talent runs in this cast.
Fen Greatley Hirsch’s Angel, left, and Joseph Hayes’s Tom Collins in RENT. Picture: Dan Crawfurd-Porter
“Fernanda Aqueveque Retamal began her theatre journey in Chile in 2001 and trained under renowned director Fernando Cuadra. Performing in a second language and bringing a unique international perspective to the production, Fernanda adds richness and diversity that’s not only rare but perfect for a show like RENT.”
One last question:
Why did you change the company name from Bright Light Musical Productions to Inspired By Theatre, Dan?
“Bright Light Musical Productions was a name chosen quickly in our early days, before we truly knew what we were building. As we grew, developed our voice, and began producing work with real purpose, it became clear that we needed a name that reflected who we are now, not who we were then,” he explains.
“Inspired By Theatre captures the heart of what we do. We’re inspired by the people we work with, the stories we choose to tell and the communities we engage.”
In the Inspired By Theatre diary for 2026:
1. Andrew Lloyd Webber & Tim Rice’s Jesus Christ Superstar, Joseph Rowntree Theatre, York, February 11 to 14 2026
2. Spring Awakening, coming-of-age rock musical with music by Duncan Sheik and book and lyrics by Steven Sate, Theatre@41, Monkgate, York, May 20 to 23 2026
3. A third project, still under wraps, coming to Joseph Rowntree Theatre in October 2026
“We’re thrilled to announce these shows,” says Dan. “2026 is going to be huge!”
Iain Harvey’s Mark in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter
Mr Willy Wonka, played by Jonathan, in Ryedale Youth Theatre’s Charlie And The Chocolate Factory at the Milton Rooms, Malton
MISSING out on Gary Oldman’s sold-out Krapp’s Last Tape on his York Theatre Royal return? Charles Hutchinson digs up plenty of consolation prizes.
Ryedale musical of the week: Ryedale Youth Theatre in Charlie And The Chocolate Factory, Milton Rooms, Malton, tonight to Saturday, 7.15pm plus 2pm Thursday and Saturday matinees
RYEDALE Youth Theatre brings Roald Dahl’s Charlie And The Chocolate Factory to the Malton stage in a magical adventure that journeys into Willy Wonka’s fantastical world.
Expect stunning performances and enchanting music in a family-friendly production perfect for all ages. Only 100 tickets are still available after sales of 1,200. Box office: yourboxoffice.co.uk/ryedale-youth-theatre.
Inspired By Theatre’s principal cast members in Rent, playing the Joseph Rowntree Theatre, York, from tomorrow
York musical of the week: Inspired By Theatre in Rent, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre follow up Green Day’s American Idiot with another groundbreaking rock musical, Jonathan Larson’s Tony Award-winning story of love, resilience and artistic defiance.
Set in New York City’s East Village at the height of the AIDS epidemic, Rent follows a group of young artists struggling to survive, create and hold on to hope in the face of uncertainty. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Welcome back: Gary Oldman in the York Theatre Royal dressing rooms
York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17
ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit, Oscar winner Gary Oldman returns to the Theatre Royal to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since the late-1980s.
“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: New availability of returns and additional seats on 01904 623568 or at yorktheatreroyal.co.uk.
Abigoliah Schamaun: In pursuit of the “Holy Visa” in Legally Cheeky, on tour at Pocklington Arts Centre
Comedy gig of the week: Abigoliah Schamaun, Legally Cheeky, Pocklington Arts Centre, tomorrow, 8pm
ABIGOLIAH Schamaun thought she had it all; the flat, the career, the life partner. This US transplant was living the American Dream…in London. Then one day, the Wicked Witch of Westminster, told Abigoliah to click her sparkly heels and go “home”. In that moment, everything changed. To lose would mean losing everything.
