Kevin Clifton in Burn The Floor, returning to the Grand Opera House next January
STRICTLY champ Kevin Clifton will return to the Grand Opera House, York, in the hot hit ballroom dance show Burn The Floor on January 21 2022.
“Kevin from Grimsby”, who left BBC1’s Strictly Come Dancing professional roster after seven seasons at the end of 2019, last scorched the Opera House boards in May 2019.
After announcing his Strictly exit to make a full-time move into the world of musical theatre, he was set to play there too on the 2020/2021 UK and Ireland tour of Baz Luhrmann’s Strictly Ballroom The Musical, directed by Strictly judge Craig Revel Horwood, but the Covid pandemic put paid to the York run from November 23 to 28.
Clifton should have been on tour from September 26 2020 to June 26 2021 in his “dream role” of Scott Hastings, having been inspired by watching Luhrmann’s 1992 Australian film at the age of ten.
Dream role: Kevin Clifton should have played Scott Hastings in Strictly Ballroom The Musical but the pandemic put a stop to the 2020-2021 tour
He is thrilled to be rejoining his “dance family” once again for next January and February’s tour of Burn The Floor, a show with a “mix of eclectic live music, jaw-dropping choreography and ground-breaking moves, performed by an international ballroom dance company with an abundance of infectious, rebellious energy and passion”.
Clifton, 38, enthuses: “Burn The Floor is the show that ignited a spark in me and changed me forever as a performer. Through Broadway, West End and touring all over the world, this show has ripped apart the rule book, revolutionised our genre and inspired and shaped me as the dancer I am today.”
Billed as a “fiery, energetic and revolutionary ballroom production”, Burn The Floor has been packing a punch for more than two decades with its combination of Tango, Waltz and Rhumba routines.
In the heat of the moment: Kevin Clifton with the Burn The Floor company of international ballroom dancers
The 2022 tour has been rescheduled from spring last year, when it was only a week away from opening until Lockdown 1 cast theatres into darkness.
Clifton joined Strictly Come Dancing in 2013, performing in the final five times, missing out only in 2017 and 2019, and was crowned Strictly champion in 2018 with celebrity partner Stacey Dooley, the BBC documentary filmmaker, presenter and journalist.
A former youth world number one and four-time British Latin Champion, Clifton has won international open titles all over the world. After making his West End musical theatre debut in 2010 in Dirty Dancing, he starred as Robbie Hart in The Wedding Singer at Wembley Troubadour Park Theatre and as rock demigod Stacie Jaxx in the satirical Eighties’ poodle-rock musical Rock Of Ages in the West End, a role that also brought him to Leeds Grand Theatre in August 2019.
Tickets for Burn The Floor are on sale on 0844 871 3024 or at atgtickets.com/york.
The Divine Comedy’s Neil Hannon: Compilation album and greatest hits tour in 2022. Picture: Kevin Westerberg
THE Divine Comedy’s Neil Hannon will play York Barbican on April 30 next spring in 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.
His return to York next spring will follow the February 4 2022 release of Charmed Life – The Best Of The Divine Comedy, marking the completion of the Northern Irish singer, songwriter, musical score composer and cricket enthusiast’s third decade as a recording artist.
This 24-track, career-spanning compilation of hit singles and fan favourites, compiled by Hannon and remastered at Abbey Road Studios, London, takes in such eloquent, often mischievously humoured landmarks as National Express, Something For The Weekend, Songs Of Love, Our Mutual Friend, A Lady Of A Certain Age, To The Rescue and Norman And Norma, complemented by the new composition The Best Mistakes.
“I’ve been luckier than most,” reflects 50-year-old Hannon. “I get to sing songs to people for a living and they almost always applaud. So, when asked what to call this collection I thought of Charmed Life. I like the song and it rather sums up how I feel about my life.”
The career retrospective will be available as a 24-track standard double CD; on double heavyweight black vinyl in a gatefold sleeve; on limited-edition double heavyweight colour vinyl in a gatefold sleeve and as a limited-edition triple CD edition, bolstered a “Super Extra Bonus Album” of new and unreleased recordings.
Discussing the bonus disc, Hannon says: “It felt right to celebrate 30 of The Divine Comedy. I can’t give you an overview of these songs. They’re a crazy mixed-up bunch. Some are strangely seasonal, some relate to what we’ve all been going through recently, some are just nuts. Enjoy!”
The poster for The Divine Comedy’s April and May 2022 tour
Hannon signed his first record deal at 20 in1990, subsequently releasing 12 albums and performing hundreds of shows. He will add to that tally with 19 British and Irish dates next April and May, when he will play a second Yorkshire show at the Victoria Theatre, Halifax, on May 13.
