[hanse] Pfeyfferey: York Early Music Festival 2026 artists in residence. Picture: Vasilisa Gorbacheva
YORK Early Music Festival is to mark its 50th year in July with a spectacular new commission, the majestic York Fanfare, Flourish At 50, to be played several times during the opening weekend.
To create the fanfare, the festival joined forces with West Yorkshire composer Sam Meredith and the all-female German ensemble [hanse] Pfeyffery – it translate as [town] pipes – to create this magnificent piece of music.
Wakefield- born composer and multi-instrumentalist Meredith, who now lives in London, was a finalist in the 2023 NCEM Young Composers Award.
He was chosen from a strong line up of applicants, all alumni from the composers award, to be this year’s Commission Composer for the York Early Music Festival.
“We put out a call to all 100 of our award alumni, inviting bids from these composers,” says festival director Delma Tomlin. “[hanse] Pfeyffery then had conversations with selected composers and settled on Sam.”
Last year, Meredith completed his MA in Opera-Making and Writing at the Guildhall School of Music and Drama. His work has been performed at the Barbican, London, and the annual Bauhaus Festival, London, under the tutelage of John Harle, who has commissioned him to write pieces for big band, large ensemble and most recently a duet for saxophone and piano.
Meredith has sung and toured with the Idrisi Ensemble and was proud to appear in the choir for Alan Bennett’s 2025 film The Choral, filmed in Saltaire, West Yorkshire, directed by Nicholas Hytner.
The Yorkshire Fanfare will be performed by this year’s festival artists in residence, [hanse] Pfeyffery, a Renaissance wind band that specialises in improvised and rediscovered music from around 1500 played on shawms, cornetto, dulcian, slide trumpet and trombone.
The ensemble of Hannah Geisel, shawm, Lilli Pätzold, cornett, and Alexandra Mikheeva, slide trumpet and trombone, were finalists in the 2024 York International Young Artists Competition when they won the Cambridge Early Music Prize.
Composer Sam Meredith
The York Fanfare will open this year’s festival on Friday, July 3, played on the grass outside the Sir Jack Lyons Concert Hall, University of York, at 6.20pm before the opening concert by I Fagiolini, and then be performed outside the West Door of York Minster before The Sixteen’s concert on Saturday, July 4 at 6.45pm, 7pm and 7.15pm.
The last chance to catch [hanse] Pfeyffery playing the fanfare will come on BBC Radio 3’s The Early Music Show, broadcast live from the NCEM, St Margaret’s Church, Walmgate, on Sunday, July 5 at 5pm.
[hanse] Pfeyffery also will perform Serenade for Isabella: The Casanatense Chansonnier at the York Early Music Friends Coffee Concert, a morning of music, conversation and coffee at the NCEM on July 4 from 10.30am to 11.30am.
Hosted by the Friends and open to everyone, the concert features works from the Casanatense Chansonnier, written as a wedding gift for Isabella d’Este in Ferrara in 1492, but also serving as a repertoire book for her piffari, or court wind-players.
[hanse] Pfeyffery will perform works from the Chansonnier based on vocal originals by Dufay, Agricola and Josquin, alongside instrumentally conceived pieces from Southern Germany, reflecting the powerful cultural exchanges that occurred at the Italian courts, creating a new secular repertory that would become widely popular across Europe.
York Fanfare composer Sam Meredith says: “In this piece, I wanted to emulate the rousing and awe-inducing nature of a traditional fanfare, while also creating a sense of playfulness, joy and celebration, more in the spirit of folk and dance music.
“The often syncopated landscape that emerged, first during the compositional process and then through working with [hanse] Pfeyfferey, is hopefully an exciting and an energetic tribute to the National Centre for Early Music, who commissioned this fanfare to introduce the 50th Early Music Festival in York.”
Dr Christopher Fox, who has been involved in selecting and mentoring the young composers for the NCEM Award since 2011, says: “Every year I am amazed at the imagination and skill of the composers who create music for the award scheme. The workshop day, at which eight young composers develop their work with a professional ensemble, is always very exciting.