Abigoliah’s quest for the Holy Visa began, and the fight was very much on. Legally Cheeky charts her journey in a heart-warming tale of highs, lows, twists and turns as she recounts the year that shook her and partner Tom to the core. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Snake Davis, right, will be teaming up with Stu Collingworth at Helmsley Arts Centre on Fridaynight
Jazz gig of the week: Snake Davis with Stu Collingworth, Helmsley Arts Centre, Friday, 7.30pm
SAXOPHONIST to the stars Snake Davis will be joined by Hammond organist, composer and vocalist Stu Collingwood for an evening of soul pop and jazz. Davis performs regularly with famous artists at huge venues but is “far happier being himself at Helmsley Arts Centre”.
Collingworth has toured with Tony Christie, Alan Barnes and Elaine Delmar and has a residency at Charts in Newcastle. He and Davis have enjoyed a creative partnership for a decade, fired by a love of melody and groove. Box office: 01439 771700 or helmsleyarts.co.uk.
Aleysha Jade in Curious Investigators at Pocklington Arts Centre on Saturday. Picture: Grant Archer
Family show of the week: One Tenth Human in Curious Investigators, Pocklington Arts Centre, Saturday, 1.30pm
SCRIBBLE and Clipboard have a job to do, sorting out the recycling, but Scribble keeps finding new things to investigate. When she discovers a mysterious egg hidden in the rubbish, the pair needs the audience’s help to rescue an unborn chick. Can you save a mysterious egg from a smashing and what will you discover along the way?
Curious Investigators is a cracking adventure, created in collaboration with engineering experts from Lancaster University, in a delightfully surprising, highly visual show for three to seven-year-olds and their grown-ups, hatched by One Tenth Human. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Wrongsemble in Three Little Vikings, a story of cooperation, bravery and making your voice heard at Helmsley Arts Centre
Children’s show of the week: Wrongsemble in Three Little Vikings, Helmsley Arts Centre, Saturday, 2.30pm
A TRIO of brave little Viking girls saves the day in Leeds company Wrongsemble’s bold and funny adventure story for little rebels by Bethan Woollvin, creator of Little Red and I Can Catch A Monster.
Once upon a time in a Viking village, everything seems to be going wrong. Chickens are disappearing, trees are falling down. When the silly Chieftain will not listen to the three littlest Vikings, can they work together to figure out how to save the day in a 50-minute tale of cooperation, bravery and making your voice heard. Suitable for age three upwards. Box office: 01439 771700 or helmsleyarts.co.uk.
Mark Druery: Taking part in York Open Studios this weekend
Art event of the month: York Open Studios, Saturday and Sunday, 10am to 5pm
YORK Open Studios showcases 160 artists and makers at 117 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.
The Divine Comedy’s Neil Hannon: New album and York Barbican autumn date. Picture: Kevin Westenberg
Gig announcement of the week: The Divine Comedy, York Barbican, October 21
NEIL Hannon will promote The Divine Comedy’s 13th studio album, September 19’s Rainy Sunday Afternoon, on a 16-date autumn tour. Tickets will go on sale on Thursday, April 17 at 10am at https://www.yorkbarbican.co.uk/whats-on/the-divine-comedy-2025/.
Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions – sad, funny, angry and everything in between – as he “works through some stuff”: mortality, memories, relationships and political and social upheaval.
Neil Hannon: New album and autumn tour. Picture: Kevin Westerberg
NEIL Hannon will promote The Divine Comedy’s 13th studio album, Rainy Sunday Afternoon, on a 16-date autumn tour that visits York Barbican on October 21, preceded by Sheffield City Hall on October 16.
Much has happened to Northern Irishman Hannon, 54, in the wake of his last studio set, 2019’sTop Five-charting Office Politics. The Divine Comedy’s entire back catalogue was lovingly remastered and rereleased in 2020, followed by the Top Five success of February 2022 compilation Charmed Life – The Best Of The Divine Comedy, marking the completion of the Derry-born singer, songwriter, musical score composer and cricket enthusiast’s third decade as a recording artist.
Hannon then wrote all the original songs for Paul King’s 2023 musical fantasy film Wonka, pronounced by the Official Charts Co as “the UK’s most popular film of 2024”.