“I am so looking forward to playing live again,” says Hannon. “The last couple of years have been a reminder of how much it means to me personally. It really is my favourite thing. And it seems fitting that we’ll be coming back with a greatest hits set. You know, in case everyone’s forgotten who I am and what we do!”
Tickets go on sale at 10am on Friday (10/9/2021) at yorkbarbican.co.uk and victoriatheatre.co.uk.
Track listing for Charmed Life:
Charmed Life; National Express; Norman And Norma; Something For The Weekend; Songs Of Love; The Best Mistakes; At The Indie Disco; Bad Ambassador; A Lady Of A Certain Age; Becoming More Like Alfie; Come Home Billy Bird; Have You Ever Been In Love; Our Mutual Friend; Generation Sex; How Can You Leave Me On My Own; Perfect Lovesong; Your Daddy’s Car; You’ll Never Work In This Town Again; Absent Friends; Everybody Knows (Except You); The Certainty Of Chance; Sunrise; To The Rescue; Tonight We Fly.
Track listing for Bonus deluxe 3CD/deluxe digital disc:
I’ll Take What I Can Get; Don’t Make Me Go Outside; Who Do You Think You Are; The Adventurous Type; When When When; Home For The Holidays; Te Amo España; Perfect Lovesong 2021; Simple Pleasures; Those Pesky Kids.
Did you know?
THE last time Neil Hannon’s compositions were heard on a York stage was in the Theatre Royal’s August 2019 production of Swallows And Amazons, a play with music that affirmed Hannon as a songwriter always ripe for musical theatre in the Flanders & Swann and Stiles & Drewe mode, with even a pinch of Sondheim salt and Randy Newman pepper.
Alex Wingfield (front) with Hanna Khogali, Laura Soper and William Pennington in Swallows And Amazons, featuring music by Neil Hannon, at York Theatre Royal in August 2019. Picture: Anthony Robling
GOOD to be back, good to be back. After a summer break, Graham Chalmers and Charles Hutchinson resume their arts chat with reflections on their return to the Edinburgh International Film Festival.
Did Graham’s day out among the 90,000 throng at Leeds Festival pass the test after all that Covid testing?
Verdicts too on Harrogate Theatre’s immersive play, Our Gate, and on British Sea Power’s name change in woke times can be heard in Episode 55 at: https://www.buzzsprout.com/1187561/9127399 .
What’s up Duck? The Dead Ducks sketch comedy troupe head for Theatre@41 Monkgate, York
CLOWNS, ominous things, Grayson, James, tango, chamber music, horrible British history and watercolours in teamwork add up to shows aplenty for Charles Hutchinson and normal people alike to check out.
Sketch comedy show of the week: The Dead Ducks: Ducks Out Of Water, Theatre@41 Monkgate, York, tomorrow (3/9/2021), 8pm
UNIVERSITY of York Comedy Society sketch troupe The Dead Ducks make their Theatre@41 debut with Ducks Out Of Water as a cast of five serves up fun scenes that range from the relatable to the ridiculous.
Be prepared for completely original content in a humorous mix of parody and farce with a delectable side order of top-notch acting.
Look out for pirates, cowboys, clowns and assorted animals, alongside Winnie the Pooh, Sherlock Holmes and Mickey Mouse “like you have never seen them before”. Box office: tickets.41monkgate.co.uk/events/.
Sunset Gazing, by Suzanne McQuade, on show at Village Gallery, Colliergate, York
Exhibition of the week: Suzanne McQuade, Touch Of Tranquillity, Village Gallery, Colliergate, York, until Octoger 23; open Tuesday to Saturday, 10am to 4pm
LEEDS watercolourist Suzanne McQuade quit her long-standing customer service job five years ago to take the plunge and become a full-time artist.
“Using watercolours is like teamwork; I have to allow the watercolour to move and merge, and utilise the patterns it creates,” says Suzanne, who loves how this medium’s translucency enables light to flood into her landscapes and seascapes.
Drawing inspiration from the British countryside and coastline, she paints what she finds captivating, from a dramatic sky to underwater rocks. “I try to make the scene in front of me to be as beautiful as possible,” she says.
Alexander Wright: Performing Small, Small Ominous Things with Megan Drury at Theatre At The Mill, Stillington
Open-air theatre show of the week: Small Small Ominous Things, Theatre At The Mill, Stillington Mill, near York, Saturday, 8pm
LOOK out for a tiny red gun hidden in the grass; a picture of a puppy eating a toy dinosaur; a dull feeling in the pit of your stomach; a bug burrowing into your skin.
Welcome to a late-night mix of stories, tales and unsettling considerations from partners Megan Drury and Alexander Wright, Australian actor, writer and creative artist and North Yorkshire writer, theatre-maker and visionary facilitator respectively.
