The bliss before the blister: Chris Mooney’s Jamie and Helen Spencer’s Cathy in their wedding-day clench
THIS is the first of a brace of shows by Tony Award-winning Jason Robert Brown, maker of musical theatre reflecting modern-day America, presented by Matthew Peter Clare’s Black Sheep Theatre Productions.
The first, Brown’s emotionally charged, to-and-fro 2001 two hander The Last Five Years, is being staged this week in collaboration with Wharfemede Productions, the new York company set up by Helen “Bells” Spencer and Nick Sephton.
The second, Brown’s “very theatrical song cycle” from 1995, Songs For A New World, follows next Thursday to Saturday.
In one of those remarkably busy theatre and concert weeks that York loves to serve up, CharlesHutchPress caught the dress rehearsal, from a front-row table in St Margaret’s Church, home to the NCEM, with its desirably clear acoustics and hyper-sensitive sound system.
Bare walls and a stone floor are not a naturally theatrical setting, the venue being set up for concerts as its name would suggest, but singing feels very much at home, from the moment Helen Spencer and Chris Mooney stretch their cords with their vocal warm-ups.
Given its belated York premiere in November 2022 by White Rose Theatre’s cast of director Claire Pulpher and Simon Radford, Brown’s intense, fractious, intricately structured He Said/She Said love story suits a traverse setting, adding to the friction, the electric crackle, of two accounts of a five-year relationship, told on raised platforms – each sparsely equipped with one white seat and a black box – from opposite ends of the stage and time frame.
The background to The Last Few Years is that Brown drew on the trials and tribulations of his own failed marriage to Theresa O’Neill. So much so that she sued him on the grounds of the musical’s story violating non-disparagement and non-disclosure agreements within their divorce decree by representing her relationship with Brown too closely.
For Brown, read successful young novelist Jamie Wellerstein, Random House’s rising poster boy. For, well, let’s not say O’Neill, but any struggling actress, read Cathy Hiatt, from Ohio.
Brown’s sung-through musical has the novel structure of Spencer’s Cathy telling her side of the story from the end of the relationship backwards, while Mooney’s Jamie does so from the start forwards, as he lands a publishing deal at 23.
The songs take the form of internal monologues, alongside the occasional phone call, delivered mostly with the other partner having left the stage (for one of multiple costume changes), except for the burst of heart-pumping fireworks of a duet where they meet centre stage, touch for the first time, exchange marriage vows and rings and swap ends to continue on the same trajectory.
This alienating structure, so challenging to actors in how to evoke the bond, tactility and heat of love – the changes in the chemistry, physics and biology of a relationship – emphasises there will be no middle ground in this relationship, no alternative paths. In a storyline travelling in two directions, nothing can stop the crash.
In rehearsal with guest director Susannah Tresilian, Mooney and Spencer worked on breaching that chasm, the black hole, that had to be filled through vocal and facial expression, and sometimes by the other being present on stage, but doing their own thing silently.
The singing is demanding in that way so much of Stephen Sondheim’s repertoire can be, where melody takes a back seat to recitative, (the form of accompanied solo song that mirrors the rhythms and accents of spoken language), whether upbeat in Jamie and Cathy’s courtship songs or in broken-hearted ballads.
Under those tremors and volcanic outpourings, Clare leads his seven-piece from the keyboards, the waves of beautiful and mellifluous arrangements breaking against the rocks of the relationship in song.
The intensity of a two-hander magnifies how the relationship can be interpreted in different ways. In Simon Radford’s hands at Theatre@41, his peacock Jamie was more unreasonable, making you wonder whether these two would ever have lasted five years or whether they were polar opposites never meant to travel in the same direction.
More often, Jamie is portrayed as the one trying everything to save the relationship, to spark up Cathy, in a gentler interpretation of the role. This is where Mooney pitches his Jamie, aware of his foibles, unable to resist temptation as the fame blossoms, deceitful, yes, but regretful too. You can see why this is the well-worn path through this character, not so harsh.
Blessed with bags of stage presence and an ear for the importance of stillness, Spencer maker her Cathy a woman of stronger mettle, even if she has to open the show with her confidence shot, consumed by loneliness and insularity.
What gradually emerges from those broken wings is the butterfly, one who revels in flights of happiness, shows more than a flash of humour and handles the actor’s familiar lot of failed auditions stoically, until the searing pain of rejection delivered in Jamie’s parting letter.
A stark, frank reading of love’s vicissitudes, its sometimes all too brief candle, The Last Five Years makes for a more mature, adult relationship drama than Romeo And Juliet, although sharing its sense of the forlorn, as Brown’s songs and Money and Spencer’s performances draw you in without you taking sides.
Black Sheep Theatre Productions and Wharfemede Productions in The Last Five Years, National Centre for Early Music, Walmgate, York, today at 7.45pm. Box office: ticketsource.co.uk/wharfemede-productions-ltd.
Black Sheep Theatre Productions presents: Songs For A New World, National Centre for Early Music, Walmgate, York, October 24 to 26, 7.30pm plus 2.30pm Saturday matinee. Box office:Box office: ticketsource.co.uk/blacksheeptheatreproductions/.
The Maniac (Andrew Isherwood), left, peruses the Anarchist’s case file as Inspector Burton (Paul Osborne) interrupts him in Black Treacle Theatre’s Accidental Death Of An Anarchist . Picture: John Saunders
FROM ‘Rocky 2’ for Jason Donovan to a music-hall spin on Shakespeare’s ‘Two Gents’, Charles Hutchinson looks at a mighty crowded week ahead.
Last chance to see: Black Treacle Theatre in Accidental Of An Anarchist, Theatre@41, Monkgate, York, today, 2.30pm and 7.30pm
YORK company Black Treacle Theatre stage Dario Fo and Franca Rame’s uproarious 1970 Italian farce in a new adaptation by Tom Basden, creator of Plebs and Here We Go, who updates the setting to the rotten state of present-day Britain.
Shining a satirical light on bent coppers, politicians and everything in between under Jim Paterson’s direction, the riotous drama is set in a police station where a suspect has “accidentally”’ fallen to his death, but did he jump or was he pushed? As the police attempt to avoid yet another scandal, a mysterious imposter (Andrew Isherwood’s Maniac) is brought in for questioning. Cue cover-ups, corruption and (in)competence. Box office: https://tickets.41monkgate.co.uk
Dinosaur World Live: Invading York Theatre Royal on Monday and Tuesday
Children’s show of the week:Dinosaur World Live, York Theatre Royal, October 21, 4.30pm; October 22, 10.30am and 4.30pm
DARE to experience the dangers and delights of dinosaurs in this mind-expanding, “roarsome” interactive Jurassic adventure, winner of the 2024 Olivier Award for Best Family Show.