Rainy Sunday Afternoon will be released on September 19. Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions: sad, funny, angry and everything in between.
“My musical output is, for better or worse, a representation of my personality,” says Hannon. “A good chunk of that personality revels in the rumbumptious; celebrates the silly. And I made ample use of that for the Wonka songs.
The sleeve artwork for The Divine Comedy’s September 19 album, Rainy Sunday Afternoon, one that “works through some stuff: mortality; memories; relationships; political and social upheaval”
“I have, though, like everyone, a darker, more melancholy side. And for one reason or another it has been much in evidence of late. I needed to use this album as an outlet for those feelings.
“To work through some stuff. Mortality; memories; relationships; political and social upheaval. Everyone should get to make an orchestral pop album once in a while. It should be available on the NHS.”
Rainy Sunday Afternoon is available to pre-order now via www.thedivinecomedy.com. Album formats include standard black and limited-edition colour LPs, standard CD and a limited-edition deluxe CD with a bonus disc, Live In Paris & London.
The Divine Comedy’s autumn tour will take in: October 6, Philharmonic Hall, Liverpool; October 7, Royal Concert Hall, Nottingham; October 8, Forum, Bath; October 10, The Glasshouse, Gateshead; October 11 and 12, Barbican, London; October 13, Dome, Brighton; October 15, Corn Exchange, Cambridge; October 16, Sheffield City Hall (box office, sheffieldcityhall.co.uk).
The itinerary will continue with: October 17, Civic Hall, Wolverhampton University; October 18, Swansea Arena; October 20, Royal Concert Hall, Glasgow; October 21, York Barbican; October 23, New Theatre, Oxford; October 24, Bridgewater Hall, Manchester, and October 25, Beacon, Bristol. European and Irish dates will follow next year.
Hannon’s visit to York Barbican on his Spring 2022 tour was his first York concert since May 2011. That bygone night, the Irish chamber-pop leprechaun performed at York Minster, but the “divine” in The Divine Comedy was not the reason he could be found in northern Europe’s largest Gothic cathedral.
The Dean and Chapter had agreed to allow Tribeca Arts impresario Ben Pugh to run a series of rock/world concerts in the Minster, and if Hannon let slip a couple of X-rated words – one to describe Minster arsonist Jonathan Martin, the other in a lyric – the wrath from above did not befall him. He looked up heavenwards only when sipping red wine from a glass, mouthing “sorry” playfully.
Mark Simmonds’s Prospero, staff in hand, in The Tempest at Theatre@41, Monkgate
AFTER focusing on musical theatre, adventurous York company Black Sheep Theatre Productions stretched its wings by staging Shakespeare’s everything-plus-the-kitchen-sink last play with original music by founder, director and musical director Matthew Peter Clare and Gregory Parker.
Several of Ariel’s speeches were turned into song for Gemma-Louise Keane, on her return to the stage after a long break where you may have seen her fronting the band Kisskisskill or on York’s ghost tour circuit as Deathly Dark Tours’ Daria Deathly. Inspired casting by Clare, finding a performer with bags of stage presence and personality, coupled with an individual look and voice, typified by her rendition of Full Fathom Five.
Mark Simmonds, who has made his mark as much in Jorvik Gilbert and Sullivan Society, York Opera and York Light Opera Company as in York Settlement Community Players, has a natural musicality and resonant timbre to his voice.
Charlie Clarke’s Trincula in The Tempest. Josh Woodgate’s Caliban adopts a prone position beneath his bags of wood
Allied with being tall, this gave him righteous if sinister command as the dispossessed Milanese duke, Prospero, a command exacerbated by conducting his magical, storm-stirring powers from the John Cooper Studio’s mezzanine level, as well as in his treatment of his island slaves, Ariel and Caliban (more of whom, later).