Gather around the fire as they collaborate for the first time live At The Mill, bringing small, small ominous things out into late-summer’s fading light. Box office: tickettailor.com/events/atthemill/
Making a splash: The new Normal for artist Grayson Perry, performing on tour at York Barbican
Who-knows-what-to-expect gig of the week: Grayson Perry: A Show For Normal People, York Barbican, Monday, 7.30pm
IN his own words, despite being an award-winning artist, Bafta-winning TV presenter, Reith lecturer and best-selling author, Grayson Perry is a normal person – and just like other normal people, he is “marginally aware that we’re all going to die”.
Cue Grayson Perry: A Show For Normal People, where Grayson takes you through an enlightening, eye-watering evening wherein this kind of existentialism descends from worthiness to silliness. “You’ll leave safe and warm in the knowledge that nothing really matters anyway,” his show patter promises.
Grayson asks, and possibly answers, these big questions in a show “sure to distract you from the very meaninglessness of life in the way only a man in a dress can.” Box office: yorkbarbican.co.uk.
Home, James? Briefly, yes, when rehearsing at Broughton Hall, near Skipton. Scarborough Open Air Theatre awaits. Picture: Lewis Knaggs
Gig of the week outside York: James, Scarborough Open Air Theatre, September 9, gates open at 6pm
WHERE better for James to play a summer show in the wake of releasing their 2021 single Beautiful Beaches than at Scarborough Open Air Theatre.
The Manchester legends will be combining myriad anthemic favourites with selections from their “sweet 16th” album, All The Colours Of You, released in June.
Fronted by Clifford-born Tim Booth, James are completing a hattrick of Scarborough OAT visits after shows in May 2015 and August 18. Box office: scarboroughopenairtheatre.com
Prima Vocal Ensemble artistic director Ewa Salecka with Misatango composer Martin Palmeri
Well worth the wait: Misatango: Prima’s Tenth Anniversary Celebration, Temple Hall, York St John University, Lord Mayor’s Walk, York, September 11, 7.30pm
AFTER a year’s delay, Prima Vocal Ensemble director Ewa Salecka is thrilled to be holding the York choir’s tenth anniversary concert at last at a socially distanced Temple Hall.
At the concert’s core will be “the fabulous Misa a Buenos Aires, Misatango, an exhilarating fusion of Tango and Latin Mass”, by Argentinian composer Martín Palmeri, performed with the Mowbray Orchestra string quartet, bandoneon virtuoso Julian Rowlands, pianist Greg Birch and mezzo-soprano soloist Lucy Jubb. Box office: primavocalensemble.com.
Tim Lowe: York Chamber Music Festival director and cellist
Festival of the month: York Chamber Music Festival, September 16 to 18
CANADIAN pianist Angela Hewitt plays YCMF’s opening recital on September 16 and joins fellow festival artists Anthony Marwood and Pablo Hernan, violins, Lilli Maijala, viola, and Tim Lowe, cellist, for the closing gala concert on September 18, both at the Sir Jack Lyons Concert Hall, University of York.
Marwood, Hernan, Maijala and Lowe play string quartets by Haydn, Mendelssohn and Schumann at the NCEM on September 17.
Festival director Lowe joins pianist John Paul Ekins for the first 1pm concert at the Unitarian Chapel, St Saviourgate, on September 17; on the next lunchtime, Ekins plays works that connect Beethoven and Liszt. Box office: tickets@ncem.co.uk.
The Horrible Histories poke fun at Barmy Britain at the Grand Opera House, York, in October
History in the re-making: The Horrible Histories in Barmy Britain, Grand Opera House, York, October 21 to 24
CAN you beat battling Boudicca? What if a Viking moved in next door? Would you lose your heart or head to horrible Henry VIII? Can evil Elizabeth entertain England?
Will Parliament survive gunpowder Guy? Dare you stand and deliver to dastardly Dick Turpin? Escape the clutches of Burke and Hare and move to the groove with party Queen Victoria?
So many questions for The Horrible Histories’ Live On Stage team to answer with the aid of the 3D illusions of Bogglevision as skulls hover, dams burst and missiles fly into the family audience. For tickets for Birmingham Stage Company’s eye-popping, gruesome, scary and unbelievable trip through British history, go to atgtickets.com/york.
The poster for the remastered Imagine, John Lennon and Yoko Ono’s film
IMAGINE there are free tickets to see the 50th anniversary screening of John Lennon and Yoko Ono’s Imagine film.
You may say I’m a dreamer, but I’m not the only one, I hope someday you’ll join us for an exclusive show at FortyFive Vinyl Café, the Micklegate café bar, record store and music venue in York.