Grab your compass and join Dinosaur World’s intrepid explorer on a venture across uncharted territories to discover a pre-historic world of astonishing, life-like dinosaurs. Meet a host of impressive creatures, not least every child’s favourite flesh-eating giant, the Tyrannosaurus Rex. A post-show meet and greet offers brave explorers the chance to make a new dinosaur friend. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jason Donovan, centre, as Dr Frank N Furter in The Rocky Horror Show, back at its regular York haunt, the Grand Opera House, next week
Touringmusical of the week: The Rocky Horror Show, Grand Opera House, York, October 21 to 26, Monday to Thursday, 8pm; Friday, Saturday, 5.30pm and 8.30pm
AUSRALIAN actor, pop singer and soap star Jason Donovan returns to the Grand Opera House in a musical theatre role for the first time since playing drag act Mitzi Del Bar in Prisclla, Queen Of The Desert in November 2015.
“Rocky is panto for adults,” says Jason, 56, who is reprising his role as sweet transvestite Dr Frank N Furter on tour, after 25 years, in Richard O’Brien’s cult send-up of horror and science-fiction B-movies as squeaky clean American college couple Brad and Janet end up in the mad, seductive scientist’s Transylvanian lair. Box office: atgtickets.york.com.
Tempest Wisdom: Directing York Shakespeare Project for the first time in The Two Gentlemen Of Verona
Play of the week: York Shakespeare Project in The Two Gentlemen Of Verona, Theatre@41, Monkgate, York, October 22 to 26, 7.30pm plus 2.30pm Saturday matinee
‘TWO Gents’: possibly Shakespeare’s first play and definitely the only one with a part for a dog. But can the newly employed performers at Monkgate Music Hall pull off their production?
Under-rehearsed knife throwers, strongmen, musicians and comedians must pool their skills in Tempest Wisdom’s dazzling take on this rarely performed comedy, delivered by York Shakespeare Project. “Book now for the event of the 19th century!” says Tempest. Box office: tickets.41monkgate.co.uk.
Steve Huison as his alter ego, working men’s club cabaret host Squinty McGinty, at The Crescent, York
Cabaret turn of the week, Steve Huison, Crescent Cabaret, The Crescent, York, October 23, doors, 6.30pm for 7.30pm start
AFTER exhibiting oil portraits of actors and musicians at Pyramid Gallery this summer, actor, artist and The Full Monty star Steve Huison presents The Crescent Cabaret in his guise as Squinty McGinty, “Agent to the Stars”, more usually to be found hosting Cabaret Saltaire.
Promoted in tandem with Pyramid Gallery owner and musician Terry Brett, who will make a stage appearance with Ukulele Sunshine Revival, this charity event will raise funds for Refugee Action York from meat raffle ticket sales at Huison’s affectionate, if outrageous, spoof of a typical northern working men’s club. Box office: thecrescentyork.com.
Musical actress Rachel Higgs in the poster for Black Sheep Theatre Productions’ Songs For A New World
Unconventional musical of the week: Black Sheep Theatre Productions presents: Songs For A New World, National Centre for Early Music, Walmgate, York, October 24 to 26, 7.30pm plus 2.30pm Saturday matinee
ON the heels of this week’s debut NCEM collaboration with fellow York company Wharfemede Productions, The Last Five Years (last show, tonight, 7.45pm), Black Sheep Theatre perform another Jason Robert Brown work, 1995’s Songs For A New World.
Defying conventional musical theatre formats, Brown and original director Daisy Prince say the non-linear show is “neither musical play nor revue”, but exists as a “very theatrical song cycle” that explores such universal themes as hope, faith, love and loss in its emotionally charged songs. Box office: ticketsource.co.uk/blacksheeptheatreproductions/.
Company Wayne McGregor in Autobiography, on tour at York Theatre Royal. Picture: Andrej Uspenski
Dance show of the week: Company Wayne McGregor, Autobiography, V102 and V103, York Theatre Royal, October 25 and 26, 7.30pm
GENETIC code, AI and choreography merge in a Wayne McGregor work that reimagines and remakes itself anew for every performance. Layering choreographic imprints over personal memoir and in dialogue with a specially created algorithm that hijacks McGregor’s DNA data,Autobiography “upends the traditional nature of dance-making as artificial intelligence and instinct converge in creative authorship”.
Now, AISOMA, a new AI tool developed with Google Arts and Culture – “utilising machine-learning trained on hundreds of hours of McGregor’s choreographic archive – overwrites initial configurations to present fresh movement options to the performers, injecting unfamiliar and often startling content into the choreographic ecosystem”. “Life, writing itself anew,” explains McGregor. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Nadia Reid: Making her Band Room debut on the North York Moors
Moorland gig of the season: Nadia Reid, The Band Room, Low Mill, Farndale, North York Moors, October 26, 7.30pm
THE Band Room promoter Nigel Burnham first tried to book New Zealand singer-songwriter sensation Nadia Reid on her first British tour in 2017. “Persistence has paid off,” he says, welcoming her to “the greatest small venue on Earth” as part of a series of intimate, magical solo shows.
Noted for her evocative lyrics and introspective, folk-infused soundscapes, Reid has been described as “an understated, wise guide through uncertain territory”, drawing comparison with Joni Mitchell, Laura Marling, Gillian Welch and Sandy Denny. Latest album Out of My Province took her to Matthew E White’s Spacebomb Studios in Richmond, Virginia, where producer Trey Pollard surrounded her songs in luminous washes of southern country soul. Box office: 01751 432900 or thebandroom.co.uk.
Elbow: First headliners confirmed for second season of Live At York Museum Gardens, staged by Futuresound Group next summer
Gig announcement of the week: Futuresound Group presents Live At York Museum Gardens, Elbow, July 3 2025
GUY Garvey’s Mercury Prize-winning Bury band Elbow are confirmed as the first headliner for Futuresound’s second Live At York Museum Gardens concert weekend, after the sold-out success of Shed Seven’s 30th anniversary shows and Jack Savoretti this summer.
Elbow will be supported by Ripon-born, London-based singer-songwriter Billie Marten and Robin Hood’s Bay folk luminary Eliza Carthy & The Restitution. Box office: futuresound.seetickets.com/event/elbow/york-museum-gardens/3195333.
“The Rocky Horror Show now plays to my strengths, less musical theatre, more edgy, a little bit rock’n’roll. More me really!” says Jason Donovan, pictured centre
JASON Donovan is returning to one of his most famous roles: Frank-N-Furter in Richard O’Brien’s anarchic musical, The Rocky Horror Show. Next stop, Grand Opera House, York, from October 21 to 26.