Clare built his production on a brace of interlinking triangles, bringing magic, music and mayhem to the play’s three plot lines of comedy, tragedy and romance, fuelled by familiar Shakespeare tropes of mistaken identity, a family at war, murderous plotting and plot-thickening intrigues. The magic emanated from Prospero, and so too did the mayhem that ensued in the torrid tale of a shipwreck and its high-society survivors, spilling out onto Prospero’s island.
The music emanated from percussionist Clare’s band of eight: Helen Warry and Elle Weaver’s violins; Clare Pearson’s viola and Lindsay Illingworth’s violoncello; Fergus Vickers’ guitar, Rosie Morris’s contrabass and, best of all, Sarah Paterson’s harp.
Chloe Pearson’s Fernanda, left, and Freya McIntosh’s Miranda in The Tempest
The underscoring was particularly effective, often beautiful too, and most ambitious of all was the transformation of the play within the play into a song, Blessings, with vocal interplay and solos for Maddie Jones’s Iris, Molly Whitehouse’s Ceres and Rocks Nairn-Smith’s Juno.
The Tempest is a restless, breathless play of constant struggle and ultimate resolution, a maelstrom of tortured emotions, terror, a need to find a home, love, a safe place in the world, a reason to shake off boredom or cast off grief. Or as Clare put it: a play of “family and love, subjugation and bloody plots, reconciliation and forgiveness, euphoria and despair”.
Hence its helter-skelter tumble of tragedy and comedy that Clare addressed successful by applying “more Brechtian style” for the more absurd characters, such as Charlie Clarke’s Trincula, Dan Poppitt’s Alonso, and especially the outstanding John Woodgate’s cruelly abused Caliban, while favouring naturalism for the plot-driven likes of Prospero, Meg Conway’s viperous Antonia and the Sapphic love of Freya McIntosh’s Miranda and Chloe Pearson’s Fernanda.
Josh Woodgate’s Caliban and Gemma-Louise Keane’s Ariel in Black Sheep Theatre Productions’ The Tempest
Mikhail Lim’s Gonzalo, Rosie Stirling’s Sebastyne and Jack Fry’s Master of Ships all contributed to the pleasures of this Tempest kicking up a storm anew, aided by Molly Whitehouse’s playful costumes, Charlie Clarke & Josh Woodgate’s striking, circus and cabaret-inspired make-up and Will Nicholson’s sound and lighting design, fast making himself the go-to-guy of York technicians in 2025.
After Woodgate’s turn as Caliban, eye-catching from the moment he emerged bleary eyed from beneath the shelter of the raised stage, CharlesHutchPress looks forward to his future performances, led off by his ensemble role in Inspired By Theatre’s Rent from Thursday to Saturday this week at the Joseph Rowntree Theatre.
Black Sheep Theatre Productions “stretching out its wings” in The Tempest in a radiant scene for Gemma-Louise Keane’s Ariel
Coming next from Black Sheep Theatre will be a return to Theatre@41 for an original play, The Inner Selves, from May 13 to 17. This four-hander charts the decline of two people’s mental health, and their marriage, as shown through Henry and Nora and the cacophonic assault of their inner thoughts. The play revolves are one bad day of mediocrity and boredom being the final straw for the pair as emotions come to a boil. Will this marriage survive? Even until morning?
Not for young children, its content warning takes in: alcohol, smoking, swearing, domestic abuse, emotional abuse, discussion of self-harm, marriage, divorce, loss of child, suicidal thoughts, mental health.
Tickets for the 7.30pm evening performances and 2.30pm Saturday matinee are on sale at tickets.41monkgate.co.uk.
Meg Conway, returning to the York stage after a nine-year hiatus, as Antonia and assistant director Mikhail Lim as Gonzalo in Black Sheep Theatre Productions’ The Tempest
Sinead Corkery: Making her York Open Studios debut in Monkton Road, York
PERFECT weather greets the opening of studio doors as artists parade their skills while politics comes under the spotlight in Charles Hutchinson’s recommendations.
Art event of the month: York Open Studios, today and tomorrow; also April 12 and 13, 10am to 5pm
YORK Open Studios showcases 160 artists and makers at 117 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.