That day will be Thursday, September 9, but hurry, hurry, because only 30 tickets for the 7.30pm event are available to reserve via fortyfive.uk.com/events/imagine-50th-anniversary-screening.
FortyFive Vinyl Café will present this in-person screening of the remastered 1972 film in surround sound in collaboration with the Music Venue Trust, in celebration of the song, album and film.
Meanwhile, Charlatans’ frontman Tim Burgess’s Tim’s Twitter Listening Party will host a simultaneous online Listening Party event, where the experience of watching and listening to the music of John & Yoko’s film will be enhanced by a second-screen Twitter experience.
Prima Vocal Ensemble artistic director Ewa Salecka with composer Martin Palmeri at Carnegie Hall, New York City in 2019
AFTER a year’s delay, Prima Vocal Ensemble artistic director Ewa Salecka is thrilled to be holding the York choir’s tenth anniversary concert at last.
“It’s just a few weeks since restrictions lifted and our 18-month perseverance against the odds has paid off,” says a relieved Ewa. “We’re now very excited to announce Misatango, a signature Prima evening of eclectic and surprising material with professional guest artists on September 11 at a socially distanced Temple Hall, York St John University.
“Our celebration event will feature the fabulous Misa a Buenos Aires, Misatango, an exhilarating fusion of Tango and Latin Mass by the Argentinian Martín Palmeri, performed by the award-winning Prima choir, Mowbray Orchestra string quintet, London-based bandoneon virtuoso Julian Rowlands, pianist Greg Birch and mezzo-soprano soloist Lucy Jubb.”
The “wonderfully diverse” programme will embrace familiar traditional music from the British Isles, Ireland and North America, taking in a cappella pieces by Tallis and Antognini and trad songs, such as Shenandoah, Scarborough Fair and Parting Glass, before travelling across the Equator to embrace the distinctive patterns and harmonies of Buenos Aires in Palmeri’s work.
“This is probably the first choral performance in York since lockdown ended, and it’s a truly outstanding orchestral and choral work to mark this event,” says Ewa. “Rest assured, Palmeri’s work is becoming extremely popular for a very good reason: it’s a stand-out and stand-alone composition, a Latin Mass that brings a smile to the face and gets everyone’s toes tapping.”
Prima Vocal Ensemble joined singers aplenty at Carnegie Hall, New York City, in 2019 to perform Martin Palmeri’s Gran Misa
Prima was founded by Polish-born performer, producer and music director Ewa Salecka and pianist Greg Birch in 2010. “Since then, we’ve collaborated with top composers and singers, put on spectacular shows in and around York and in prestigious locations from London to New York,” says Ewa (pronounced ‘ever’).
“We’ve performed in choral festivals and competitions throughout Europe, from the summit of the Italian Tyrol to 100 metres underground in Poland’s Wieliczka Salt Mines!”
The lockdowns of the past 18 months have challenged Ewa and the choir, but nevertheless she has worked tirelessly to keep members practising, first through Zoom meetings, then with outdoor and indoor in-person rehearsals.
“These have all been in Simulcast form, allowing both attendees and remote-access singers to practise together,” she says.
In a display of continued international collaboration despite the pandemic, Ewa even gained a bronze award for the choir during lockdown by submitting a virtual entry of the choir singing in a choral competition in Szczecin, Poland.
Prima Vocal Ensemble’s poster for September 11’s tenth anniversary celebration concert
To mark both the tenth anniversary and the return to live performance, she has chosen an inspiring, uplifting repertoire, encapsulated by Palmeri’s Misatango, first performed by Prima in York in 2017 in its North of England premiere.
“The choir then had the privilege to meet and perform with the composer himself at Carnegie Hall in New York City in 2019 for the world premiere of his subsequent work Gran Misa,” says Ewa.
“Palmeri remains a firm friend, sending the choir a personal, inspiring message in the midst of the first lockdown.”
Suffused with a daring mix of sacred music and tango to plunge you into a world of intense emotions, passion and syncopated rhythms, Misatango is “perhaps just what’s needed at the moment,” reckons Ewa.
Prima Vocal Ensemble presents Misatango: Prima’s Tenth Anniversary Celebration, Temple Hall, York St John University, Lord Mayor’s Walk, York, Saturday, September 11, 7.30pm to 9pm.Box office: primavocalensemble.com.
For the full programme and socially distanced tickets, available in advance only, head to: primachoralartists.com/events/misatango-by-m-palmeri-primas-10th anniversary-concert
Angela Hewitt: Canadian pianist to play recital and gala concert at York Chamber Music Festival
YORK Chamber Music Festival 2021 celebrates the return of live chamber music with a stellar cast of musicians and “some of the most beautiful music ever written” from September 16 to 18.
