Jason Donovan: Doin’ fine in 2025 at York Barbican on Saturday night
AUSTRALIAN singer and actor Jason Donovan takes an “incredible ride” through 35 years in music, theatre, film and television in his Doin’ Fine 25 Tour, playing York Barbican on Saturday.
His long-awaited sequel to Doin’ Fine 90 features Jason’s most beloved songs from his stage shows, Joseph And The Technicolor Dreamcoat, Priscilla Queen Of The Desert, The Rocky Horror Show and Grease, alongside nods to his TV times in Neighbours and Strictly Come Dancing and his biggest pop hits, Especially For You, Too Many Broken Hearts, Any Dream Will Do and Sealed With A Kiss.
Last seen in York in fishnets and face paint as Dr Frank N Further in Richard O’Brien’s The Rocky Horror Show at the Grand Opera House in October 2024, here he discusses his new tour show.
Is it harder going on tour at 56 than when you were in your twenties, Jason?
“There’s a bit more physio these days and a lot more stretching. There’s even a bit of steam and inhaler just to keep the vocal cords pretty!”
It must be a great feeling to be going on the road again to sing these songs?
“I love creating my own show. I guess the difference with this and what I do in theatre is that I’m sort of the boss. For me, if I was to just rely on my own shows and those pop songs as my only bread and butter, I probably wouldn’t enjoy it as much.
“But because I get these gaps, and because I do a lot of theatre work, I get the opportunity to exercise those songs every four or five years and not get tired of them.”
Although this is the “Doin’ Fine 25 Tour”, 35 years have passed since your original Doin’ Fine shows. Are you nostalgic?
“When I listen to my own records, I get a little bit scientific about them, like was that vocal good or not good? But doing that 1990 world tour was important to me, because it was a matter of proving to myself and my audience that I was in this for the long term.”
Jason Donovan as Dr Frank N Furter, the “sweet transvestite from transsexual Transylvania”, in The Rocky Horror Show, on tour at the Grand Opera House, York, last October
What can fans expect from the tour? Aside from the hits, will there be deeper album cuts too?
“That’s always a tug of war, because you’ve got to try and deliver what people want, but educate as well. It’s about trying to find that balance between what the crowd wants and what you want creatively. You want a show that engages with an audience and doesn’t put them to sleep as well.”
Apart from your own hits, will you be performing songs from musicals you have appeared in?
“I do Rocky Horror songs, because they work really well in my shows. There are a couple ofsongs from Priscilla Queen Of The Desert that my audience loves and some covers too. Idid Don’t Leave Me This Way years ago – that’s always gone down well. My act is anunusual one, but there’s an audience out there that seems to want to listen to what I’ve gotto say and what I’ve got to sing.”
Will you have a guest vocalist for the Especially For You duet or will you pipe in Kylie Minogue’s original vocal?
“I normally have a backing singer that I do it with, but that’s an interesting idea. But I’m a little bit conscious that records like that, whilst they’re defining moments, you also don’t want to be defined as just Kylie and Jason. There are a lot of other moments to what I do and what I’ve done. You’ve got to pay reasonable respect to that, but not saturate.”
Will you be performing the Neighbours theme?
“When I used to do these personal appearances in the early 2000s I’d sing the Home And Away theme, but I’m a bit like that. People would say, ‘That’s Home And Away, that’s not Neighbours!’, and I’d go, ‘Exactly’! But more recently, when Neighbours was rebooted on Amazon, the producers asked if I wanted to re-record the song and I turned it down.
“I did have a think about it, but I thought going back to appear in what we thought was the last episode [in 2022] was enough done. It’s a great song, but does it work in a show? It’s a bit twee.”
You last released a studio album, Sign Of Your Love, in 2012. Do you have plans to record again?
“I do. The problem is, it takes a lot of energy and the market is very different now. You’ve got to dream big, I get that. I’m definitely not lazy, but I just feel that maybe my time is better spent on stuff that engages a little bit more. Like playing to full houses with Rocky Horror – what more could I want?”
Jason Donovan, Doin’ Fine 25, York Barbican, March 8, 7.30pm. Tickets update: Still available at yorkbarbican.co.uk.
Richard Hawley: Made in Sheffield, played in York. Picture: Dean Chalkley
SHEFFIELD singer-songwriter Richard Hawley is the latest addition to Futuresound Group’s second summer of Live At York Museum Gardens concerts, confirmed for July 5.
Hawley, 58, will be marking the 20th anniversary of Coles Corner by performing his Mercury Music Prize-nominated 2005 album in full for the first time with a string section, alongside a selection of favourites from his 11 albums, from 2001’s Late Night Final to 2024’s In This City They Call You Love.
Hawley will be joined by 2024 Mercury Music Prize-winning Leeds band English Teacher and England-based New Jersey songwriter and multi-instrumentalist BC Camplight. Gates will open at 5pm. The show poster offers the promise of “More To Be Announced”. Watch this space.
Leeds band English Teacher
York exclusive postcode presale (YO1, YO24, YO30, YO31 and YO32) will go on sale from 10am on Thursday (6/3/2025) at futuresound.seetickets.com/event/richard-hawley/york-museum-gardens/3237716?pre=postcode. General sale tickets will be available from 10am on Friday (7/3/2025) at https://futuresound.seetickets.com/event/richard-hawley/york-museum-gardens/3237716.
Hawley’s open-air York gig will coincide with the 20th anniversary re-issue of Coles Corner, available on Parlophone/Rhino from July 4 on Half-Speed master black vinyl, housed in a gatefold sleeve, 2CD deluxe edition, featuring B-sides and previously unreleased acoustic tracks, and limited-edition bundles. To pre-order, go to http://lnk.to/RichardHawleyCC20
Leeds-based promoters Futuresound Group already have announced Elbow, Ripon-born, London-based singer-songwriter Billie Marten and Robin Hood’s Bay folk luminary Eliza Carthy & The Restitution for July 3 (SOLD OUT) and Nile Rodgers & CHIC and Jalen Ngonda for July 4 (tickets: seetickets.com/event/nile-rodgers-chic/york-museum-gardens/3257099).
New Jersey singer, songwriter and multi-instrumentalist BC Camplight
Coles Corner was former Longpigs and Pulp guitarist Hawley’s third studio album and his first for Mute Records. Recorded in Sheffield’s Yellow Arch Studios and co-produced with his long-time bassist Colin Elliot and Mike Timm, it featured Shez Sheridan (guitars), Jon Trier (keyboards), Jonny Wood (upright bass) and Andy Cook (drums).
Inspired by Hawley’s love of vintage 1940s and 1950s’ chamber pop, country, blues and rock’n’roll, they conjured a set of intimate love songs full of nostalgia, regret, sadness and a bittersweet atmosphere that bore witness to Hawley’s abiding love and passion for his home city of Sheffield.