Why? “In a nutshell, I’m a fan,” says the Australian singer, actor and erstwhile soap star, now 56. “I love the show; I love the music; I love the character. I was touring my own show about five years ago and included Sweet Transvestite from Rocky as a key moment in my musical career. It went down a storm.”
When he read there would be a 50th anniversary production, he emailed producer Howard Panter, saying he would love to be involved. Cue Jason’s Frank-N-Furter, first back home in Australia, in Sydney and Melbourne, and now on a UK tour since mid-August.
Richard O’Brien’s cult musical tribute to horror and science fiction B-movies from the 1930s to the early 1960s tells the story of a newly engaged, clean-cut American college couple Brad and Janet. Caught in a storm, they end up at the gothic Transylvanian lair of mad transvestite scientist, Dr Frank-N-Furter, just in time for the unveiling of his new creation, Rocky, a Frankenstein-style monster complete with blond hair and a tan.
Since 1973, the show has played to 30 million people globally in 20 languages. Now, Jason returns to a role he first played more than 25 years ago. “To be honest, I can’t really remember much about 1998 but that’s another story,” he says. “I don’t feel uncomfortable, though, playing him at 56 – and, of course, I have personal reasons for being grateful to the show.”
“The character of Frank N Furter embraces both sides of me: a strength and a vulnerability, as well as danger and denial,” says Jason Donovan
The stage manager on that late-1990s’ touring production was a young woman called Angela Malloch. “I’d be backstage waiting to go on, and I’d get chatting to Ange, ” recalls Jason. Friendship turned into romance but the relationship hit the buffers.
Shortly afterwards, however, Angela found out she was pregnant. Ultimatum time. “If the relationship had any chance of working, she told me, and if I was going to have any involvement in the life of our child, I would have to give up the self-indulgent hedonistic lifestyle of the ’90s and take greater control of my life. And I did.”
The couple, who finally married in 2008, have three children: actress Jemma, 24; TV producer Zac, 23, and Molly, still at school, aged 13.
Jason, meanwhile, has gone from small-screen fame as Scott Robinson in the Australian soap Neighbours to chart-topping pop stardom and onwards to musical and theatre roles: Joseph and Pharaoh in Joseph And His Amazing Technicolor Dreamcoat; eccentric inventor Caractacus Potts in Chitty Chitty Bang Bang; two stints as drag artist Mitzi in Priscilla, Queen Of The Desert The Musical; music mogul Sam Phillips in Million Dollar Quartet, the demon barber himself in Sweeney Todd: The Demon Barber Of Fleet Street and Lionel Logue in The King’s Speech.
Jason Donovan: Heading to York Barbican on his Doin’ Fine 25 tour in 2025. Picture: Eugene Hyland
Dr Frank-N-Furter, above all, occupies a special place in his heart. “One of the reasons I love Rocky is because it’s a short show.” Explain, Jason! “It says everything it needs to say and nothing more. There’s no unnecessary padding. It means nobody gets bored and you leave them wanting more.”
What about climbing into fishnet stockings and high heels seven times a week? “In many ways, very easy, I put on the costume and there’s Frank all over again,” he says. “I’m in touch with my feminine side but I come from a masculine sensibility. The character embraces both sides of me: a strength and a vulnerability, as well as danger and denial.
“Look, I come to the role as an actor. I always dreamed of fronting a rock band and this is about as close as I’ve got. When I put on those high heels, I become that rock’n’roll star. It makes me feel powerful, tall, in charge.
“And audiences love it. As I look out from the stage, I see a beautiful landscape of people wearing outrageous costumes. It’s not hard to see why: in many ways, Rocky is panto for adults. The costumes are just as much a part of the show as the characters and the music.”
Touring surely means wear and tear to his back? “I spend a lot more time in physio these days, something I’ve put in as an appendix in my contract! I’m in my mid-50s. I’m aware of having to look after myself,” he says.
Jason Donovan’s Mitzi Del Bra in his last appearance at the Grand Opera House in Priscilla, Queen Of The Desert The Musical in November 2015
Does that require regular exercise? “Yes, but not obsessively so. Mental health and physical fitness go hand-in-hand for me. This life is a long journey, you hope. My dad gave me the tool of a good work ethic linked to physical activity,” he says.
“I don’t go to the gym: I’m not interested in lifting weights. But I swim. I ride my bike. I stretch. I steam. I do those things more or less on a daily basis. In fact, they’ve become a borderline addiction. And, of course, doing the show is a work-out in itself: I put a lot of energy into my performance.”
Jason says vocals were “never my strongest point back in the day”. “But since Joseph, I’ve worked really hard and through 30 years of strengthening my vocal cords – they’re a muscle like anything else – I’ve become a better singer. Rocky now plays to my strengths, less musical theatre, more edgy, a little bit rock’n’roll. More me really!”
What’s next for Jason post-Rocky? “I’ve got my Doin’ Fine 25 tour. That’s 35 concerts across the UK and Ireland,” he says. “It’s a greatest hits show, a celebration of 35 years of work.” York Barbican awaits next March.
The Rocky Horror Show, Grand Opera House, York, October 21 to 26, Monday to Thursday, 8pm; Friday and Saturday, 5.30pm and 8.30pm. Box office: atgtickets.york.com. Jason Donovan: Doin’ Fine 25, York Barbican, March 8 2025, 8pm. Box office: yorkbarbican.co.uk
DEL Boy in a musical, a Dungeon murderess, a Greek teen tragedy and gruesome Tower tales promise entertainment and enlightenment, advises Charles Hutchinson.
New attraction of the week: The Black Widow, York Dungeon, Clifford Street, York, daily from 10am
HERE comes this Hallowe’en season’s new show at York Dungeon. Be prepared to encounter the grim tale of Britain’s first female serial killer: Mary Ann Cotton.
A north easterner with a propensity for lacing tea with a drop of arsenic, the Black Widow was convicted of only one murder but is believed to have killed many others, including 11 of her 13 children, and three of her four husbands. Box office: thedungeons.com/york/tickets-passes/. Pre-booking is essential.
Sam Lupton’s Del Boy on a date with Georgina Hagen’s Raquel in Only Fools And Horses The Musical at the Grand Opera House, York
“Plonker” musical of the week: Only Fools And Horses The Musical, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm matinees today and Saturday
BASED on John Sullivan’s long-running BBC One series, his son Jim Sullivan and comedy treasure Paul Whitehouse’s West End hit, Only Fools And Horses The Musical, combines 20 songs with an ingenious script.