Billed as “the chance for a few days to refresh ourselves after the lockdown”, the festival opens with a solo recital by Canadian pianist Angela Hewitt, performing works by Francois Couperin, Mozart and J S Bach at the Sir Jack Lyons Concert Hall, University of York, on September 16 at 7.30pm.
Two nights later, she joins fellow festival artists Anthony Marwood and Pablo Hernan, violins, Lilli Maijala, viola, and Tim Lowe, cellist, at the Lyons for the 7.30pm closing gala concert of Mozart’s String Quartet No. 17, The Hunt, Mahler’s Piano Quartet in A Minor and Dvořák’s sunlit Piano Quintet in A Major.
Festival artistic director Lowe persuaded Angela Hewitt to come to York at a dinner party in London. “Her passion, on which her international career has been built, is playing Bach’s keyboard music on the piano,” he says.
“This music would have been composed for harpsichord or clavichord. Bach himself was always a great experimenter and surely would have loved the sound world of the piano, which, apart from anything else, is much more suited to modern concert halls.
Tim Lowe: York Chamber Music Festival artistic director and cellist
“Why not do the same for Bach’s contemporary, the French composer François ‘Le Grand’ Couperin, who also composed for the harpsichord? So, Angela’s recital is based around these two great composers.”
Festival artists Marwood, Hernan, Maijala and Lowe play string quartets by Haydn, Mendelssohn and Schumann at the National Centre for Early Music, St Margaret’s Church, Walmgate, on September 17 at 7.30pm.
Two lunchtime concerts at 1pm at the Unitarian Chapel, St Saviourgate, complement the programme. On September 17, Tim Lowe and pianist John Paul Ekins perform Beethoven’s 12 Variations on a Theme from Handel’s oratorio Judas Maccabaeus, Schumann’s Fantasiestücke and Rachmaninov’s lush, romantic Cello Sonata for Cello and Piano.
Ekins returns on the Saturday to play works that connect Beethoven and Liszt: Beethoven’s Piano Sonata No. 27 in E Minor, followed by Liszt’s Sonetto del Petrarca and Liebesträume No. 1 in A flat, concluding with Beethoven’s Adelaide, arranged for piano by Liszt.
Lowe, once a chorister at York Minster, looks forward to this month’s festival enriching his home city’s cultural life. “The idea is that everyone, players and audiences, should have a joyous few days of deep listening to music that is both intimate and compelling. We’re going live!” he says. “Please note, we’re offering an outreach free ticket for young people aged 18 and under.”
Festival tickets for adults cost £10 to £15. To book, go to: tickets@ncem.co.uk. Full festival details can be found at ycmf.co.uk.
North York Moors Chamber Music Festival: Post War Paris; Trio Mazzolini, Welburn Manor Marquee, August 19 and 20
POULENC was the chosen representative of Paris in the eras after the two World Wars, with Prokofiev in his neo-classical prime characterising the Roaring Twenties. But last Thursday evening’s programme was given in more or less reverse chronological order.
Poulenc’s only three sonatas for solo wind instruments date from the last five years of his life. All were written in memory of friends as he began to contemplate his own demise. But they are far from elegiac, combining reminiscence with levity: Poulenc is rarely able to keep a straight face for long.
The Oboe Sonata of 1962, the last to be written, is the most outwardly mournful of the three and remembers Prokofiev. Nicholas Daniel’s oboe took a leisurely approach to the opening Élégie, describing a giant arch that reached a restrained crescendo before subsiding placidly, accompanied every step of the way by Katya Apekisheva’s sensitive piano.
The scherzo was typically flippant, but more than balanced by a pensive finale, where the action was mainly in the piano while the oboe wept.
Five years earlier, Poulenc had written his Flute Sonata, formally in memory of his patron Elizabeth Sprague but fired by the spirit of his friend Raymonde Linossier. Thomas Hancox brought verve to the puckish opening, with smooth legato in the central Cantilena. He was even lighter on his toes in the finale – which is briefly interrupted by an elegy when Poulenc remembers to be serious.
Hancox brought a trigger-jerk to the start of every phrase, which was fine at exciting moments but distracting when the going was supposed to be calmer.
The sounds of Paris were much more apparent in the Clarinet Sonata, where Matthew Hunt was soloist, partnered by Alasdair Beatson’s piano. Although in memory of Honegger, it was written for Benny Goodman, hence its several nods towards jazz. Its central Romanza was especially affecting but the shrieks in the finale were pure Benny. This duo mixed flair with finesse.