Nowhere is this better exemplified than on title track Coles Corner, named after a former Sheffield department store where couples met, its romance captured in sweeping strings and swooning chorus on a universal paean to the loneliness of the city at night.
Futuresound Group’s poster for Richard Hawley’s Live At York Museum Gardens concert on July 5
Beautiful balladry in Born Under A Bad Sign and Darlin’ Wait For Me rubbed shoulders with Hawley’s love of country and early rock’n’roll in Hotel Room, I Sleep Alone and Just Like The Rain.
The most epic number was The Ocean, to this day a fan favourite in concert. Written on a family holiday in the shadow of Cornwall’s Minack Theatre (with a video later filmed at the same location), the recording featured one of Richard’s best baritone vocals.
The vinyl and CD1 track listing will be: Coles Corner; Just Like The Rain; Hotel Room; Darlin’ Wait For Me; The Ocean; Born Under A Bad Sign; I Sleep Alone; Tonight; (Wading Through) The Waters Of My Time; Who’s Gonna Shoe Your Pretty Little Feet? and Last Orders.
Richard Hawley in Coles Corner days in 2005. Picture: Joe Dilworth
The second CD of single versions, B-sides and acoustic versions comprises: The Ocean – Single Version; Just Like The Rain – Single Version; Born Under A Bad Sign – Single Version; Hotel Room – Single Version; Long Black Veil; Room With A View; I’m Absolutely Hank Marvin; Dark Road; Kelham Island; Some Candy Talking; Young And Beautiful; I’m Just Here To Get My Baby Out Of Jail; Can You Hear The Rain Love?; Coles Corner – Acoustic Version; Hotel Room – Acoustic Version; Darlin’ Wait For Me – Acoustic Version; I Sleep Alone – Live at Sheffield City Hall and A Bird Never Flew On One Wing.
Tickets will go on sale on March 14 for further performances of Coles Corner with a string section at Boston Gliderdrome, September 5; Portmeirion Village, Wales, September 6; Blackpool Tower Ballroom, September 12; Margate Dreamland, October 3, Worthing Assembly Hall, October 4, and Weston-super-Mare Grand Pier, October 10. Box office: seetickets.com.
Richard Hawley’s album cover artwork for 2005’s Coles Corner, photographed outside the Stephen Joseph Theatre, Scarborough
Enthusiastic performer: Jackie Cox’s Florence Foster Jenkins poses for the camera in full regalia in the rehearsal room for Rowntree Players’ production of Glorious!
COVER your ears! Here comes Glorious! The True Story Of Florence Foster Jenkins, The Worst Singer In The World, as told by Peter Quilter in his play with music, to be staged by Rowntree Players from March 13 to 15 at the Joseph Rowntree Theatre, York.
Billed as a “joyous and heart-warming comedy”, this 2005 play is based on the life of 1940s’ New York socialite Florence Foster Jenkins, who had a passion for singing but a voice for disaster, nevertheless defying her far-from-perfect pitch to perform enthusiastically to bemused audiences.
Considered by many to be “the worst singer in the world” and “the First Lady of the sliding scale”, Florence gave charity private recitals to fans, such as Cole Porter, sang at extravagant balls, made bizarre recordings and revelled in a legendary, triumphant sold-out performance at New York’s Carnegie Hall at the age of 76.
Neil Foster’s Cosme McMoon, left, Jackie Cox’s Florence Foster Jenkins and Mike Hickman’s St Clair in Rowntree Players’ Glorious!
Soprano Florence warbled and screeched her way through her performances, where audiences greeted her with derisive laughter, but this delusional and joyously happy woman paid little attention to her critics, instead surrounding herself with a circle of devoted friends who were almost as eccentric as she was.
Presented by arrangement with Concord Theatricals, Quilter’s play is a story of friends who embrace their delusions and have the courage to follow their dreams, no matter what.
Director Martyn Hunter has assembled a cast of Jackie Cox as Florence Foster Jenkins; Neil Foster, Cosme McMoon; Jeanette Hunter, Dorothy; Mike Hickman, St Clair; Chris Higgins, Mrs Verrinderr-Gedge, and Moira Tate, Maria.
Mike Hickman in rehearsal for his role as St Clair
Martyn is joined in the production team by production and technical manager Graham Smith and marketing and costumes team Sara Howlett and Leni Ella.
Rowntree Players present Glorious! The True Story Of Florence Foster Jenkins, The Worst Singer In The World, Joseph Rowntree Theatre, York, March 13 to 15, 7.30pm plus 2.30pm Saturday matinee.Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Did you know?
GLORIOUS received its West End premiere at the Duchess Theatre, London, on November 3, 2005, directed by Alan Strachan with Hull actress Maureen Lipman in the role of Florence Foster Jenkins.
Chris Higgins’s Mrs Verrinderr-Gedge, Jeanette Hunter’s Dorothy and Moira Tate’s Maria in a poster for Rowntree Players’ production of Glorious!
Kieran White (1961-2025) playing at his favourite busking pitch by St Michael le Belfrey
THE funeral of York composer, busker, solo and band pianist, piano teacher, York St John University tutor and Buster Keaton aficionado Kieran White will be held on Tuesday, March 18 at 1pm at English Martyrs RC Church, Dalton Terrace, York.
On behalf of Kieran’s widow, Kate, everybody is invited to attend an open-mic celebration at the Waggon & Horses pub, in Lawrence Street, where tributes of music, songs, piano pieces and more besides can be played and shared by anyone who would like to do so in his memory. A piano will be on site.
“If you are unable to attend the church service, please do come down to the pub to say thank you for the music to Kieran,” says Louisa Jane Yasmin Starr, who played in a duo and the band White Starrs with Kieran, alongside Kate White on saxophone.
At English Martyrs, parking is limited; the nearest public car park is at Nunnery Lane. It is requested that only family flowers are arranged; the burial at York Cemetery will be private.
Something to be Smug about: Smug Roberts tops Laugh Out Loud Comedy Club bill today
A CHORUS of song, a clash of operas and an eye for comedy fill Charles Hutchinson’s in-box of entertainment for the week ahead.
Extremely rare chance to see Channel 4 legend: Laugh Out Loud Comedy Club presents Smug Roberts, Russell Arathoon, Oliver Bowler and MC Tony Vino, The Basement, City Screen Picturehouse, York, today, doors 3.30pm for 4pm start
BACK in the day, today’s headline act, Manchester humorist and radio presenter Smug Roberts, released the novelty anthem Meat Pie, Sausage Roll (Come on England, Gi’s A Goal) as Grandad Roberts. Three years earlier, he was discovered by Caroline Aherne when playing his first gig. He has since starred in That Peter Kay Thing, Cold Feet, Phoenix Nights, 24 Hour Party People and Buried.