“It’s also been a delight to see so many of the NCEM composers, such as Sam Meredith, go on to make a name for themselves. The NCEM alumni are a fantastic bank of compositional talent.”
For the full festival programme and tickets, visit ncem.co.uk/whats-on/yemf.
YORK Barbican’s orchestra-in-residence ended its season with a mixed bag centred around Bruch’s First Violin Concerto – by far the most famous of the three he wrote – alongside two overtures from opposite ends of the Romantic era, plus Britten’s Sea Interludes and Ravel’s La Valse.
It was all very tastefully delivered but lacked the final punch that a meatier second half – with a symphony perhaps – might have produced.
Bradley Creswick made his name hereabouts as leader for 25 years of the Royal Northern Sinfonia, of which he is now Leader Emeritus. He lollops onto the stage with a mischievous smile that radiates both surprise and delight, but his casual demeanour belies a fluent technique and a seriousness of intent.
He immediately took a slower tempo than that suggested by the opening chords: his entire approach to the introduction was leisurely, liberally laced with rubato, and his mellow tone in the slow movement was ideally suited to its tear-jerking melodies.
It was not until the jaunty rhythms of the finale that he really let loose, bouncing crisply through both main melodies and accelerating with panache through the coda. Accompanying his relatively wayward tempos, especially in the first two movements, would have tested a lesser conductor than Simon Wright. However, the orchestra stayed in remarkably close attendance, even matching Creswick’s energy in the finale.
Each half of the afternoon was prefaced with an overture. The horn quartet at the start of Weber’s Der Freischütz was stylish, near faultless in fact. Not to be outdone, the violins were positively spine- tingling in the Vivace section.
Creswick humbly took a seat with them after the interval, when Verdi’s overture to La Forza del Destino offered the brass a chance to show their mettle, especially in the final prolonged crescendo – a trick Verdi had learned from Rossini.
Britten aligned four of the six sea interludes in his opera Peter Grimes into a suite, to which he appended the passacaglia that falls between the two scenes of Act 2.
In many ways, the different moods of the interludes reflect varied aspects of Grimes’ own volatile personality. Playing them as a suite relies on the chameleon qualities of an orchestra.
Two aspects here predominate. The woodwinds need to be highly flexible, running around seemingly in circles while the rest of the orchestra remains largely calm, as in ‘Dawn’. He also uses an extensive percussion section. Wright handled both these superbly.
He also brought extra emphasis to the dark underlay of ‘Moonlight’, while benefiting from the aplomb of his viola soloist in the Passacaglia, and encouraging some real shrieking from his winds in ‘Storm’.
Ravel’s ‘choreographic poem’ La Valse was at first rejected by Diaghilev as not being balletic enough, but was eventually staged. Above all, it needs to dance, particularly in its apotheosis when its constituent parts seem to disintegrate.
After conjuring a passionate mood for the central section, Wright was not afraid to launch into stridency in the final frenzied chords when the waltz seems to self-destruct.
Ebor Singers soloists Alisun Russell Pawley (soprano), top left, Caroline Sartin (alto); Jason Darnell (tenor), bottom left, and Jonty Ward (bass-baritone)
WHEN an event is announced as a gala and includes an imported period band, you naturally prick up your ears. This one not only looked good on paper, it was succulent in reality.
Three works by Handel, culminating in his Dixit Dominus, were further leavened by choral pieces of Purcell and Bach. It was worth every penny of what it must have cost to promote.
Dixit Dominus, a setting of Psalm 109, is the first of three concerted Latin choral works from Handel’s time in Rome, where he was primarily honing his operatic talents at the fountainhead. It dates from April 1707, when he was barely 22.
Although thus youthful, its importance lies in its legacy: many of its pseudo-operatic techniques found their way into his later English church music.
The conductor, Paul Gameson, capitalised on its dramatic moods, which seemed to come naturally to Handel despite his Lutheran background. The title chorus was confidently paced and its succeeding aria, with fluent cello obbligato, smoothly handled by alto Caroline Sartin.