“Join us as we take a trip back in time to 1989, where it’s all kicking off in Peckham,” reads the 2024-25 tour invitation. “While the yuppie invasion of London is in full swing, love is in the air as Del Boy sets out on the rocky road to find his soul mate, Rodney and Cassandra prepare to say ‘I do’, and even Trigger is gearing up for a date (with a person!).” Box office for the last few tickets: atgtickets.com/york.
Chris Mooney and Helen “Bells” Spencer in Jason Robert Brown’s The Last Five Years, the debut collaboration between Black Sheep Theatre Productions and Wharfemede Productions
Debut of the week: Wharfemede Productions & Black Sheep Theatre Productions in The Last Five Years, National Centre for Early Music, St Margaret’s Church, Walmgate, York, tonight to Saturday, 7.45pm
HELEN Spencer and Nick Sephton launch their new York company, Wharfemede Productions, in tandem with Black Sheep Theatre Productions, by staging The Last Five Years, Jason Robert Brown’s emotive musical story of two New Yorkers, rising novelist Jamie Wellerstein and struggling actress Cathy Hiatt, who fall in and out of love over the course of five years.
Combining only two cast members, York theatre scene luminaries Chris Mooney and Spencer, with a seven-piece band, expect an intimate and emotive evening of frank storytelling and gorgeous music. Box office: ticketsource.co.uk/wharfemede-productions-ltd.
Alexander Flanagan-Wright in Helios, his modern take on the Fall of Phaeton, performed under the Great Hall dome at Castle Howard
Theatrical event of the week: Wright & Grainger in Helios, The Great Hall, Castle Howard, near York, today, 5pm and 7.30pm
A LAD lives halfway up an historic hill. A teenager is on a road trip to the city in a stolen car. A boy is driving a chariot, pulling the sun across the sky. In a play about the son of the god of the sun, Helios transplants the Ancient Greek tale into a modern-day myth wound round the winding roads of rural England and into the everyday living of a towering city.
“It’s a story about life, the invisible monuments we build to it, and the little things that leave big marks,” says writer-performer Alexander Flanagan-Wright, who presents his delicate tale with a tape-player beneath the Great Hall dome’s mural, painted by 18th century Venetian painter Antonio Pelligrini, whose depiction of the Fall of Phaeton was the thematic inspiration behind Helios. Box office: castlehoward.co.uk.
Alison Weir: Gruesome tales of executions, beheadings and Royal intrigue from 900 years at the Tower Of London
Literary event of the week: Kemps Bookshop Presents Alison Weir – Ghosts & Gruesome Tales Of The Tower, Milton Rooms, Malton, tonight, 7.30pm
IF any place could lay claim to a host of tortured souls and ghosts, it would be the Tower of London. Historian Alison Weir regales her Malton audience with chilling ghostly tales of grim events, bloody deeds, intrigues and violent deaths the Tower has witnessed over 900 years and the ghosts that reputedly haunt it. After her talk, she will take questions and sign copies of her books. Box office: 01653 696240 themiltonrooms.com.
Mary Bourne, left, and Jessa Liversidge: Uplifting journey of song in Songbirds at Helmsley Arts Centre
Songbirds: A Celebration of Female Musical Icons, with Jessa Liversidge and Mary Bourne, Helmsley Arts Centre, October 25, 7.30pm
DEVISED and performed by vocalists Jessa Liversidge, from Easingwold, and Mary Bourne, from Kingston upon Thames, Songbirds is an uplifting journey of song, celebrating “some of the most iconic female singers and songwriters ever known”, from Carole King and Annie Lennox to Kate Bush and Adele. Special guests include HAC Singers and Easingwold Community Singers. Box office: 01439 771700 or helmsleyarts.co.uk.
Nadia Reid: Making her Band Room debut on the North York Moors
Moorland gig of the season: Nadia Reid, The Band Room, Low Mill, Farndale, North York Moors, October 26, 7.30pm
THE Band Room promoter Nigel Burnham first tried to book New Zealand singer-songwriter sensation Nadia Reid on her first British tour in 2017. “Persistence has paid off,” he says, welcoming her to “the greatest small venue on Earth” as part of a series of intimate, magical solo shows.
Noted for her evocative lyrics and introspective, folk-infused soundscapes, Reid has been described as “an understated, wise guide through uncertain territory”, drawing comparison with Joni Mitchell, Laura Marling, Gillian Welch and Sandy Denny. Latest album Out of My Province took her to Matthew E White’s Spacebomb Studios in Richmond, Virginia, where producer Trey Pollard surrounded her songs in luminous washes of southern country soul. Box office: 01751 432900 or thebandroom.co.uk.
Elbow: Headlining first day of second season of Live At York Museum Gardens concerts
Show announcement of the week: Futuresound Group presents Live At York Museum Gardens, Elbow, July 3 2025
GUY Garvey’s Mercury Prize-winning Bury band Elbow are confirmed as the first headliner for Futuresound’s second Live At York Museum Gardens concert weekend, after the sold-out success of Shed Seven’s 30th anniversary shows and Jack Savoretti this summer.
Elbow will be supported by Ripon-born, London-based singer-songwriter Billie Marten and Robin Hood’s Bay folk luminary Eliza Carthy & The Restitution. The York exclusive postcode presale (for YO1, YO24, YO30, YO31 and YO32) goes on sale today at 10am at https://futuresound.seetickets.com/event/elbow/york-museum-gardens/3195333?pre=postcode. General sales open at 10am on Friday at https://futuresound.seetickets.com/event/elbow/york-museum-gardens/3195333.
Elbow: July 3 headliners for next summer’s Live At York Museum Gardens concert series
GUY Garvey’s Mercury Prize-winning Bury band Elbow are confirmed as the first headliner for Futuresound’s second Live At York Museum Gardens concert weekend, after the sold-out success of Shed Seven’s 30th anniversary shows and Jack Savoretti this summer.
Elbow will be supported by Ripon-born, London-based singer-songwriter Billie Marten and Robin Hood’s Bay folk luminary Eliza Carthy & The Restitution.
The York exclusive postcode presale (for YO1, YO24, YO30, YO31 and YO32) goes on sale tomorrow at 10am at https://futuresound.seetickets.com/event/elbow/york-museum-gardens/3195333?pre=postcode. General sales open at 10am on Friday at https://futuresound.seetickets.com/event/elbow/york-museum-gardens/3195333.
Rachel Hill, project manager for Futuresound Group, said: “We are absolutely thrilled to be working with the York Museum Gardens team once more for another great event. This year was such a proud moment for all involved.
“Witnessing how incredibly important it is to the people of York, their support and how it was received is so heart-warming. Seeing the city come to light and witnessing the benefits of the economic impact was a wonderful thing.”