Rob Rouse: Headlining Laugh Out Loud Comedy Club’s bill at The Basement tonight
Comedy bill of the week: Laugh Out Loud Comedy Club, Rob Rouse, David Eagle, Ben Silver and Damion Larkin, The Basement, City Screen Picturehouse, York, tonight, 8pm
ROB Rouse, from The Friday Night Project, Spoons, BBC3’s Comedy Shuffle, Mad Mad World, Upstart Crow and Rob And Helen’s Date Night self-help podcast, headlines tonight’s bill, hosted by Laugh Out Loud promoter Damion Larkin.
Support act David Eagle, a member of north eastern folk band The Young’uns, mines comedy from exploring how his blindness turns the most ordinary, commonplace events into surreal, convoluted dramas. Box office: 01904 612940 or lolcomedyclubs.co.uk.
Ged Graham: Leading the Seven Drunken Nights celebration of The Dubliners, on tour at the Grand Opera House, York. Picture: Prestige Productions
Irish craic of the week: Seven Drunken Nights: The Story of the Dubliners, Grand Opera House, York, Sunday, 2.30pm and 7.30pm
SEVEN Drunken Nights takes a trip down memory lane in celebration of The Dubliners’ 50-year performing career on a 2025 global tour of 300 shows across 42 weeks. The Irish Rover, The Town I Love So Well and Dirty Old Town will be joined by new additions Paddy On The Railway and The Lark In The Morning in a new production for this year’s travels.
The show’s 2017 founder, frontman and narrator, Dublin-born writer and director Ged Graham, says: “The connection we’ve built with the audience over the years is incredible; they know we’re keeping the iconic music of The Dubliners alive with the same passion that they have for it.” Box office: atgtickets.com/york.
Telling the whole story: Writer-performer Andrew Margerison in Dyad Productions’ That Knave, Raleigh
Historical play of the week: Dyad Productions in That Knave, Raleigh, Helmsley Arts Centre, Sunday, 7.30pm; Theatre@41, Monkgate, York, April 9, 7.30pm
DYAD Productions follow up I, Elizabeth with a return to the Elizabethan era in That Knave, Raleigh, writer-performer Andrew Margerison’s story of Elizabethan explorer, sailor, dandy and warrior Sir Walter Raleigh, Elizabeth I’s favourite and James I’s knave.
The Huguenots, America, the Armada and execution: is that the whole story? “There is so much you don’t know,” says Margerison of Raleigh, father, husband, writer, poet, adventurer, philosopher, soldier, tyrant, egotist, lover, traitor, alchemist, visionary and victim.
“The final chapter of Raleigh’s life is perhaps the most daring, strange and utterly heart-breaking. See the fall from grace taken directly from historical record; marvel at the magnetism of a man who seized every opportunity.”Box office: Helmsley, 01439 771700 or helmsleyarts.co.uk; York, tickets.41monkgate.co.uk.
The Manfreds: Playing Joseph Rowntree Theatre for the first time this weekend
Sixties’ nostalgia of the week: The Manfreds, Joseph Rowntree Theatre, York, Sunday, 7.30pm
TICKETS are down to the last few for the chance to see The Manfreds in their Joseph Rowntree Theatre debut, featuring original Manfred Mann members Paul Jones and Tom McGuinness, both 83.
The set list takes in such Sixties R&B hits as 5-4-3-2-1, Pretty Flamingo, The Mighty Quinn and Do Wah Diddy Diddy, intermixed with jazz and blues covers from their solo albums. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Al Murray: Rolling out his barrel of laughs at York Barbican as the Guvnor puts you right on Sunday night
Political insights of the week: Al Murray, Guv Island, York Barbican, Sunday, 7.30pm
THE people have spoken. The Pub Landlord is back for another round of Guv Island with “New Extra Brew Material”in 2025, having pulled pints and punters at the Grand Opera House in March 2024.