The choir was not disturbed by the tempo changes in ‘Iudicabit’ and the soprano duet with male chorus was equally effective. Only the fugal finale would have benefited from a more relaxed momentum, the sopranos, doubtless tired at the end of a strenuous evening, sounding stretched.
Welcome To All The Pleasures, one of Purcell’s three odes to St Cecilia, made a sprightly opening, with chorus members stepping into the solo roles with flair, as throughout the programme. It was aptly partnered by the tenor cantata Look Down, Harmonious Saint, whose aria was despatched by Jason Darnell with considerable brio, although he reserved touching restraint for its central musings.
The steady pace of the opening Kyrie in Bach’s Lutheran Mass in G was well adapted to its testing chromaticism. The busy strings made the Gloria especially exciting, and Jonty Ward’s crisp bass in ‘Gratias agimus’ was a highlight.
The two oboes danced sweetly through ‘Quoniam tu solus’, accompanying Darnell. Their attentiveness typified the contribution of Manchester Baroque (named twice in the programme as ‘Camerata’), who briefly took the spotlight in a stylishly articulated account of Handel’s D minor Concerto Grosso.
The interval had arrived slightly earlier than planned when a performer fainted. Concertgoers will be relieved to know that after treatment in hospital he was able to return home the next day. The incident made no impact on the success of the evening.
The poster for Navigators Art’s Back To The Garden event at The Basement, City Screen Picturehouse
NAVIGATORS Art has invited York performers to celebrate and explore the 2026 York Festival of Ideas theme of Place and Space with a focus on the peaceful, wild, mythical, inspirational green worlds of gardens.
Original words and music feature alongside well-loved works by familiar names in the company of storyteller Lara McClure; Mike Amber & Lola-Mae, taking on Joni Mitchell’s Woodstock; poet and novelist Janet Dean and performance poet Carrieanne Vivianette, exploring words and sounds.
Sofa Sofa: Songs rooted in nature and people, woods, weather, long walks, short thoughts, longing and love
Taking part too will be alt folk band Sofa Sofa (Charley, vocals, guitar, harmonium; Rich, guitar, vocals, bells, synths; Ayse, violin; Filipe, cello, and Adam, drums/percussion), whose songs are rooted in nature and people, woods, weather, long walks, short thoughts, longing and love.
Box office: ticketsource.com/navigators-art-performance or on the door from 7pm. The venue is fully accessible.
John Robb: Discussing his new memoir, Punk Rock Ruined My Life: And Other Stories, at Pocklington Arts Centre
WILDLIFE photography and nature-inspired poetry and music turn Charles Hutchinson’s thoughts to the sunnier days ahead.
Talk of the week: John Robb, Pocklington Arts Centre, tomorrow, 8pm
JOHN Robb is a multi-faceted creature: author, musician, journalist, Louder Than War music website boss, Louder Than Words and Louder Than War Live festivals boss, Eco champion, vegan behemoth and punk rock warlord, as well as TV and radio talking head, frontman of post-punk mainstays The Membranes and ambassador for home-town Blackpool.
To mark the May 12 publication of his memoir, Punk Rock Ruined My Life: And Other Stories, he is undertaking a spoken-word and book tour, where each show comprises a one-hour talk by Robb, followed by a conversation and Q&A with a special guest. Tomorrow, he welcomes Pauline Murray, Penetration singer and author of Life’s A Gamble, her 2023 autobiography. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Nobody puts Baby’s poster in the corner for Dirty Dancing In Concert at York Barbican
Film event of the week: Dirty Dancing In Concert, tomorrow, 7.30pm
RELIVE the film that stole the hearts of generations with this live-to-screen concert event featuring Emile Ardolino’s 1987 American romantic drama projected in full, accompanied by a live band and singers performing every song from the soundtrack.