Richard Saward, head of operations at fellow event promoters, York Museums Trust, said: “We are excited to welcome the concerts back to York Museum Gardens in 2025. The events last year brought in new audiences to the city and the gardens, with the income we raised invested back into our museums, galleries and collections.”
Watch this space for further news of next summer’s Live At York Museums Gardens programme.
Sam Lupton’s Del Boy and Tom Major’s Rodney on the Trotters’ market stall in Peckham in Only Fools And Horses The Musical. Picture: Johan Persson
IF you have acquired a ticket, you’re cushty. If not, ouch, bad luck, like a visit from the Driscolls, except you might be the one hitting yourself for missing out.
Only Fools And Horses The Musical’s first visit north to York after four years in the West End has all but sold out. Lovely jubbly news for the Grand Opera House at the start of a run of four musicals in four weeks: next up Jason Donovan in The Rocky Horror Show, followed by Hairspray and 101 Dalmatians, starring Hear’Say singer and Coronation Street soap star Kym March as Cruella De Vil.
North-South divide? What North-South divide, on the evidence of the York audience’s affection for the Trotters, from Peckham, south-east London. Or Britain’s best-loved TV comedy, as Only Fools And Horses is commonly known.
Based on John Sullivan’s long-running, oft-repeated BBC One series, this musical spin-off is co-written by John’s son Jim and comedy treasure Paul Whitehouse (who will play Grandad when the tour visits Leeds Grand Theatre from February 24 to March 1 and Sheffield City Hall and Memorial Hall from May 26 to 31 next year).
All your favourite characters, and I do mean all, from 64 episodes in 22 years will make an appearance, just like when Whitehouse appeared in An Evening With The Fast Show at the Grand Opera House in March, incidentally.
However, Only Fools And Horses The Musical is not merely a greatest hits nostalgia trip, even if such roles as Uncle Albert (uncredited) and the Scouser, Denzil (Bradley John), are reduced to butterfly-brief cameos over the two hours.
What’s the story? “Join Del Boy, Rodney, Grandad, Cassandra, Raquel, Boycie, Marlene, Trigger and more as we take a trip back in time to 1989, where it’s all kicking off in Peckham,” reads the tour publicity invitation (although the year mentioned on stage was 1988).
“While the yuppie invasion of London is in full swing, love is in the air as Del Boy sets out on the rocky road to find his soul mate, Rodney and Cassandra prepare to say ‘I do’, and even Trigger is gearing up for a date (with a person!).
“Meanwhile, Boycie and Marlene give parenthood one final shot and Grandad takes stock of his life and decides the time has finally arrived to get his piles sorted.”
It all flows with the greatest of ease on a tide of slick direction and knees-up-Mother-Brown choreography by Caroline Jay Ranger on Alice Power’s comfy, familiar set of pub and Trotter household, complemented by Leo Flint’s animations and video designs of the Nags Head frontage and Rodney and Cassandra’s honeymoon.
Liz Ascroft’s costume designs evoke all the stylings, from Del Boy’s love of yellow and red, braces and car coats, to smug Boycie’s snug camel coat.
What about the music in the musical? Imagine rockney duo Chas & Dave, Ian Dury, Madness and the cast of Oliver! hosting a party, with Rachel Murphy’s band in as-lively-as-New-Year’s Eve form.
John Sullivan’s Only Fools And Horses/Hooky Street theme tune makes more than one appearance; Chas & Dave contribute the typically chirpy pub singalong numbers That’s What I Like, Margate and This Time Next Year; Whitehouse and Jim Sullivan have penned Cockney tunes aplenty, sometimes together, sometimes on their own, but all working a treat, thanks in part to the singing being in character.
Whitehouse and Chas Hodges’s Where Have All Cockneys Gone? is particularly affecting, while Bill Withers’ Lovely Day is seen in a new light and Gloria Acquaah-Harrison’s Mrs Obooko brings such poignancy to Simply Red’s Holding Back The Years, it may well have you not holding back the tears.
Such pathos is as key to a sitcom as the lighter laughs, especially in the company of such fallible characters in this “feel-good family celebration of traditional working-class London life and the aspirations we all share”. Trying to make a living, in whatever way – and maybe that is where there is no North-South divide in Only Fools And Horses’ appeal.
Ranger’s cast capture their characters like tickling a fish: uncannily like the TV originals but not just doppelganger tribute acts. Sam Lupton’s wheeler-dealer Del Boy brings down the house, not least in his closing pratfall; Craig Berry’s Boycie has the laugh, the upwardly mobile manner, and Tom Major’s Rodney bonds delightfully with Nicola Munns’s Cassandra;
Lee VG’s Trigger, with the inevitable treasured broom and deadpan delivery, is a scene stealer; Georgina Hagen’s Raquel is all heart, while Philip Childs’s Grandad harks back to the old days, the good old days, just like this show in fact.
Only Fools And Horses The Musical, Grand Opera House, York, until October 19, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york. Age guidance: Six upwards.
Helen “Bells” Spencer’s Cathy Hiatt and Chris Mooney’s Jamie Wellerstein in The Last Five Years, opening at the NCEM on Thursday. Picture: Simon Trow
CO-FOUNDERS Helen “Bells” Spencer and Nick Sephton are launching Wharfemede Productions by staging Jason Robert Brown’s The Last Five Years in association with fellow York company Black Sheep Theatre Productions.
The American musical two-hander will be staged at the National Centre for Early Music, York, from Thursday to Saturday this week.
Formed by chief artistic director, musical actress and psychiatrist Helen and chief operating officer, musical actor and former Joseph Rowntree Theatre Company chair Nick, the innovative new company takes its name from their home in Thorp Arch.
After their fruitful involvement in the Joseph Rowntree Theatre Company, not least in fund-raising for the JoRo, their new venture Wharfemede Productions will focus mainly on character-driven musical theatre pieces and use Helen’s expertise to establish a culture of learning and development as part of the rehearsal process.
Wharfemede Productions chief operating officer Nick Sephton and chief artistic director Helen Spencer at the September company launch in the Wharfemede garden
“Having gained a Drama degree from Manchester University and then co-founded and company managed Envision Theatre Company, this is a return to my roots,” says Helen, who has bags of experience as a professional and amateur performer, vocal coach and company manager.
Supporting and organising the company will be Nick’s role. “With decades of logistics, managerial and computing experience, I’m excited to be founding a company that uses these skills, combined with my love for music and theatre,” he says.
For The Last Five Years, Wharfemede and Black Sheep have brought together a formidable core creative team of Helen, as director, and Black Sheep founder and good friend Matthew Clare, as musical director, complemented throughout the rehearsal process by Susannah Tresilian, a professional director and journalist from London, as guest director, and Tom Guest, from Manchester, as vocal coach.