“Smug is one the great unsung heroes of stand-up comedy and one of comedy’s best-kept secrets,” says promoter Damion Larkin. “His act is a joy to behold. A true superstar, he’s arguably the only non-famous genius among his North West contemporaries, and he’s not very often around in town, so make sure you grab this chance to see him.” Box office: lolcomedyclubs.co.uk.
Opera International in Madama Butterfly, on tour from Ukraine at the Grand Opera House, York
Opera dilemma of the day: Either…Senbla presents Opera International’s tour of Ukrainian Opera & Ballet Theatre Kyivin Madama Butterfly, Grand Opera House, York, tonight, 7.30pm.
BACK by overwhelming public demand, Opera International director Ellen Kent directs Ukrainian Opera & Ballet Theatre Kyiv in Puccini’s Madama Butterfly, the heart-breaking story of the beautiful young Japanese girl who falls in love with an American naval lieutenant.
Expect international soloists, full chorus and orchestra and exquisite sets, including a spectacular Japanese garden and fabulous costume, not least antique wedding kimonos from Japan. Box office: atgtickets.com/york.
English Touring Opera in rehearsal for The Capulets And The Montagues, playing York Theatre Royal tonight. Picture: Craig Fuller
Or…English Touring Opera in What Dreams May Come, York Theatre Royal Studio, today, 2.30pm; The Capulets And The Montagues, York Theatre Royal, tonight, 7.30pm
ENGLISH Touring Opera return to York Theatre Royal with a brace of Shakespeare-inspired new productions. Mixing puppetry with works by Purcell, Finzi, Amy Beach and Britten, performed by a chamber ensemble, What Dreams May Come draws on hundreds of years of music inspired by and adapted from Shakespeare’s plays and poetry to depict the joys and sorrows of a long life well lived.
The Capulets And The Montagues, Bellini’s gritty re-working of Romeo And Juliet, brings the warring families’ emotional and political struggle to life with devastating power. Soprano Jessica Cale sings the role of Giulietta opposite mezzo-soprano Samantha Price as Romeo. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Stamford Bridge Community Choir: Performing at York Community Choir Festival on March 5. Picture: Murray Swain
Festival of the week: York Community Choir Festival, Joseph Rowntree Theatre, York, tomorrow until March 8, 7.30pm nightly, except 6pm tomorrow, plus 2.30pm Saturday matinee
A FESTIVAL that began in 2016 with only 11 choirs now comprises eight concerts showcasing up to five choirs per night. More than 1,250 singers, including school groups and choirs from Harrogate, Selby and Malton as well as York, will perform diverse music styles from pop to classical.
Among the choirs will be Stamford Bridge Community Choir, who will use Makaton signing in their March 5 performance. Full details of all the choirs and their programmes can be found at josephrowntreetheatre.co.uk/whats-on/all-shows/york-community-choir-festival. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Visible Women company members Caroline Greenwood, left, Linda Fletcher, Helen Wilson and Marie Louise Feeley: Two evenings of monologues for York International Women’s Week
York International Women’s Week (March 3 to 9): Lyrics Of Life by Visible Women, Black Swan Inn, Peasholme Green, York, March 4 and 5, 7.30pm to 9.15pm
VISIBLE Women, a group of “mature female performers” from York, present both well-known and lesser-known monologues over two evenings.
“We met last year in York Settlement Community Players’ production of Terence Rattigan’s Separate Tables, which had good parts for older women,” says York theatre group member Helen Wilson. “But as most playwrights are male, plays tend to be male dominated, so here we are doing our own thing!
“There are still not enough plays giving women of our age a platform. As Visible Women, we want to redress the balance. Let’s move this forward. Come along for an evening of entertainment for a good cause.”
Material by Alan Bennett, Joyce Grenfell and York playwright Sara Murphy, winner of the first Script Factor in York, will feature. Box office: email basicbafmaw@gmail.com or pay on the door. Proceeds from ticket sales (£7 each) will be donated to York Women’s Counselling (yorkwomenscounselling.org).
Rob Auton: One in the eye for comedy at The Crescent, York, on March 5
The eyes have it: Rob Auton: The Eyes Open And Shut Show, Burning Duck Comedy Club at The Crescent, York, March 5, 7.30pm; Leeds City Varieties Music Hall, May 3, 7.30pm
“THE Eyes Open And Shut Show is a show about eyes when they are open and eyes when they are shut,” says surrealist York/Barmby Moor comedian, writer, artist, podcaster and actor Rob Auton. “With this show I wanted to explore what I could do to myself and others with language when eyes are open and shut…thinking about what makes me open my eyes and what makes me shut them.” Box office: York, thecrescentyork.com; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
Fíonna Hewitt-Twamley in Myra’s Story, a tragic tale of a middle-aged homeless alcoholic struggling to survive on the streets of Dublin, on tour at the Grand Opera House, York
Charity support of the week: Fíonna Hewitt-Twamley in Myra’s Story, Grand Opera House, York, March 4, 7.30pm
DIRECT from the West End, Irish playwright Brian Foster’s four-time Edinburgh Fringe hit, Myra’s Story, tells the turbulent, tragic tale of a middle-aged homeless alcoholic struggling to survive on the streets of Dublin as she begs from passers-by on Ha’penny Bridge.
Performed by Fíonna Hewitt-Twamley, this show will benefit Restore, the York charity that provides accommodation and support to those who would otherwise be homeless. The charity will be on hand to collect donations. Box office: atgtickets.com/york.
Queenz: On song in Drag Me To The Disco at the Grand Opera House, York
Drag show of the week: Queenz, Drag Me To The Disco, Grand Opera House, York, March 5, 7.30pm
JOIN the gals for “an electrifying, live vocal, drag-stravaganza, where Dancing Queenz and Disco Dreams collide for the party of a lifetime”, created and produced by David Griego. Flying their rainbow-coloured flag high in the sky, Bella Du-Ball, Dior Montay, Candy Caned, Billie Eyelash and ZeZe Van Cartier serve up sass, singalongs and a message of love, equality and acceptance.
Craig Colley, alias Billie Eyelash, says: “Drag queens really do come in all shapes and sizes, but if you want to see some hilarious, stupidly talented, beautiful and of course humble ones, Queenz really is the show for you.” Age guidance: 14 plus. Box office: atgtickets.com/york.
Gorka Marquez and Karen Hauer: On Speakeasy terms at York Barbican
Dance spectacular of the week: Karen Hauer and Gorka Marquez, Speakeasy, York Barbican, March 6, 7.30pm
STRICTLY Come Dancing professionals Karen Hauer and Gorka Marquez follow up Firedance with new show Speakeasy on their biggest tour so far. Expect exhilarating live music and breathtaking choreography as they unlock the door to an undercover world of elegance and iconic dance flavours.