Feel the romance, rhythm and emotion as the love story of Baby and Johnny (Jennifer Grey and Patrick Swayze) comes to life on a full-size cinema screen. A dance-along encore party follows the final scene. Box office: yorkbarbican.co.uk
Now you see him, now you don’t: Daniel Davis and Georgina Sockett in Our Star Theatre Company’s The Invisible Man, to be spotted at Kirk Theatre, Pickering
Vanishing act of the week: Our Star Theatre Company in The Invisible Man, Kirk Theatre, Pickering, Friday, 7.30pm
THE thought of invisibility, and the advantages it could bring, has captured the imagination since HG Wells’s science-fiction novella was published in 1897. The Invisible Man has been adapted many times for film, but rarely for the stage.
Here comes Derek Webb’s original, fast-paced and riotous adaptation boasting 15 characters, split between three energetic actors, Daniel Davis, Georgina Sockett and Rhys Harris-Clarke, aided by quick and daft costume changes, prop manipulation, whacky imagination and tons of tongue-and-cheek fun in Herefordshire company Our Star’s touring production, directed by founder Ben Mowbray. Box office: 01751 474833 or kirktheatre.co.uk.
The poster for The Future Is Vintage, the latest Scott Bradlee’s Postmodern Jukebox concert at York Barbican
Retro gig of the week: Scott Bradlee’s Postmodern Jukebox, The Future Is Vintage Tour 2026, York Barbican, Friday, doors 7pm
SCOTT Bradlee’s troupe of singers, dancers and instrumentalists perform a new show in signature time-twisting style, putting a retro spin on everything from Seventies’ rock classics and Britpop hits to the latest chart toppers and movie and video game soundtracks.
“We’re humbly presenting our own unique vision of a spectacular future; one that is built upon the timeless musical genres of the past and the authentically human spirit of creativity that inspired them,” says founder and arranger Bradlee, who invites you to dress in your vintage best for the full time-travel experience. Box office: yorkbarbican.co.uk.
The Ocelots’ Ashley and Brandon Watson
Literature-inspired musings of the week: The Ocelots, The Arts Barge, Foss Basin Moorings, Tower Street, York, Friday,7.30pm
BLOOD harmonies are at the centre of The Ocelots’ sound with its Americana echoes of Neil Young and Sufjan Stevens. Twin brothers Ashley and Brandon Watson, from Wexford, Ireland, blend absurdity and sincerity in an array of literature-inspired musings.
Open tunings and clawhammer banjo merge country-folk contemplation with urban imagery, as heard on 2020’s Started To Wonder and 2025’s Everything, When Said Slowly albums and 2023’s Addlepated and March 2026’s Revisions EPs. Fionnuala Mary Bradbury supports. Box office: artsbarge.com.
Ian Smith: Stories of stress, love and buying a magic spell off Amazon in Foot Spa Half Empty at Helmsley Arts Centre
Comedy gig of the week: Ian Smith, Foot Spa Half Empty, Helmsley Arts Centre, Friday 8pm
EDINBURGH Comedy Award nominee and Northern News podcast co-host Ian Smith heads out on tour with Foot Spa Half Empty, his new show about stress, love and buying a magic spell off Amazon, in his follow-up to 2023’s Crushing.
Smith, 37, from Goole, has appeared on Live At The Apollo, Have I Got News For You, The Stand Up Sketch Show, BBC Radio 4’sThe News Quiz, The Unbelievable Truth and Just A Minute and hosted his own Radio 4 series, Ian Smith Is Stressed. Box office: 01439 771700 or helmsleyarts.co.uk.
Mike Amber: Taking on Joni Mitchell’s Woodstock songs with Lola-Mae at Navigators Art’s Back To The Garden night of poetry and music
Nature lovers of the week: Navigators Art presents Back To The Garden, York Festival of Ideas, The Basement, City Screen Picturehouse, York, Saturday, 7.30pm, doors 7pm
NAVIGATORS Art has invited York performers to celebrate and explore the York Festival of Ideas theme of Place and Space with a focus on the peaceful, wild, mythical, inspirational green worlds of gardens.
Original words and music feature alongside well-loved works by familiar names in the company of storyteller Lara McClure; Mike Amber & Lola-Mae, taking on Joni Mitchell’s Woodstock; poet and novelist Janet Dean; performance poet Carrieanne Vivianette and alt folk band Sofa Sofa, whose songs are rooted in nature and people, woods, weather, long walks, short thoughts, longing and love. Box office: ticketsource.com/navigators-art-performance or on the door.