Premiered at Chicago’s Northlight Theatre in 2001 and then produced Off-Broadway in March 2002, The Last Five Years tells the emotive story of two New Yorkers, rising novelist Jamie Wellerstein and struggling actress Cathy Hiatt, who fall in and out of love over the course of five years.
Helen Spencer and Chris Mooney working with guest director Susannah Tresilian, right, in the rehearsal room. Picture: Dan Crawfurd-Porter
Using an unconventional structure, American pop-rock musical theatre composer, lyricist and playwright Jason Robert Brown presents the story in reverse from Cathy’s point of view, first revealing the end of their tumultuous relationship.
Meanwhile, Jamie tells the story chronologically from when the couple first met. The pair only cross paths once, in the middle of the show, where they are seen together before they continue on their respective timelines.
Clare’s seven-piece band combines with Helen Spencer’s Cathy and Harrogate teacher Chris Mooney’s Jamie in a to-and-fro evening of frank storytelling and gorgeous music.
“I have loved this play for many years and in fact was cast as Cathy some years ago but unfortunately the show never went ahead,” says Helen. “I’m absolutely delighted to be finally getting the chance to sing all of these fantastic songs. Even better, I get to watch and listen to Chris, who is so unbelievably talented, playing Jamie.
The poster for Black Sheep Theatre Productions and Wharfemede Productions’ collaborative production of The Last Five Years
“Chris and I worked together on Falsettos[Black Sheep Theatre Productions, Joseph Rowntree Theatre, August 2023] and found we had great chemistry and connection on stage.
“Having talked with Matthew about producing The Last Five Years for a while, all the pieces finally aligned. I’m genuinely giddy with excitement! It’s such a cleverly written show, with wonderful music that will be brought to life by Matthew and his band.”
Helen continues: “With it just being a two hander, it’s intense, intimate and a wonderful challenge. There’s nowhere to hide for us as performers but also for the audience as well. I think I’m better known on the York circuit for portraying brash comedy characters, so it will be nice to tackle something very different. I can’t wait to share this phenomenal show with an audience.”
Calling himself “truly a sucker for a sung-through musical”, Chris says: “The Last Five Years has been on the bucket list for a while now, so accepting the opportunity was a no-brainer. The piece itself challenges audiences with songs centred around difficult concepts that we don’t often see in musicals, with no real protagonist to root for.
Guest director Susannah Tresilian, vocal coach Tom Guest, centre, and musical director Matthew Clare in the rehearsal room for The Last Five Years. Picture: Dan Crawfurd-Porter
“They simply get to experience the beauty and the challenges that can happen as two people in love grow together. The songs are a real joy to perform, and it’s been an enjoyable challenge to try to best convey Jamie’s perspective in the show. What’s been a real highlight is getting to bear witness to the professional that is Bells Spencer tackling Cathy and truly making the part her own. I can’t wait to open it all up to the audience now!”
Musical director Matthew Clare describes The Last Five Years as a “beautiful show that highlights just how much can be achieved by a cast of two phenomenal individuals”. “In this way, it is the ultimate challenge for a performer – to be perfect, with no room to hide or any escape from the audience’s sight, for the entirety of a show,” he says.
“I’ve loved working with Bells before as both a member of my previous casts (Jekyll & Hyde (2022), Elegies For Angels, Punks, And Raging Queens (2023), Falsettos (2023) and For The Love Of Animation (2023)) and on production teams or as the director, such as for Musicals In The Multiverse (2023).
“Chris is a phenomenal performer that I have worked with on multiple rounds of Jesus Christ Superstar (2019, 2022) and Falsettos (2023).”
Helen “Bells” Spencer and Chris Mooney rehearsing for The Last Five Years. Picture: Dan Crawfurd-Porter
Assessing their performing skills, Matthew says: “Bells brings a robust and exciting vision to her projects with the most delightful working attitude. She’s amazing at leading any project; in particular, one like this, which requires an ability that is second to none and a dedication to match.
“Bells and Chris both have that. Their grasp of the characters and the nuances that they’re able to bring to this show will set it apart from almost anything else this year in York. It’s set to be incredible, with some of the best performers York has to offer, as well as seven of the best musicians! A labour of love, bursting with talent and emotion that one no-one should miss out on!”
Guest director Susannah Tresilian adds: “Interesting love stories never follow an obvious path, but the way the stories of Cathy and Jamie intertwine is so unusual that it really does stand out. It’s been huge fun to work with Bells and Chris on their timelines as they navigate who said what when and who is saying what when now!
“Plus, Bells, Tom and I first met when studying Drama at university, and spent many happy years making theatre all across Europe together, and it is pure joy to be able to collaborate again here on this!”
The logo for Helen “Bells” Spencer and Nick Sephton’s new company, Wharfemede Productions
Vocal coach Tom Guest enthuses: “I’ve always loved the beautiful score by Jason Robert Brown. It’s great to sing, with brilliant, emotionally intelligent lyrics. The ingenious structure makes this story of Cathy and Jamie’s marriage even more engaging, and even more heart-breaking.
“The solo songs are nuanced and energetic and are a fantastic showcase for the actors. Then when their two timelines join for the central duet, it’s just delicious! Ah, those harmonies…
“I’m so excited to be able to work with these two talented musical theatre performers, and especially to be doing it alongside my faves from uni days, Bells and Susannah, is going to be perfect!”
The poster for Wharfemede Productions’ production of Little Women, The Broadway Musical next February
Coming next from Wharfemede Productions will be Little Women, The Broadway Musical, based on Louisa May Alcott’s American coming-of-age novel, with book by Allan Knee, music by Jason Howland and lyrics by Mindi Dickstein. Tickets for the February 18 to 22 2025 run at Theatre@41, Monkgate, York, are on sale at tickets.41monkgate.co.uk.
In the cast will be Catherine Foster as Meg March; Connie Howcroft as Jo; Rachel Higgs, Beth; Tess Ellis, Amy; Helen “Bells” Spencer, Marmee; Rosy Rowley, Aunt March; Steven Jobson, Lawrie; Nick Sephton, Professor Bhaer; Andrew Roberts, Mr Brooke, and Chris Gibson, Mr Lawrence.
The creative team comprises: Helen “Bells” Spencer, director; Rosy Rowley and Henrietta Linnemann, assistant directors; Matthew Clare, musical director, and Rachel Higgs, choreographer.
Wharfemede Productions in collaboration with Black Sheep Theatre Productions present The Last Five Years, National Centre for Early Music, St Margaret’s Church, Walmgate, York, October 17 to 19, 7.45pm. Box office: www.ticketsource.co.uk/wharfemede-productions-ltd.