From the clandestine New York Speakeasy to the sultry Havana dance floors and from the burlesque cabaret clubs of the mid-1900s to the glittering mirror balls of Studio 54, this “delicious dance experience” serves up Mamba, Salsa, Charleston, Foxtrot and Samba moves. Box office: yorkbarbican.co.uk.Also taking to the Yorkshire dance floor at Hull City Hall, March 5; Sheffield City Hall, March 9, and Bradford St George’s Hall, March 15.
In Focus: York Late Music presents Trifarious: Roger Marsh At 75, today, 1pm; Elysian Singers, Arvo PärtAt 90, today, 7.30pm, both at Unitarian Chapel, St Saviourgate, York
Trifarious: Marking Roger Marsh At 75 with this afternoon’s concert
YORK Late Music celebrates the music of Roger Marsh, a major contributor to the music and academic life during his time as Professor of Music at the University of York (1989 – 2019).
The programme includes works by Luciano Berio and Toru Takemitsu, who both have had a strong influence on his music, alongside pieces by two of his former students, Tom Armstrong and David Power.
Roger is coming over from France to hear this Roger Marsh At 75 concert.
Programme: Roger Marsh: Ferry Music; Tom Armstrong: The Chief Inspector Of Holes; David Power: Six De Chirico Miniatures – first performance; Toru Takemitsu: A Bird Came Down The Walk; Luciano Berio: Wasserklavier; Luciano Berio: Erdenklavier, and Roger Marsh: Easy Steps.
Here are Roger’s programme notes for the two works:
Ferry Music (1988) – for clarinet, piano and cello. This trio is composed around material originally invented for a music theatre piece Love On The Rocks – a piece concerning the mythical Charon, who poled the dead across the river into Hades.
The piece is in five short movements, and the ferry takes approximately eight minutes to complete the crossing. For today’s performance the cello part has been rewritten for viola by Tom Armstrong.
Easy Steps (1987) – for solo piano. The title Easy Steps may be misleading. For the performer there is nothing easy aboutthis piece, some passages requiring a level of virtuosity which the Associated Board mayfind difficult to quantify.
Rather the title has to do with the structure of the piece –alternating sections, horizontally then vertically conceived, increasing in complexity byeasy steps.
Elysian Singers: Celebrating Arvo Pärt At 90 tonight. Picture: Linda Dawson
Elysian Singers: Arvo Pärt At 90
AS the great Estonian composer Arvo Pärt turns 90 this year, the Elysian Singers celebrate his enormous contribution to choral music over the last half century. York Late Music includes two of his most substantial unaccompanied pieces, alongside works by Baltic and American composers who were influenced by him.
Programme: Arvo Pärt: Nunc Dimittis; Ola Gjeilo: Ubi Caritas; Eriks Esenvalds: The Heavens’ Flock; Morten Lauridsen: Madrigali; Eric Whitacre: When David Heard; David Lancaster: Of Trumpets And Angels – first performance, and Arvo Pärt: Seven Magnificat Antiphons
Here is David Lancaster’s programme note for Of Trumpets And Angels:
THIS new is a setting of John Donne’s Holy Sonnett XIII (What if this present were the world’s last night). This text contemplates the possibility of the current moment being the end of the world – something we may have all considered in recent days!
With this in mind, he focuses on the image of Christ crucified, questioning whether or not he should be afraid. He observes Christ’s tears and the blood from his wounds, wondering if such a compassionate figure could ever condemn him to damnation.
In the sestet, Donne seeks to atone for his earlier sins, in particular his love for ‘profane mistresses’, recognising the fallacy of making judgements based on outward appearance alone, and concluding that a beautiful appearance (like that of Christ) is indicative of a compassionate and merciful mindset.
Levellers: Heading to York Barbican in acoustic mode
LEVELLERS play York Barbican on March 9 as the only Yorkshire gig of their 17-date Levellers Collective acoustic tour with a ten-piece line-up.
To coincide with their March travels, the Brighton folk rock and anarcho-punk band will release a new album and DVD, Levellers Collective/Live, via On The Fiddle Recordings on March 7, recorded at London’s Hackney Empire on May 24 2023.
The film captures the spirit of the Levellers “as never seen before”, with 25 cameras being positioned on stage and around the venue to show the musicians close up as they weave a magical musical landscape for the songs, when the regular line-up was complemented by strings, percussion and vocal harmonies from additional members Hannah Moule (cello, vocals), Oli Moule (percussion) and Rae Husbandes (acoustic guitar, dobro, tin whistle, percussion, vocals).
Levellers lead singer Mark Chadwick says: “Previously when we’ve done acoustic shows, it’s just been us, with our own unique timings, but working with other musicians in particular, it’s like ‘OK, you can’t mess up’. So we don’t, we really concentrate.”
Bass player Jeremy “Jez” Cunningham adds: “As a band, we’re particularly pleased to make an acoustic show which is totally different to our electric show. It allows us to flex our musical muscles with stuff that’s really hard to play but really rewarding at the same time. The ying to our electric yang!”
The artwork for the Levellers Collective/Live album and DVD, set for release on March 7
Levellers had been contemplating an acoustic Collective project “for years”, he says. “But we hadn’t really found a way into it, until we thought about using the string section from the Moulettes, who we’ve known for years.
“After playing big-band shows with them, that gave us the idea of doing songs this way. The stripped-back thing has been done to death, but as soon as we found a way to rearrange the songs, we felt it would be re-enlightening for us, as well as for fans.
“We went into the studio with John Leckie and the Moulettes, taking songs back to the vocal line and maybe a drum beat and thinking about ‘what makes this song this song?’.
“The guys from the Moulettes came up with some left-field ideas as they’re not emotionally connected to the songs the way we are, and they’re really good singers too. John Leckie had ideas too, and as soon as we’d done the first one, it was…not easy, but less difficult, to do the rest.”
2018’s We The Collective album, recorded with Leckie, was followed by Together All The Way, recorded with Sean Lakeman in 2023.
Jeremy recalls the experience of re-working the songs as “quite intense”. “Because people are so attached to those songs, not everyone welcomed it at first, but we wanted to test ourselves. It involves going back to a song’s most basic meaning, in the lyrics and the biggest musical part, mostly from the vocal and the songs always have a big hook too.
Levellers: On the road from March 6 to promote Levellers Collective/Live album and DVD
“It can be a different instrument leading the new arrangement, and if a song is strong enough, you can pull it in different directions that stand up against the original. That’s why we chose our heavier songs, so that they would now sound different.”
Jeremy, like Mark, has been part of Levellers since the beginning in 1988. “I remember it all very clearly,” he says. “I met Mark because I was trying to chat up his girlfriend, Jon’s sister [Jon Sevink, now Levellers’ fiddle player]! I wasn’t really getting anywhere! I saw Jeremy arriving, really good looking with a guitar in his hand as he’d just been out busking.
“We got talking and we talked about how we were disillusioned with the Brighton music scene. I said ‘I write tunes’; he said ‘I write tunes’! I knew Charlie [Heather], the drummer, who knew Jon, the fiddle player.”