Country Bound: Performing upbeat country songs, complemented by floor fillers re-imagined in a country music style, at Milton Rooms, Malton
Country gig of the week: Country Bound, Milton Rooms, Malton, Saturday, 8pm
COUNTRY Bound put the ‘fun’ into country function band, performing upbeat modern and classic country songs, complemented by classic floor fillers re-imagined in a country music style.
Fronted by Micki Consiglio, they cover hits by Taylor Swift, Shania Twain, Zach Brown Band, Luke Combs, Carrie Underwood, Chris Stapleton, Dolly Parton, Lady A, Blake Shelton, Faith Hill, Morgan Wallen, Billy Cyrus, Luke Bryan, Darius Rucker, Kacey Musgraves, Garth Brooks, Sheryl Crow, Kelsea Ballerini, Kenny Rogers, Patsy Cline and more. Box office: 01653 696240 or themiltonrooms.com.
Rick Wakeman: The Wizard of Prog reunites with the English Rock Ensemble at York Barbican next March
Gig announcement of the week: Rick Wakeman, The Wizard of Prog, Ultimate Highlights Concert Tour with English Rock Ensemble, York Barbican, March 11 2027
KEYBOARD player extraordinaire Rick Wakeman, who turned 77 on May 18, will be reuniting with the English Rock Ensemble to focus on a broad sweep across his classic back catalogue, including extracts from epic concept albums Journey To The Centre Of The Earth and The Myths & Legends Of King Arthur & The Knights Of The Round Table, Yes material and surprises.
The band line-up reassembles from 2025’s Return Of The Caped Crusader Part 2 tour: Wakeman, Jesse Smith (lead vocals), Adam Wakeman (keyboard, guitars and vocals), Dave Colquhoun (guitars and vocals), Lee Pomeroy (bass and vocals), Adam Falkner (drums) and backing vocalists Sara Davey, Jo Goldsmith-Eteson and Jo Marshall. Tickets go on sale on Friday at 10am at yorkbarbican.co.uk/whats-on/rick-27.
Paul Hobson’s A Toad Swims Across Its Woodland Pond: Grand Prize winner inBritish Wildlife Photography Awards 2026, on show at Nunnington Hall
In Focus: British Wildlife Photography Awards 2026, Nunnington Hall, Nunnington, near Helmsley, until July 5,open Tuesday to Sunday, 10.30am to 5pm
THE winners of the British Wildlife Photography Awards 2026 have been unveiled at the National Trust’s Nunnington Hall, where 75 photographs are on show.
Paul Hobson’s A Toad Swims Across Its Woodland Pond, photographed from a pond-floor perspective in Sheffield, has taken the top prize from more than 12,000 images submitted by professional and amateur photographers.
“I am lucky to have a pond close to my house that has relatively clear water,” says Hobson. “Toads use this pond to breed in, and I decided I wanted to try to capture an image looking up from the bottom of the pond.”
To accomplish this, he housed the camera inside a home-built glass box, complete with old tripod legs and ballast to prevent sinking, and triggered the camera using an adapted long cable release.
“I had to wait quite a long time until a toad swam across the surface,” says Hobson. “Most of them would usually swim below it and rest on the glass. He was eventually successful, however, and the outcome provides a rare view of a toad in its woodland home.
Ben Lucas’s Feathery Pillow: Winner of the Young British Wildlife Photographer of the Year Award 2026
Ben Lucas won the Young British Wildlife Photographer of the Year 2026 award with Feathery Pillow, his charming image of a mute swan cygnet taking a nap on its sibling’s back. “Nature can often be so cruel, but tender moments like this warm my heart,” he says.
The annual showcase of nature photography is a crucial reminder of what value British woodlands, wetlands and other ecosystems still hold.