Wharfemede Productions: the top team
Helen “Bells” Spencer
Helen “Bells” Spencer, chief artistic director
HELEN studied Drama at Manchester University and was then company manager of Envision Theatre Company from 2002-2010. She has performed and vocal coached all around the UK and in Europe over the past 20 years.
Highlights include: 2002 & 2004 UK/Italy tours of I Love You, You’re Perfect, Now Change! (Woman 2), Little Voice (Little Voice), Manchester Dance House, Audrey in Little Shop Of Horrors, Barley Corn Jack (Beatrice) Manchester and Edinburgh Fringe (Best Actress Award 2002 MIFTAs).
Helen then had a period away from the stage, having qualified as a doctor and also started a family.
Since returning to musical theatre in 2019, her York credits include: We Remember Sondheim (director/performer), Young Frankenstein (Frau Blucher), Falsettos (Dr Charlotte), Musicals In the Multiverse (director/co-creator), Elegies For Angels, Punks And Raging Queens (various), Hello, Dolly! (Dolly Levi), The Sound Of Music (Mother Abbess), Wicked Origins (Ursula & Gelinda), Kipps: Half A Sixpence (Mrs Walsingham), For The Love Of Animation (various), Jekyll & Hyde (Lady Beaconsfield), Hooray For Hollywood (various) and Made In Dagenham (Beryl).
Nick Sephton
Nick Sephton, chief operating officer
NICK holds an Engineering Doctorate in Large Scale Complex Systems from the University of York, having won multiple Best Paper awards for his published works. Subsequently worked as software architect at University of York Digital Creativity Lab.
Nick has extensive experience in leadership and event logistics roles, having worked as both a senior technical architect and lead developer. He also has experience in roles such as UK Community Leader for WPN Judge Program, Magic Tournament Floor Rules Manager for WPN Judge Program and chair of Joseph Rowntree Theatre Company.
Having been a keen singer for some time, Nick’s first named role was as the Sergeant of Police in Pirates Of Penzance. Since become a regular in the York theatre scene.
Credits include: Fester Addams (The Addams Family), Lord Chancellor (Iolanthe), Rudolph Reisenweber (Hello Dolly!), Sir Danvers Carew (Jekyll & Hyde), Mr Shalford (Kipps: Half A Sixpence), Captain Corcoran (HMS Pinafore), Eddie O’Grady (Made in Dagenham), Sir Marmaduke (The Sorcerer), Colonel Calverly (Patience), Strephon (Iolanthe) and Escamilio (Cover – Carmen).
When not on stage, Nick is a keen double bass player and enjoys playing board games.
Guests and hosts at the September 14 launch party for Wharfemede Productions
Ingrid Bolton-Gabrielsen’s Molly clashes with Ravneet Sehra’s police officer, Uzma, as Emily Chattle’s vicar, Fiona, tends to the injured Alland (Aein Nasseri) in Sanctuary. Picture: Robling Photography
RED Ladder’s first touring production under the direction of new artistic director Cheryl Martin asks: “What kind of society do we want to live in?”
One where the arts can thrive, one where the medium’s message of co-operation, collaboration, freedom of expression, communion, connection, compassion and shared humanity spreads its wings to society at large.
One where there would be an understanding of why asylum-seeking young Iranian journalist Alland (played by Aein Nasseri) is seeking sanctuary at a church in northern England in this topical new musical by Boff Whalley (music and lyrics) and Sarah Woods (book).
Pioneering Leeds agit-prop theatre company Red Ladder has united with Wakefield Theatre Royal and CAPA College, Wakefield, for a tour of theatres, community venues and, significantly, churches from September 19 to November 9. Everyone is pulling in one direction, unlike the protagonists in this fraught drama, the different forces at play within a fractured State and Church at war with itself.
In prayer: Emily Chattle’s vicar, Fiona, in Sanctuary. Picture: Robling Photography
The programme cover takes the form of an Order of Service, on account of what will happen at the climax, but it also further pushes the Church to the fore of the debate that plays out contentiously.
Word has it that the script has been toned down, but it still packs a punch, and where better to watch the sparks fly than in a church, Selby Abbey, for all the familiar frustrations of imperfect sight lines, lighting and sound not being on a par with theatre facilities. (Faces were not well lit; some lines were lost to the acoustics of a vertiginous stone building.)
There is nothing rose-tinted about Red Ladder here. Tellingly, Sanctuary tells its story from all sides. It does not shy away from Alland being an illegal immigrant, already told to leave but pleading to stay for fear of what would ensue if he were to return to Iran, where his courageous journalism had challenged the authorities on their treatment of women.
Church worker Molly (Ingrid Bolton-Gabrielsen) and all-inclusive vicar Fiona (York actress, singer and clown Emily Chattle) support him.
CAPA College performing arts students in the Greek chorus role of Vox in Sanctuary. Picture: Robling Photography
Stone-hearted higher church authority Peter (York actor and keyboard player Richard Kay) plays it by the book, (the law of the land, not the spirit of the Good Book). So does police officer Uzma (Ravneet Sehra), a third-generation British Asian woman who attends the Christian church. The difference between Alland and her immigrant grandparents, she says, is that he came here illegally whereas they were invited to work here.
Sanctuary is billed as a musical, rather than a play with music, but the greater weight of the piece, the drama, lies in the confrontations, the differences of opinion, red tape versus blue sky thinking, the moments of confession and contemplation, albeit that protagonists burst into song in the tradition of song being the ultimate form of emotional expression when mere words won’t suffice.
There is a second musical force at play too: the CAPA College performing arts students that serve as Sanctuary’s Greek chorus, Vox, commenting in song on what is unfolding (and joining Kay in his second role as a vigilante by playing protestors too at one point). In white, they have the presence of protective angels; in dark hoods, they become symbols of the devil, in Caitlin Mawhinney’s costume design.
At times, the chorus songs feel more like the stuff of a school musical, but musical director Jennifer Pugh pulls powerful vocal performances out of Nasseri, Kay, Bolton-Gabrielsen and especially Chattle, often in tandem with Vox. Sehra’s singing of Uzma’s Lament needed better amplification to have had its desired impact.
Ravneet Sehra singing Uzma’s Lament in Sanctuary. Picture: Robling Photography
On a night of so much debate, one more came to mind: would Sanctuary have had more dramatic impetus if there had been fewer songs? Certainly, it would have cranked up the hostile environment still more in this bitter pill of a modern-day riff on Brechtian musical theatre.
Whalley posits that “music can cross divides, it can patch up differences between people, which is what Sanctuary will hope to do”, but the wound here – a nation in turmoil over immigration – appears to be growing deeper, beyond music’s healing, bonding powers.
In a nutshell, Sanctuary asks, “Do we want safety and freedom for only ourselves, or for us all?” There should be only one answer, but that would require reform, not Reform.