A band was born, with that quartet at the core to this day. “I think we’re quite easy-going people for a start, and straightaway we said, ‘if we ever make it to any degree, everyone will get paid the same – and that’s what we still do. We only argue over creative decisions.
“I think, as well, that we’re aware we need each other to make the noise we make, with that noise we make being bigger than the sum of its parts.”
“People embrace our lyrics and relate to them, and then the music is great to jump up and down to,” says Levellers bassist Jeremy Cunningham. Picture: Jason Bell
In keeping with bands such as The Pogues and The Alarm, the chemistry between band and audience takes Levellers’ songs to greater heights. “I think the connection is made through the lyrics,” says Jeremy. “People embrace them and relate to them, and then the music is great to jump up and down to –and that’s a deliberate way of doing it for us.
“That’s where you can make the comparison with The Pogues. Shane MacGowan was a great lyricist and audiences bounced around to them even when the lyrics were serious. These are the songs that people feel attached to.”
After throwing ideas around by email and rehearsing at Beautiful Days, outside Exeter, for a week, Levellers will take to the road from March 6 to 25 (tickets from myticket.co.uk and levellers.co.uk).
Jeremy can’t wait for March 9 at York Barbican. “The last time we were in York was in 2023. I really like the Barbican and I really like York,” he says. “I love the history and you can’t beat the Jorvik Viking Centre. I’ve walked the City Walls a couple of times too.”
Levellers Collective: 2025 Acoustic Tour, York Barbican, March 9, doors, 6.30pm. Box office: yorkbarbican.co.uk.
English Touring Opera rehearsing a scene from Bellini’s Italian opera The Capulets And The Montagues. Picture: Craig Fuller
ENGLISH Touring Opera return to York Theatre Royal today and tomorrow with two exciting new Shakespeare-themed productions.
What Dreams May Come makes its debut in the Studio tonight at 7.45pm and tomorrow at 2.30pm before Bellini’s The Capulets And The Montagues is performed for only night only in the main house tomorrow at 7.30pm, preceded by a pre-show talk at 6.30pm. Both operas will be performed in their original language with English surtitles.
What Dreams May Come is a new studio piece that draws on hundreds of years of music inspired by and adapted from Shakespeare’s plays and poetry to depict the joys and sorrows of a long life, well lived.
Mixing puppetry with music by composers including Purcell, Finzi, Amy Beach and Britten, performed by a chamber ensemble, this 80-minute production explores the timeless appeal of Shakespeare’s words and characters for composers and audiences throughout history.
Singers include soprano Alys Mererid Roberts, mezzo-soprano Emily Hodkinson, tenor Tamsanqa Tylor Lemani and baritone Samuel Pantcheff.
Samuel Pantcheff, Tamsanqa Tylor Lemani, Alys Mererid Roberts and Emily Hodkinson in the rehearsal room for What Dreams May Come. Picture: Craig Fuller
The piece is devised and directed by Valentina Ceschi, whose past work for English Touring Opera (ETO) includes the 2023 production of Rossini’s Il Viaggio a Reims, children’s opera The Great Stink and the film for families The Firebird. Erika Gundesen conducts from the piano.
The Capulets And The Montagues, Bellini’s gritty re-working of Romeo And Juliet, remains a fresh, vital take on a well-loved story, bringing the warring families’ emotional and political struggle to life with devastating power. Remarkably, the work was composed by Bellini in only six weeks.
Soprano Jessica Cale, a First Prize winner of the Kathleen Ferrier Awards and audience prize winner at the London Handel Festival International Singing Competition, sings the role of Giulietta.
She plays opposite mezzo-soprano Samantha Price, a regular performer with the Royal Opera and English National Opera, as Romeo.
Brenton Spiteri, who last performed with ETO in Manon Lescaut and The Rake’s Progress last spring, stars as Tebaldo, with Timothy Nelson as Capello and Masimba Ushe as Lorenzo.
The poster for English Touring Opera’s The Capulets And The Montagues
Eloise Lally, who directed ETO’s 2023 production of Lucrezia Borgia, is the director, while conductor, pianist and Le Balcon founder member Alphonse Cemin conducts in his debut season with ETO.
ETO director Robin Norton-Hale says: “This spring ETO celebrates the enduring power and relevance of the works of William Shakespeare with a season featuring one of the landmark operas of the 19th century alongside new works that draw inspiration from his themes and characters to create something entirely fresh and original.
“Bellini’s The Capulets And The Montagues puts a new spin on one of Shakespeare’s best-loved stories and is a classic of bel canto repertoire, with a dramatic contrast of sumptuous music and destructive violence.
“What Dreams May Come combines puppetry and song in an intimate exploration of life, love and death, set to new orchestrations of music inspired by the works of Shakespeare. It is a season that will showcase the best of ETO: wonderful storytelling and exceptional musicality.”
English Touring Opera rehearsing What Dreams May Come, a new production featuring depictions of grief, death and palliative care. Picture Craig Fuller
What Dreams May Come
Soprano – Alys Mererid Roberts Mezzo-soprano – Emily Hodkinson Tenor – Tamsanqa Tylor Lemani Baritone – Samuel Pantcheff
Director – Valentina Ceschi Conductor/piano – Erika Gundesen Puppetry designer – Matt Hutchinson
English Touring Opera cast members in rehearsal for The Capulets And The Montagues. Picture: Craig Fuller
The Capulets And The Montagues
Giulietta – Jessica Cale Romeo – Samantha Price Tebaldo – Brenton Spiteri Capello – Timothy Nelson Lorenzo – Masimba Ushe Ensemble – Daniel Gray Bell Ensemble – Harry Grigg Ensemble – Tamsanqa Tylor Lemani Ensemble – Samuel Pantcheff Ensemble – John Ieuan Jones Ensemble – Wonsick Oh
Director – Eloise Lally Conductor – Alphonse Cemin Designer – Lily Arnold Lighting Designer – Peter Harrison Répétiteur – Nicholas Bosworth Fight Director – Kaitlin Howard Movement Director – Carmine De Amicis
English Touring Opera’s poster for What Dreams May Come
English Touring Opera: the back story
TOURED live productions and education and community projects to more towns and cities than any other UK opera company since 1979
At the heart of the company ethos is “making exceptional artistic experiences available and accessible to everyone”.
ETO reaches 40,000 people per year with full theatre-based productions, specially commissioned operas for infants, children, families and young people with special educational needs, a series of creative workshops for people living with dementia and their carers, opera-making workshops in secondary schools, and song writing workshops in Alternative Provision settings designed to benefit young people’s mental health.