Standing up so you don’t have to take it lying it down anymore, the Guvnor will “make sense of the questions you probably already had the answers to”. “Country, the UK, lost its way, seeks life partner/mentor/inspiration. Good sense of humour essential. No timewasters, tedious show-offs or offend-o-trons need apply. HR free zone,” says Murray. Box office: yorkbarbican.co.uk.
Inspired By Theatre’s principal cast for Jonathan Larson’s musical Rent at the Joseph Rowntree Theatre, York. Picture: Dan Crawfurd-Porter
Musical of the week: Inspired By Theatre in Rent, Joseph Rowntree Theatre, York, April 10 to 12, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre – the new name for Bright Light Musical Productions – follow up Green Day’s American Idiot with another groundbreaking rock musical, Jonathan Larson’s Tony Award-winning story of love, resilience and artistic defiance.
Set in New York City’s East Village at the height of the AIDS epidemic, Rent follows a group of young artists struggling to survive, create and hold on to hope in the face of uncertainty. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Jan Noble in his verse drama Body 115. Picture: jannoble.co.uk/body115
Odyssey of the week: Jan Noble in Body 115, Theatre@41, Monkgate, York, April 11, 7.30pm
EVER wished you were somewhere else? Ever wished you were someone else? Escaping the rain, a journey on the London Underground becomes a descent into the underworld in Body 115, 2023 winner of the London Pub Theatre Award for Best Innovative Play.
Written and performed by Jan Noble, directed by Justin Butcher, this tale of broken hearts, old flames and open roads follows Noble’s down-and-out poet-hero through the sewers and tubes of King’s Cross Station to the heart of Italy. Part invocation, part rain dance, this poetic odyssey is delivered with a contemporary kick. From the terraces at Millwall to fashionable Milan, expect shadowy encounters, dodgy connections and chance meetings with a host of poet ghosts.
“Body 115 is an epic poem, a tale of inner and outer journeys in explicit homage to Dante’s Divine Comedy,” says Noble. “From the rain-washed, subterranean underworld of King’s Cross, ‘Body 115’ – the long-unidentified victim of the 1987 fire – becomes Virgil to my Dante in a rhapsodic paean to the trammelling ecstasy of loss: a trans-European odyssey turned safari of the soul.” Box office: tickets.41monkgate.co.uk.
Dianne Buswell & Vito Coppola: Strictly Come Dancing professionals team up for Red Hot And Ready
Show announcement of the week: Burn The Floor presents Dianne Buswell & Vito Coppola in Red Hot And Ready, York Barbican, July 6, 7.30pm; Leeds Grand Theatre, July 18, 7.30pm, and July 19, 2.30pm and 7.30pm
STRICTLY Come Dancing’s stellar professional dancers, 2024 winner Dianne Buswell and 2023 victor Vito Coppola, will star in the new show from the Burn The Floor stable, created by Strictly creative director Jason Gilkison.
Billed as “a dynamic new dance show with a difference”, Red Hot And Ready brings together Buswell, Coppola and a cast of multi-disciplined Burn The Floor dancers from around the world, accompanied by vocalists and a band. Expect “jaw-dropping choreography, heart-pounding music and breathtaking moves, from seriously sexy to irresistibly charming”. Box office: York, yorkbarbican.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
John Simpson: BBC News world affairs editor puts leaders and lunatics in the dock at the Grand Opera House, York, on Monday
In Focus: More political insights of the week: John Simpson: The Leaders & Lunatics Tour, Grand Opera House, York, April 7, 7.30pm
IN his bold, unflinching look at leadership, veteran BBC journalist and broadcaster John Simpson CBE ponders why some inspire while others descend into tyranny. “And…are all tyrants ‘lunatics’,” he asks.
After six decades of unparalleled access to world leaders – and lunatics – Simpson explores the personalities that have shaped history. From notorious figures such as Assad, Saddam, Mugabe and Gaddafi to admired leaders Gorbachev, Mandela, Havel and Zelensky, he reveals their common threads, unique quirks and lasting impact.