Prokofiev’s Quintet in G minor, Op 39 began life as a ballet, Trapeze, written in 1924, using the unusual combo of oboe and clarinet, with violin, viola and double bass. It reeks of circus life. The winds are so dominant in the opening that one feared for balance, but the double bass led the way in the following movement, often made to sound like a cello, with quirkily dissonant outcomes.
Similarly later, rapid bass pizzicato, imitated by the other strings, led to a crazy ending in the Allegro Precipitato. Straight out of the Twenties, the finale, although in three-time, was more Charleston than waltz. Nikita Naumov’s bass was the star of this show.
Poulenc’s Trio, Op 43, written only two years after the Prokofiev, was much more backward-looking, even nostalgic in its romanticism. It linked Daniel’s oboe and Beatson’s piano to Amy Harman’s bassoon. Its long-limbed Andante might almost have been late Brahms; it was lovingly presented.
The trio made teasing use of the many rests at the end of their jaunty Rondo, probing Poulenc’s wit to its limits.
Last Friday lunchtime, it was the turn of the Trio Mazzolini to take their place as the last of the Young Artists in the festival, an initiative, incidentally, that has been a great success by all accounts.
Piano trios by Haydn and Mendelssohn framed the 1998 trio by Judith Weir. This is a work of refreshing directness and clarity that wears its heart on its sleeve. The bells of St Mark’s, Venice ring through the opening movement which radiates exotic tints of the barcarole that is Schubert’s Gondelfahrer, its inspiration.
The strings handled the harmonics of the Scherzo deftly, and the taut curlicue motif in the finale was positively crystalline here. The Mazzolinis clearly revelled in this idiom.
The Haydn, a late work in C major, was notable for the ensemble’s use of rubato, which carried more than a hint of signposting that the music does not need. Still, Harry Rylance’s piano passagework in the finale was impressive, even if his partners struggled to achieve a good balance.
We heard more from the strings in Mendelssohn’s Trio No 2 in C minor, although Yurie Lee’s cello could have afforded to project even more. The highlight was the Andante, the trio negotiating its rolling acres beautifully together and bringing it to a lovely close.
There was exciting propulsion in the Scherzo and the sweeping piano chorale in the final Allegro heralded a sweet-toned outpouring from Jack Greed’s violin. This is a talented trio, with Rylance an exceptionally agile pianist, even if one could not always be sure that he was listening to his colleagues as keenly as he might.
This brought an end to my festival, which has been even more satisfying than last year’s – and that is saying something. The Welburn Marquee must surely become a fixture. Even allowing for a few bleating lambs and the odd passing tractor, it has an intimacy that is somehow exactly suited to chamber music and the audience this year has exulted in the many treasures it has heard. The rapport between listeners and players has been second to none.
Liam Gallagher: Tomorrow’s headliner at Leeds Festival
SUMMER ends with Leeds Festival, apparently, but Charles Hutchinson begs to differ by highlighting plenty more reasons to be cheerful as nights start to lengthen.
Biggest crowd of the week: Leeds Festival, Bramham Park, near Wetherby, tomorrow (27/8/2021) to Sunday
AFTER a gap year in Covid-crocked 2020, Leeds Festival returns from tomorrow with a sold-out crowd at full capacity.
Among the first day’s top acts are headliners Lian Gallagher and Biffy Clyro, Gerry Cinnamon, Wolf Alice, Blossoms and Doncaster’s Yungblud.
Saturday’s names to watch are Stormzy, Catfish And The Bottlemen, AJ Tracey, Mabel, Sam Fender and Sports Team. Sunday promises Post Malone, Disclosure, Two Door Cinema Club, The Wombats and Slowthai.
Shed Seven: Topping the all-Yorkshire bill at The Piece Hall, Halifax, on Saturday
On the other hand, Yorkshire’s gig of the week is…Shed Seven at The Piece Hall, Halifax, Saturday.
YORK favourites Shed Seven at last can go ahead with their all-Yorkshire bill after 2020’s two postponements and a move from June 26 to August 28 this summer.
The dates may change but the bill remains the same: York’s on-the-rise, rousing Skylights, Leeds bands The Pigeon Detectives and The Wedding Present and the Brighton Beach DJs on the decks.
Never mind the clash with Leeds Festival. “Let’s just say our fans are not their demographic,” says the Sheds’ Rick Witter.
Andrew Harrison: Performing Nigel Forde’s one-man show, The Last Cuckoo, at Stillington Mill, near York, tomorrow night
Bird song of the week: Sea View Productions in Nigel Forde’s The Last Cuckoo, Theatre At The Mill, Stillington, tomorrow, 7.30pm.
ON his return home from his irascible ornithologist uncle Harry Baskerville’s ’s funeral, Duncan Campbell begins the slow, sad process of working through its effects in The Last Cuckoo, a one-man show about loss, hope and birds.