English Touring Opera complete climate change trilogy with The Vanishing Forest on March 2 return to Acomb Explore Library
English Touring Opera in rehearsal for The Vanishing Forest, part three of a climate change trilogy of new operas. Picture: Julian Guidera
SOMETHING magical this way comes for families at Acomb Explore Library, Front Street, Acomb, York, on Sunday (2/3/2025).
English Touring Opera present their family-friendly production of The Vanishing Forest, an enchanting adventure that blends Shakespeare, music and an environmental message.
“If you remember the mischievous Puck from A Midsummer Night’s Dream, you’re in for a treat,” promise ETO. “This brand-new opera picks up after the events of Shakespeare’s comedy, and things aren’t looking too good in the forest. The trees are being chopped down, and with them, the magic of the land is fading away. Puck knows it’s time to act – but he can’t do it alone!”
Enter Cassie and Mylas, the children of Duke Theseus and Queen Hippolyta, who team up with Puck to save the forest before it is too late. Along the way, expect songs, puppetry, spells, mystical flowers and a story that will entertain and inspire young audiences while tackling the pressing issue of deforestation.
This musical adventure is the third and final instalment in English Touring Opera’s climate change trilogy, following The Wish Gatherer, winner of the Best Opera prize at the 2024 YAMAwards, and The Great Stink.
English Touring Opera’s poster for The Vanishing Forest
Written by Jonathan Ainscough, composed by Michael Betteridge and directed by Victoria Briggs, The Vanishing Forest is ideal for children aged seven to 11, the performance being designed to make opera accessible, fun and absorbing for younger audiences.
“Whether you’re a Shakespeare buff or completely new to the world of opera, this show is a wonderful way to introduce children to the magic of storytelling through music,” say ETO.
“So, if you’re looking for a magical way to spend a Sunday morning with the family, why not step into The Vanishing Forest? Expect laughter, adventure and some Shakespearean sparkle – just what everyone needs!”
“Previous performances by English Touring Opera at Acomb Explore have really wowed audiences and given children their first experience of professional opera in a very approachable and accessible way,” says Explore York executive assistant Gillian Holmes. “The latest performance is coming up very soon and there are still a few tickets left!”
English Touring Opera in The Vanishing Forest, Acomb Explore Library, Front Street, Acomb, York, March 2, 11am. Tickets: tickettailor.com/events/exploreyorklibrariesandarchives/1516069.
EXPLORE York Libraries and Archives is committed to making the arts accessible to all, so if the ticket price is a barrier, don’t worry. Free places are available: pop into your local library or email acomb@exploreyork.org.uk to find out more.
Ukrainian Opera and Ballet Theatre Kyiv in Ellen Kent’s production of La Boheme for Opera International
OPERA International director Ellen Kent returns to the Grand Opera House, York, tomorrow and on Saturday to present the Ukrainian Opera & Ballet Theatre Kyiv in Puccini’s La Boheme and Madama Butterfly.
As ever, the insurgence of President Putin’s Russian forces into Ukraine – now past its third anniversary – has presented Ellen with logistical challenges to bring the Kyiv singers and musicians from Eastern Europe to British shores, but emotional challenges too.
“Last year, the wife of Vasily, the orchestra director, was killed in their flat by one of Putin’s bombs” she says. “Vasily had gone shopping with his daughter and they came back to find her dead. He only recognised her in the rubble by her hair.
“He said: ‘I promise I will come on tour, but please let me bury my wife first’. Can you imagine what these people are having to go through? And yet he still came on tour.
“They are such proud people, and I almost feel Ukrainian myself, having worked with them since 2001, when I started with Odessa Opera. How can Trump and Putin meet without Volodymyr Zelensky? It’s completely undemocratic. Why are we so frightened of America? Because they are so powerful? If they leave Zelensky out of discussions, how outrageous is that?” [Editor’s note: Ellen was speaking on February 20.]
Every performance on tour climaxes with a show of support for Ukraine. “We bring out the Ukrainian flag and a great big banner at the end, when we sing the Ukrainian national anthem accompanied by the whole orchestra,” says Ellen.
A scene from Ellen Kent’s Opera International production of La Boheme, featuring the Ukrainian Opera and Ballet Theatre Kyiv, on tour at the Grand Opera House, York
“All the audience rise to their feet without being prompted. It’s very emotional and a wonderful end to the opera. It’s a very, very moving experience and the audience love it, as it adds an extra level to the performance – and I’ve never had so many nice letters.
“We are the only company touring over here from Ukraine, which is significant, just as it was in 2001, but it’s even more so now. I’ve even received medals in Ukraine as the first person to bring Ukrainian performers into the UK.”
Aside from 2020-2021, when Covid intervened, Ellen has continued to tour Ukrainian productions for more than two decades. “But this tour is probably the most difficult of my life – it’s been a bl**dy nightmare,” says the veteran director, who will turn 76 in April.
“We bring them, through the war, out of Ukraine into Moldova on buses, to stay in Air B&Bs and hotels for a month of rehearsals in November and December, and then they return to Ukraine till the end of January, when they come across the border to Krakow, from where we fly them over here.”
Ellen continues: “We’ve faced challenges every single day. Serious problems. We get the necessary permission to bring the men on tour, but any man aged over 25 has to fight in the war; any man under 25 doesn’t, but there are exceptions, like if they are working for the big opera houses, they are exempt over 25 too.
“It’s a right palava as it has to go through the Minister of Culture to get permission, but the thing that makes me nervous is that we heard there were gangs going round in vans, kidnapping men to round them up to fight, and I was terrified that would happen to our men.
Opera director Ellen Kent
“It’s been very stressful, with changes of rules all the time, with a change of Minister of Culture, and we’ve had to deal with the Minister of Defence too.”
Ellen and Opera International have faced these difficulties for three years. “We know the process, but it’s beset with problems, and the new Minister of Culture is from the military. It’s got more and more military, which is inevitable.”
There has been a resulting impact on the Opera International tours. “Sometimes my orchestra could be bigger and I have to use a lot of young men because of the situation,” says Ellen. We’re getting younger and younger musicians now, perhaps a little younger than we would normally have.”
Nevertheless, Opera International resolutely keeps on touring, with three productions this time, Verdi’s La Traviata completing the line-up, with international soloists aplenty: Korean soprano Elena Dee, Ukrainian soprano Viktoria Melnyk, Ukrainian mezzo-soprano Yelyzaveta Bielous, Georgian tenor Davit Sumbadze and Armenian tenor Hovhannes Andreasyan.
“I’ll be coming up for the York performances, to remind me of my days when I was a young actor, performing at York Theatre Royal in the days of Richard Digby Day [artistic director from 1971 to 1976],” says Ellen. “Happy days!”
Senbla and Opera International present Ukrainian Opera and Ballet Theatre Kyiv in La Boheme, tomorrow, 7.30pm, and Madama Butterfly, Saturday, 7.30pm; both sung in Italian with English surtitles (CORRECT). Box office: atgtickets.com/york.