Drawing on his first-hand encounters and personal dealings, Simpson will unravel the enigmatic personas of Putin, Xi Jinping, bin-Laden and Thatcher, while pondering what links Mandela and Princess Diana or Zelensky and Mugabe.
In an increasingly volatile world, BBC News world affairs editor Simpson will navigate the intricate web of international relations, delving into the complexities of the most pressing global challenges of our time – conflicts, war, famine, economic crises and climate change – to reveal how the actions and decisions of leaders, from despots to visionaries, have shaped these crises and continue to influence our world today.
Simpson, now 80, has spent all his working life with the BBC, reporting from more than 120 countries, including 30 war zones, and interviewing myriad world leaders on his foreign correspondent beat.
As a household name who has covered almost every major event in the world from the 1960s to present day in his fearless journalism, he will turn from interviewer to interviewee to take questions from the audience in the second-half Q&A.
What on earth is going on, John? Hear his answers at this talk “truly for our troubled times”, when Simpson promises to entertain, enlighten, and inspire as he provides “insights into past and present events, with no doubt some focus on Trump and the shifting global order”. Box office: atgtickets.com/york.
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world affairs editor of BBC News. He has spent all his working life with the BBC, and has reported from more than 120 countries, including thirty war zones, and interviewed many world leaders.
In an increasingly volatile world, John will also examine the most pressing challenges of our time – war, famine, economic crises, and climate change – to reveal how the actions and decisions of leaders, from despots to visionaries, have shaped these crises and continue to influence our world today.
In the second half, the floor is yours. Ask your questions as John offers sharp insights into past and present events, with no doubt some focus on Trump and the shifting global order.
John Simpson: Leaders and Lunatics Tour
After a sell-out tour in 2024, legendary journalist and broadcaster John Simpson CBE is returning to the stage for an exclusive evening packed with unparalleled insights from one of the most distinguished foreign correspondents of our time.
With decades of first-hand encounters and personal dealings, John will explore the enigmatic personas of global figures such as Putin, Xi Jinping, bin-Laden and Thatcher.
John will navigate the intricate web of international relations, delving into the complexities of our global issues – from conflicts, war and famines, to world economies and climate change.
What links Mandela and Princess Diana? Or Zelenskiy and Mugabe? John will reveal the common threads linking these figures, and offer a unique perspective on the impact they’ve had on world affairs.
As a household name who has covered almost every major event in the world from the 1960’s to present day, you will have an opportunity to ask John your questions – what were these leaders and lunatics really like, and what on earth is going on? Don’t miss John for an evening that promises to entertain, enlighten, and inspire with his fearless journalism and captivating storytelling.
What on earth is going on? An event truly for our troubled times – don’t miss this enlightening and compelling evening.
The 24 & Manchester Baroque, J S Bach’s Mass in B minor, Sir Jack Lyons Concert Hall, University of York, March 28
TOWARDS the end of his life, Bach arranged his Mass in B minor in four sections, one of which, the Sanctus, was premiered on Christmas Day, 1724. So we are entitled to consider that we are now celebrating its 300th anniversary.
We may conveniently ignore the fact that two smaller passages – the Crucifixus (1714) and the Qui Tollis (1723) – were borrowed from earlier works and other parts were added in the 1730s.
Nevertheless, it brings some Lutheran imagination and sparkle to the very centre of the Roman Catholicism of the Dresden court, for which it may well have been intended. There was plenty of sparkle, too, in this account masterminded by Robert Hollingworth, which brought together University of York’s crack chamber choir, The 24 – here expanded to 35 – with the period chamber orchestra Manchester Baroque. It was deservedly a sell-out.
No performance with Hollingworth in charge would be complete without a quirk or two: it is tied into his DNA and can be part of his charm. Two obvious ones occurred in the Credo, where in place of multiple voices in a reverential pianissimo for the ‘Crucifixus’, he gave us the four soloists trying to sound like madrigalists, doubtless in the hope of making a bigger splash when full chorus plunged in at ‘Et resurrexit’.