As he does so, he finds within the ghostly confines of this remote coastal cottage a way into a world he never knew existed: the entrance into a life he never dared hope for. However, this awareness brings with it costly choices and, most daunting of all, the possibility of real change.
Penned exquisitely by Warter poet and writer Nigel Forde, former presenter of BBC Radio 4’s Bookshelf, this beautiful theatre piece will be performed by Riding Lights Theatre Company alumnus Andrew Harrison, directed for Sea View Productions by Robin Hereford. Box office: tickettailor.com/events/atthemill.
The Carpenters Experience: Tribute show to Karen and Richard at the Joseph Rowntree Theatre
Tribute show of the week: The Carpenters Experience, Joseph Rowntree Theatre, York, Saturday, 7.30pm
IT’S Yesterday Once More as British singer Maggie Nestor and eight musicians capture the smooth American sounds of Richard and Karen Carpenter.
Expect echoes of Karen’s silky contralto, Richard’s pretty piano and seamless harmonies in a big production featuring Close To You, We’ve Only Just Begun, Top Of The World, Rainy Days And Mondays, Solitaire, Goodbye To Love, For All We Know and Only Yesterday. Box office: josephrowntreetheatre.co.uk.
Being Frank: Stephen Tompkinson in Educating Rita, on tour at York Theatre Royal from Tuesday. Picture: Matt Humphrey
Theatre show of the week in York: Educating Rita, York Theatre Royal, August 31 to September 4
WHEN married hairdresser Rita enrols on a university course to expand her horizons, little does she realise where her journey will take her.
Tutor Frank is a frustrated poet, brilliant academic and dedicated drinker, less than enthusiastic about taking on Rita, but soon they learn how much they have to teach each other.
Directed by Max Roberts, Willy Russell’s comedy two-hander stars Jessica Johnson as Rita and Stephen Tompkinson as Frank. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Curtains! Another catastrophe is imminent in Magic Goes Wrong, Mischief and Penn & Teller’s calamitous comedy caper at Leeds Grand Theatre
Theatre show of the week ahead outside York: Magic Goes Wrong, Leeds Grand Theatre, casting a spell from August 30 to September 4
BACK with another comedy catastrophe, this time dusted with magic, Mischief follow up The Play That Goes Wrong and The Comedy About A Bank Robbery with a show created with Penn & Teller, no less.
A hapless gang of magicians is staging an evening of grand illusion to raise cash for charity, but as the magic turns to mayhem, accidents spiral out of control and so does the fundraising target.
On tour for the first time, the show is written Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields and Teller and directed by Adam Meggido. Box office: 0113 243 0808 or at leedsheritagetheatres.com.
Fangfest co-organiser Gerry Grant dunking a raku ceramic in water
Top of the pots: Fangfest, Fangfoss, September 4 and 5, 10am to 4pm each day
FANGFEST, the celebration of pottery, crafts, art and scarecrows in Fangfoss, ten miles east of York, returns next month after a Covid-enforced hiatus in 2020.
To keep the family event as Covid-safe as possible, much of the festival organised by Gerry and Lyn Grant, of Fangfoss Pottery, will be taking place outdoors.
The weekend combines art, pottery, illustration, jewellery, printmaking, archery, wood carving, textiles, willow weaving, classic cars, East Yorkshire history, food and scarecrows. Entry is free.
Kate Winslet, left, and Saoirse Ronan in Ammonite, showing at the Yorkshire Fossil Festival in Scarborough
Dinosaurs, stones and more in Yorkshire Fossil Festival’s fistful of films: Stephen Joseph Theatre, Scarborough, September 10 and 11
FOR the first time, the Stephen Joseph Theatre is teaming up with the Yorkshire Fossil Festival SJT to bring five palaeontology-inspired films to the McCarthy screen.
Highlights include September 10’s 8pm screening of stop-motion wizard Ray Harryhausen’s 1969 dinosaur classic, The Valley Of Gwangi, introduced by palaeo-artist James McKay, who hosts a post-screening Q&A too.
Further films on September 10 will be Pixar’s The Good Dinosaur (2pm) and Jurassic Park (5pm); September 11, The Land Before Time (2pm and 5pm) and Ammonite, starring Kate Winslet and Saoirse Ronan (8pm). Box office: 01723 370541 or at sjt.uk.com.
Fish’n’quips: George Egg serves up his Movable Feast on tour in October
Meals on wheels, jokes on a plate, here comes George Egg’s cracking tour show…
COMEDY and cooking combine when anarchic cook George Egg serves up his Movable Feast on tour in Yorkshire in October.
Determined to make food on the move, Egg offers his guide to cooking with cars, on rail tracks and in the sky. “It’s time for Planes, Trains and Automob-meals (sorry),” he says.