Director Joanne Lister in rehearsal for Art with 1812 Theatre Company cast members Ivan Limon and Mike Martin. Picture: Paddy Chambers
WHEN art meets theatre, a hit play leads off Charles Hutchinson’s picks for a week where prompt booking is advised for a host of here today, gone tomorrow events.
Ryedale theatre show of the week: 1812 Theatre Company in Art, Helmsley Arts Centre, tonight to Saturday, 7.30pm
JOANNE Lister is not only making her 1812 Theatre Company directorial debut but also, in the late absence of her husband John Lister, she will take over the role of Marc with script in hand in Yasmina Reza’s 1994 French comedy, Art.
Translated by Christopher Hampton, the play asks: can a friendship between three close friends – Marc, Serge (Ivan Limon) and Yvan (Mike Martin) – survive when one of them does something completely unexpected? Box office: 01439 771700 or helmsleyarts.co.uk.
Leeds poet Antony Dunn
Poetry event of the week: Rise Up!, A Celebration of Poetry and the Spoken Word, Rise @Bluebird Bakery, Acomb Road, Acomb, York tonight, doors 7.30pm; performance 8.30pm to 10pm
LEEDS writer and People Powered Press poet-in-residence Antony Dunn, Yorkshire-born poet, mezzo-soprano and theatre-maker Lisa J Coates and York St John University Fine Art coarse leader and poet Nathan Walker take part in Rise Up!.
Hosted by Bluebird Bakery boss and poet Nicky Kippax and Elizabeth Chadwick Pywell, the evening has three open-mic slots too. The next Rise Up! bill on April 30 will feature poets Rachel Long, Ioney Smallhorne and Minal Sukumar. Tickets update: last few left at eventbrite.co.uk.
Something wicked but educative this way comes: Dickens Theatre Company in Macbeth at Grand Opera House, York
GCSE study aid of the week: Dickens Theatre Company, Revision On Tour: Macbeth, Grand Opera House, York, today, 1pm with post-show Q&A
THE infamous Porter acts as narrator for an ensemble of six actors to create a cauldron of characters as Macbeth and Lady Macbeth make their perilous descent towards Hell in Shakespeare’s bloodiest tragedy, adapted and directed by Ryan Philpott, with music by Paul Higgs.
Set against a back-drop of wars, witchery and treasonous plotting, Dickens Theatre Company aim to “entertain and educate to the bitter end” while highlighting how “the Scottish play” remains ominously relevant in the 21st century. Box office: atgtickets.com/york.
Dickens Theatre Company in Dr Jekyll & Mr Hyde, playing the Grand Opera House, York
The other GCSE study aid of the week: Dickens Theatre Company, Revision On Tour: Dr Jekyll & Mr Hyde, Grand Opera House, York, tonight, 7pm
WITHIN the thick Fitzrovia fog and dimly lamp-lit streets lurks an evil predator. When Gabriel Utterson learns of the mysterious Mr Hyde, he commits his lawyer’s logic to the proceedings. Believing Hyde to be blackmailing Jekyll, he vows to bring Hyde to task to solve the mystery.
As with Macbeth, Dickens Theatre Company’s cast of six takes on an exciting, educational new stage adaptation of Robert Louis Stevenson’s Victorian gothic masterpiece, adapted and directed by Ryan Philpott. Box office: atgtickets.com/york.
Unpacking Nina Simone: Florence Odumosu in Black Is The Color Of My Voice at York Theatre Royal. Picture: Steve Ullathorne
Biographical drama of the week: Black Is The Color Of My Voice, York Theatre Royal, tonight, 7.30pm
WRITTEN and directed by Apphia Campbell, Black Is The Color Of My Voice is inspired by the life of Nina Simone in an evening of storytelling and performances of her most iconic songs by Florence Odumosu.
Campbell’s 70-minute play follows the North Carolina singer and activist as she seeks redemption after the untimely death of her father. She reflects on her journey from piano prodigy destined for a life in the church to jazz vocalist at the forefront of the civil rights movement. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Big Wolf Band: Ryedale Blues Club’s blues rock act in Malton tomorrow
Blues rock gig of the week: Ryedale Blues Club presents Big Wolf Band, Milton Rooms, Malton, tomorrow, 8pm
BIG Wolf Band, a formidable blues rock powerhouse formed in Birmingham in 2014 by guitarist, vocalist and songwriter Jonathan Earp and bassist Mick Jeynes, now perform with Tim Jones on drums, Justin Johnson on guitar, and Robin Fox on keys. They made the Top Five Best Blues Bands in the UK list at the UK Blues Awards in 2023 and 2024. Box office: 01653 696240 or themiltonrooms.com.
English Touring Opera in rehearsal for The Vanishing Forest, bound for Acomb Explore Library. Picture: Julian Guidera
Climate change drama of the week: English Touring Opera in The Vanishing Forest, Acomb Explore Library, Front Street, Acomb, York, Sunday, 11am
ENGLISH Touring Opera present an enchanting adventure for seven to 11-year-olds that blends Shakespeare, music and an environmental message.
Jonathan Ainscough and Michael Betteridge’s new opera picks up the threads of A Midsummer Night’s Dream as Cassie and Mylas, Duke Theseus and Queen Hippolyta’s children, team up with Puck to save the forest before it is too late. Expect songs, puppetry, spells, mystical flowers and a story to entertain and inspire while tackling the pressing issue of deforestation. Tickets update: last few available at tickettailor.com.
Diversity: Pouring Soul into their dancing at York Barbican in April 2026
Show announcement of the week: Diversity present Soul, York Barbican, April 20 and 21 2026
BRITAIN’S Got Talent’s 2009 winners, Ashley Banjo’s Southend dance ensemble Diversity, will base next year’s tour around the technological advancements of artificial intelligence, asking what the future holds and what it means to be human within the digital age.
“The future is now,” says Banjo. “Humans have become plugged in and completely connected to a world full of artificial intelligence – a world in which it is hard to distinguish reality from fiction. AI has become so advanced it’s considered a life form of its very own. Is this the next stage in our evolution? What exactly have we created? What makes us human?” His answer: “Soul.” Box office: yorkbarbican.co.uk.
Kieran Whiteat the keyboard, his sublime skills to be heard at events, restaurants, weddings, clubs, pubs, street corners, theatres, cinemas, care homes, wherever, whenever
YORK composer, pianist, busker, teacher, university tutor and Buster Keaton aficionado Kieran White has died suddenly.
His wife Kate posted on Facebook last Thursday “I am writing with the sad news that my beautiful husband Kieran died last night [19/2/2025] after a sudden heart attack on Monday and a few days in the ICU [Intensive Care Unit] at York Hospital.
“He was the love of my life and he will be greatly missed. He was a sweet, loving, funny, clever and talented man. Please leave your thoughts and wishes here.”