“I hope this musical helps open up this conversation because it’s one that goes to the heart of who we are and the kind of society we want to live in,” says director Martin. In the best of worlds, the arts can lead that progression, but right now it feels like a voice in the wilderness.
Red Ladder Theatre Company in Sanctuary, Wesley Centre, Harrogate, October 12, 7.30pm. Box office: Harrogate, 01423 502116 or harrogatetheatre.co.uk. Age guidance: 13 upwards.
Did you know?
SANCTUARY is supported by the Mayor of West Yorkshire’s Safer Communities Fund.
Opera North in James Brining’s revival of The Magic Flute. Picture: Tristram Kenton
FOR the start of her first full year as general director, Laura Canning is presiding over an autumn of three revivals, of which this production by James Brining is the first.
Doubtless she had no say in the schedule, but it still looks cautious, especially when viewed in the wake of, for example, Buxton Festival’s five new productions this summer.
Brining operates as artistic director of Leeds Playhouse, just a short walk away from the Grand Theatre, and this had been his first full operatic production. It still shows signs of over-calculation.
Before the curtain we are treated to a welcome designed to embrace newcomers. Old-stagers might have regarded it as patronising but, seen alongside a bare-bones outline in the programme of what constitutes opera in the first place, it is arguably a useful introduction to an artform that too many have found intimidating: an attempt to cast the audience net more widely, in other words.
This process must be treated gingerly, however, if the company’s core audience is not to be deterred. The overture is intended as an introduction, presenting themes and building anticipation.
All of that is dissipated when it is overlaid with a dumb show, based on Bergman’s cinematic view of the whole work being a child’s dream/nightmare, that has little or nothing to do with Mozart. So, overture and dumb show are at odds with one another: in our screen-obsessed age, the eyes take over and the overture goes for naught.
As it was, Christoph Koncz, making his Leeds debut, opened the overture very slowly and followed with an extremely rapid allegro, which the orchestra – now under its new leader Katie Stillman – handled with panache. Thereafter Koncz impresses with the transparency of the textures he conjures.
Egor Zhuravskii has graduated from Fenton in Falstaff to Tamino here, and does so smoothly enough. Narrow at the start, his tone opens out over time but remains a little dry, albeit stylish. There is not much genuine feeling between him and Claire Lees’s admirable Pamina, but she entrances with every appearance and sounds ready for greater things.
Leaning heavily on his Welsh lilt, Emyr Wyn Jones makes an affable dunderhead of Papageno, almost taking the pantomime route, while Anna Dennis makes an imposing Queen of Night, edgy, determined and accurate.
Msimelelo Mbali, as Sarastro, lacks the gravitas shown by Andri Björn Robertsson’s Speaker, but his bass grows in authority in Act 2. Colin Judson offers an apt irritant as Monostatos, in place of the repellent figure we had last time.
Pasquale Orchard makes a charming Papagena, although she is introduced to Papageno early and deprived of her ‘old lady’ disguise. Many of the lesser roles are ably assumed by members of the chorus, proving its versatility.
Colin Richmond’s flexible set proves its worth once again, as does Douglas O’Connell’s high-impact video effects.
Brining envisaged Blakean poles of innocence and experience. He might instead have allowed Mozart and Schikaneder – in Jeremy Sams’s colloquial translation – to speak for themselves. The plot is complicated enough as it is.
Review by Martin Dreyer
Performances: Leeds Grand Theatre, February 12, 13, 15 and 22 2025, 7pm. Box office: 0113 243 0808 or leedsheritagetheatres.com. Hull New Theatre, March 27 and 29 2025, 7pm. Box office: hulltheatres.co.uk.
Duo Pleyel: Richard Egarr and Alexandra Nepomnyashchaya
Duo Pleyel –Richard Egarr and Alexandra Nepomnyashchaya (fortepiano), Mozart’s Real Musical Father, Sir Jack Lyons Concert Hall, University of York
I THOUGHT Duo Pleyel’s programme title, Mozart’s Real Musical Father, was a bit of a stretch, but it turned out to be an inspired one.
The pieces in the programme were composed between 1772 and 1786 and showcase the early developmental years of the piano duet, as well as musically documenting the unlikely, or rather, little known, friendship between Mozart and JC Bach [German composer Johann Christian Bach, youngest son of Johann Sebastian Bach].
Bach was a major composer at this time and clearly a major influence on the young Mozart, but his music seems to have been relegated to the second division by both history and fashion. So the chance to hear these two sonatas was very welcome and illuminating.
Both performances displayed the relative simplicity, elegance and immediacy we expect from the reactionary style galant, a modern style that gives primacy on melody and harmony overcomplex counterpoint. But the works were very different in character.
The Sonata in F, op 18, no.6 was indeed “full of unbridled fun and playful virtuosity”. The music positively zipped along with the players knocking ideas back and forth; the communication between the two came across as simply instinctive. A real feature throughout the concert performance.
It was also inspired, resulting in creative decorative enrichment and even ‘unwritten’ cadenzas. Was this genuinely an in-the-moment thing? I don’t know, but it sounded like it.
Having said that, I actually preferred the Sonata in A, op 18, no.5. It just radiated with tenderness. And who wouldn’t be seduced by those gorgeous extended cadences.
The concert opened with Mozart’s early Sonata in D K.381. What struck me here was the dramatic exploitation of the contrasting register and dynamics. It was almost symphonic – loud ‘orchestral’ tuttis etc. But then Mozart was not only an instinctive ‘operatic’ composer, it was also in his DNA.
Richard Egarr is not only an exceptional musician, he is also an excellent communicator, albeit a slightly whacky one. A self-confessed Trekkie, who performs regularly “all over the planet”, presumably Earth, he engages with the audience in a singularly unique manner.
There was an early window (after the Mozart) into the pedalling on this distinguished 1848 Pleyel piano with a parallel drawn with the state-of-the-art IPhone16. He even threw in a reference to Karl Marx just for good measure.
I suppose the standout performance must have been Mozart’s Variations in G, K 501. The theme had echoes of The Magic Flute; the ‘miserable’ 4th variation was so engaging with heartfelt, touching exchanges.
But it was the signing off – the incredible use of the piano’s sordino lever, leaving the music disappearing into the mist – that was so telling. Haunting and quite magical. As indeed, was the playing in the Adagio of the Sonata in Bb, K. 358 where it just melted into the ears.
The musical chemistry between Richard Egarr and Alexandra Nepomnyashchaya was palpable and the concert performance sounded like a shared intimacy. This was further enhanced by the natural charm and communicative skills of Mr Egarr himself, who included the audience as a genuine part of the concert experience.