Sprinkled with handy hacks, the 7.30pm shows conclude with the chance to taste the results on the three plates. Tour dates include Stillington Village Hall, near York, October 10; Pocklington Arts Centre, October 13, and Terrington Village Hall, near Malton, October 17. Box office: georgeegg.com.
James Gilchrist: “As always, he brought intensity to every phrase, delving well below the surface of the poetry”
North York Moors Chamber Music Festival: Turn Of A Century/Through War, Welburn Manor Marquee, August 16 and 17
FESTIVALS would not be festive if they delivered only run-of-the-mill fare. From time to time, as here, it is absolutely right that they plough new furrows.
Turn Of A Century looked at two works written by composers before they had become famous, Richard Strauss and Béla Bartók.
Strauss was a mere 20 years old when he finished his Piano Quartet in C minor (1884). It is the work of a young man striving hard to make an impression but by and large falling short.
Neither of the opening themes has much character and sound like Brahms on an off day. The Scherzo is even more bombastic while its trio has a pallid melody that lacks definition. The Andante might have been written by Schumann, but with a whiff of the salon about it. The finale uses motifs in a series of sequences that are ultimately repetitious. In short, not exactly vintage Strauss.
Daniel Lebhardt, no doubt in an effort to ‘help’ the music, brought considerable aggression to the piano role; too many of his fortes were fortissimo or louder. It put the strings at a disadvantage, although they – Charlotte Scott, Meghan Cassidy and Alice Neary – dug in and answered as best they could. There was a brief oasis of calm near the end, but otherwise it was a harum-scarum affair, good to hear once, but no more than that.
Bartók’s youth was altogether more disciplined, on the evidence of his Piano Quintet in C, composed at the age of 23. Here there were genuine precursors of his mature style, with strongly Hungarian flavours throughout.
The richly Romantic opening contrasts a lovely viola melody – played here by Timothy Ridout – with a nervy, urgent dance, which returns even more balletically in the coda. An ethnic-sounding Scherzo is paired with a Viennese-style trio, before the menacing opening of a slow movement that turns quite lush and ends with strings muted.
The finale, following immediately, starts in folk-dance style very slowly, gathering pace wittily. There are some spaces for ruminative solos, but eventually a fugal finale boils up from the piano – crisply delivered by Katya Apekisheva, on peerless form at this festival.
But all the players deserve praise for their devotion to a work not often heard: violinists Maria Włoszczowska and Vicky Sayles and cellist Jamie Walton, along with Ridout and Apekisheva as mentioned. Their teamwork was exceptional.
The following evening’s Through War heralded an English programme that required the services of tenor James Gilchrist and a dozen players. The undoubted highlight was Gilchrist in On Wenlock Edge, Vaughan Williams’s evocative setting of six poems from Housman’s A Shropshire Lad, with piano quintet accompaniment.
What really made this performance special was his recitation of the poems in advance, loaded with emotional nuance. It made one appreciate even more the composer’s special feel for the English language, its intonation and rhythm.
As always, Gilchrist brought intensity to every phrase, delving well below the surface of the poetry. His contrast between living and dead voices in Is My Team Ploughing? reached a spine-chilling conclusion on “whose”.
His change of tone in Bredon Hill was telling. But he was matched every step of the way by the strings, whose orchestral sweep extended from the opening tremolos – “On Wenlock Edge the wood’s in trouble” – to the muted ending of Clun. Alasdair Beatson’s piano rippled effectively, while underlining accents. They all got carried away at the top of Bredon Hill, where Gilchrist was briefly submerged. But it was a memorable account.
We had opened with York Bowen’s Clarinet Sonata, with Matthew Hunt dancing light-footedly through the roulades of the title role and Beatson’s piano in tight support. Hunt later cleverly blended his virtuoso instincts into the ensemble in Howells’s Rhapsodic Quintet, where he was joined by a passionate string quartet led by Charlotte Scott.
The tension of the opening slowly dissipated into a lyrical mood that led coolly to a lovely conclusion. The score sounded freshly-minted, beautifully integrated – and thoroughly English.
The Jubilee Quartet, with David Adams bravely stepping into their injured leader’s shows, revealed its versatility in Elgar’s String Quartet. Adams is widely experienced, currently concertmaster with the orchestra of Welsh National Opera and incidentally husband of the cellist Alice Neary (who played in the Howells).
Nevertheless, the voices took time to settle in an opening that was more calculated than spontaneous. Adams really found his wings in the central movement, guiding his charges into a nicely controlled ending. Then the quartet reached persuasive heights in a finale that was both rhythmically alert and bouncing with energy. The best had been kept to last.