In response, so far, more than 200 tributes have poured into Facebook from fellow musicians, former piano pupils and friends, one recalling how Kieran would wheel his piano to his favourite busking spot, outside St Michael le Belfrey, even in the snow, that spot being on York’s windiest corner to boot.
York singer, event promoter and public speaker Big Ian Donaghy has posted two videos, one taken at a care home for dementia patients, where a curve-ball request for Kieran to play Queen’s Bohemian Rhapsody had Kieran mopping his brow, exhaling , then saying “Go on then, let’s have a go…what could possibly go wrong?!”. He duly tamed that wild rock opera behemoth off the cuff.
“Kieran had a gentle way and a rare empathy with folks living with dementia,” wrote Big Ian, whose second video showed Kieran and a man who had played piano all his life until the onset of dementia seated side by side, responding to each other’s handiwork.
Kieran had featured too in Donaghy’s story A Fish Out Of Water in his book A Pocketful Of Kindness, charting the day Kieran coaxed a former GP and school concert pianist, now 80 and sitting frostily at a distance in a care home, into joining him on the stool. You will find the full chapter on a Donaghy Facebook post.
“He is Quirky with a capital Q but with a heart of gold,” wrote Donaghy on Page 185. “In a world of horses for courses, many don’t fit him. Social situations…he can just get up and wander off. He is more gas or liquid than a solid. He sees life differently…
Kieran White, in 2020, holding a copy of Ian Donaghy’s book A Pocketful Of Kindness, open at the chapter entitled A Fish Out Of Water that charted Kieran’s nursing-home encounter with a former school concert pianist
“But behind all the quirks and eccentricities is a phenomenal musician with a kind heart,” Donaghy continued. “Kieran started calling for people to call out their favourite songs as he took on the role of dexterous jukebox. There was nothing he couldn’t play. Even if he had never heard something before.
“He would ask, ‘Sing it to me’, and within a few seconds he could play it. If he can hear it, he can play it. A mixture of a natural gift and hours of toil with the lid up.”
Fellow York composer Steve Crowther, administrator of York Late Music, has posted: “I have known Kieran for 30+ years. He was a genuinely remarkable musician and composer. And he possessed very little ego, a rare quality these days.
“I remember bumping into him in the city centre. We chatted about stuff. He was working on some silent movie project. Related to that, I think, was the idea of a fugue, which he then went on to improvise. Who the hell improvises a fugue? ‘Something like this…’ off he went, ‘no that’s not right…like this.”
Steve continued: “It was a bl**dy remarkable experience. The result was like Bach via Blues on speed. He was a constant: busking, singing & performing in pubs, always good for a catch-up and chat. But not any more. I will miss him.”
Originally from Colchester, Essex, where Kieran attended Colchester Royal Grammar School, he studied at the University of York. He would go on to busk prodigiously in the city, play solo in pubs, restaurants and care homes, and with bands too, as well as accompanying theatrical productions and being a piano teacher and tutor at York St John University.
Ultra-bright, knowledgeable, unconventional and witty, he was a dab hand at chess too, as well as displaying his trademark ability to play anything on the keys by ear.
On February 11, he had posted on Facebook of his health “deteriorating rapidly in the last year”, leading to Kieran “giving up playing piano as a result of ‘Trigger thumb’ and uncontrollable hand shaking”. Tests had revealed those tests were “purely down to stress. Thank God,” he wrote, but he revealed he had not been able to play, compose or even teach for almost a year and a half.
Kieran’s post went on to quote in full his interview with CharlesHutchPress, published on January 23 2020 under the headline “Pianist Kieran White to ‘break the silents’ at Helmsley Arts Centre screening of Buster Keaton’s Steamboat Bill, Jr”.
Kieran White, pencil illustration by Ian Donaghy, from A Pocketful Of Kindness, 2020
Here it is again, to add CharlesHutchPress’s voice to myriad recollections of Kieran’s talent for conjuring magic from the ivories.
ACCOMPANIED by Kieran White’s expressive, playful, gag-driven piano score, the Stoneface silent classic Steamboat Bill, Jr, will be shown “as it was originally intended to be seen in an authentic re-creation of the early cinema experience in the picture houses of the 1920s”.
Let Kieran make his case for why someone would want to see a black-and white, silent 1928 Buster Keaton film in 2020, the age of endless reheated Disney classics and myriad Marvel movies.
“We live in an instant world. A world governed by consumerism and technology. What we want, we can get just by clicking a mouse. We have forgotten how to slow down. How to breathe,” he says.
“But Buster takes us back to a time when time itself was a different thing entirely. A time when moments were savoured, rather than squandered.”
From past experience of his Breaking The Silents shows, White anticipates a largely middle-aged and older audience, but he believes Keaton’s comedic elan should appeal to “anyone with a love of history, a nostalgia for days of yore and an unfettered imagination”.
“Breaking The Silents offers a wonderful evening for all the family,” he says. “A lot of belly laughs. An appreciation of Buster’s incredible athleticism and craftmanship but, most of all, a reawakening of that state of wonderment that children have but never know they have.”
The relentless pace of Keaton’s comedy on screen leaves no gap, no rest, no breath, in White’s score, but still he finds room for quickfire references to the Steptoe And Son theme music, Porridge and The Barber Of Seville.
“The joy of Steamboat Bill, Jr is the raw energy,” says Kieran. “You know that if the stunts went wrong there would be no take two.”
White’s piano has accompanied screenings of Keaton’s 1927 film The General at locations as diverse as Helmsley Arts Centre, the Yorkshire Museum of Farming at Murton Park and City Screen, Fairfax House and the Joseph Rowntree Theatre in York.
Last September [2019], he presented a Breaking The Silents double bill of The General in the afternoon and Steamboat Bill, Jr in the evening at the JoRo. White’s labours of love had necessitated 11 days of writing for The General, a little longer for Steamboat Bill, Jr, drawing on his love of both Keaton’s comic craft and the piano.
“I was very inspired by my grandfather,” he says, explaining why piano was his instrument of choice. “He was a superb pianist and made the most complex music sound effortless.
“Ever since a very early age, I’ve been fascinated by puzzles too, particularly chess. Watching Pop play was like sitting inside a gigantic engine, seeing gears mesh, listening to the sound of tiny hammers. Music chose me!”
Where next might Breaking The Silents venture? “I think what I do is unique. Ultimately, I’d love to perform all over the world,” says Kieran.
In the meantime, here is a recommendation from York filmmaker Mark Herman, director of Brassed Off and Little Voice, to head to Helmsley Arts Centre on February 1 for the Keaton and White double act.
“Kieran White’s score and his live accompaniment raises an already almost perfect film to fresh heights,” he said after seeing The General. “It’s a shame that Buster Keaton never knew that his flawless performance could actually be enhanced.”
The arrangements for Kieran White’s funeral are yet to be announced.