A little later, he deprived the basses of their famous ‘Et iterum’ passage and assigned it to his soloist, with a consequent loss of excitement.
With one exception, Hollingworth had all the arias and duets sung from deep stage right, well over to the side, rather than centred in front of the choir. Immediacy was lessened. Distractingly, soloists had to emerge from behind the choir whenever required.
These aberrations aside, there was a great deal to admire. Before the interval, the choir sang without scores, which meant their attention to Hollingworth in the Kyrie and Gloria was total.
Even afterwards, when scores appeared intermittently, many singers barely consulted them, an impressive feat of memory that kept the choruses crisp. The choir remained seated for a prayerful ‘Qui tollis peccata’, a nice touch, the next best thing to kneeling.
It would be churlish to offer any criticism of Hannah Davey, the soprano soloist who stepped in at the eleventh hour. She was particularly effective in duet, notably with tenor Matthew Long in ‘Domine Deus’, alongside graceful obbligato flutes.
He blended well with the oboes and bassoon in ‘Et in spiritum sanctum’, making his voice part of the instrumental texture, and kept his tone nicely straight in the ‘Benedictus’.
Martha McLorinan’s mezzo tone admirably suited the ‘Qui sedes’ and she showed a lovely restraint in the moving ‘Agnus Dei’ with full violins in support. Frederick Long was the reliable bass in ‘Quoniam tu solus’.
Hollingworth’s tempos tended towards the brisk, which his choir seemed to relish. So too did the tireless orchestra, whose woodwinds positively danced their way through ‘Et resurrexit’. It typified the joyous aura of the evening.
THERE cannot be many full-time students of mathematics and philosophy in this country who are capable of the solo role in any violin concerto, let alone the Sibelius, which is one of the most demanding in the repertoire.
One such is a final-year undergraduate at the University of York, Anna Lezdkan. Her appearance was the centrepiece of an evening that included shorter works by Wagner and Richard Strauss after a modern Icelandic introduction.
Born in St Petersburg, Lezdkan has lived in this country since early childhood and had all her training here. She exhibited extreme calm under duress and despatched the testing cadenza early in the first movement with considerable panache, which compensated for some lapses in intonation in the upper regions.
Her eloquence in the slow movement was partially masked by orchestral accompaniment that tended to be heavy-handed, especially in the horns. But she managed its tricky double-stopping without difficulty.
The finale was a rumbustious affair, if undeniably exciting, tinged with gypsy colourings. But the rondo’s main theme emerged with clarity and Lezdkan dug into her octave swoops courageously. It was clear that she was well inside this score, despite the shortcomings noted above.
The evening had opened curiously with Clockworking, a work originally for string trio and tape but worked into an orchestral version in 2019 by María Huld Markan Sigfúsdóttir. Its seven minutes began mysteriously, slow and hushed, and gradually assumed rhythmic identity as clockwork shapes and snippets of melody appeared. Its climax was abruptly curtailed by a sudden diminuendo at the finish, as if the mechanism had developed a gremlin.
The Prelude and Liebestod from Wagner’s Tristan und Isolde got off to an uneasy start, but the prelude as a whole built impressively into a long crescendo that was propelled by the main melody rising in the cellos. This in turn inspired the violins into a sumptuously swelling blend in the Love-death (Liebestod) itself, eventually subsiding beautifully with Isolde’s ardour.
John Stringer allowed the orchestra to let its hair down paradoxically at the close with Richard Strauss’s Festliches Präludium (Festive Prelude). It was composed for huge orchestra in 1913 for the commissioning of the new organ at the Vienna Konzerthaus. It presented here as good as argument as any for this orchestra to play in the Central Hall rather than the confines of the Lyons.
At its heart, unsurprisingly, lies the organ and William Campbell cannot be blamed for pulling out all the stops at the start, over an extended pedal bass. Thereafter he achieved a welcome blend, as wind and brass engaged in vivid dialogue, until they united in a splendid chorale against much exciting activity in the strings. There was no need to agonise over detail: the wall of sound was breathtaking.