“This year’s winners celebrate the wonder, diversity and character of British wildlife in truly exceptional ways,” say British Wildlife Photography Awards director Will Nicholls. “From familiar species to rarely seen moments, the portfolio showcases the skill and passion of the photographers behind the lens.
“Together, they offer a joyful celebration of Britain’s natural world, while also reminding us why these places and species are so deserving of our care and protection.”
Photographers competed in 11 categories in the adult competition: Animal Behaviour, Animal Portraits, Botanical Britain, Black & White, Coast & Marine, Habitat, Hidden Britain, Urban Wildlife and Wild Woods, plus British Seasons and Documentary Series making up the special awards.
Three photographs from the British Wildlife Photography Award 2026 exhibition
Further awards were given for Wildlife in HD Video and three age groups in the youth competition: age 11 and under, 12 to 14 and 15 to 17.
All awarded images are published by Graffeg Books in a hardback coffee-table book, available online at bwpawards.org, with a foreword by actor, writer and director Mackenzie Crook.
The 2027 competition is open for entries at bwpawards.org, inviting photographers of all levels of experience to submit their photos of Britain’s nature at its best.
Nunnington Hall invites visitors take time in the organic gardens overlooking the River Rye to spot many birds and insects and maybe the occasional otter or kingfisher that calls the garden home.
Tickets: nationaltrust.org.uk/nunnington-hall.Entry is free for National Trust members and under-fives.
The Wizard of York (Dan Wood): Presenting the second WizardFest in York city centre. Picture: The Story Of You
FROM WizardFest to the Wizard of Prog, Roman festivities to musical & poetic nature lovers, Charles Hutchinson picks his hot spots for the Bank Holiday weekend and beyond.
Magical event of the week: WizardFest, York, today until Monday
WIZARDFEST, York’s official Festival of Wizardry, waves its magic wand over the Spring Bank Holiday weekend as The Wizard of York conjures up spellbinding events, tours, trails, workshops, shows and fantastical food and drink.
Wizardry fans can book for the Wizard Walk of York, Brick Magic LEGO workshop, Wizard Family Rave, Giant Bubble Show or Wicked at City Screen Picturehouse. Expect owl appearances, dragons and the new Wizard Activity Zone on Parliament Street with wand making, face painting and more. Dress to impress for the free fancy dress parade from St Helen’s Square on Monday at 3p.m A digital map and full list of events with booking links can be found at wizardwalkofyork.com/wizardfest.
The Roman Camp in York Museum Gardens, part of the Eboracum Roman Festival in York. Picture: Gareth Buddo
Festival highlight of the week: Living History, Crafts and Combat, Eboracum Roman Festival, York, today and tomorrow
THIS weekend showcases the best of Eboracum with live performances, creative storytelling and historical demonstrations alongside fun family activities, insightful talks and opportunities to dive into archaeology in York.
At the Living History Camp in York Museum Gardens, discover how the Romans lived by talking to the legions in their camp and watch demonstrations of weaving, carpentry, pottery and blacksmithing. Check out military demonstrations and formations with Ermine Street Guard or join York Museum Trust’s Garden Team for a guided tour of the Edible Garden today. Look out too for artillery demonstrations and the Kids Barbaric Battle. For full festival details, visit: yorkshiremuseum.org.uk/eboracum-roman-festival-2026.
Live baking on stage: Ellen Carnazza’s TV cook in crisis Petronella Parfait in Badapple Theatre Company’s Crumbs. Picture: Karl Andre
Bake-off of the week: Badapple Theatre Company in Crumbs, York Theatre Royal Studio, today, 2pm and 7.45pm
DISGRACED TV baking celebrity Petronella Parfait is out of a job and out of her depth, trying to reinvent herself in the cut-throat world of social influencers. Can she keep the lights on – and the oven – as her live comeback show descends into devilishly delicious disaster?
Expect big laughs, bold flavours, live bread making and a tasty treat for the audience at the end of Kate Bramley’s play as Green Hammerton’s Badapple Theatre returns to the Theatre Royal Studio, where solo performer Ellen Carnazza plays multiple roles. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The Upbeat Beatles: Celebrating the Fab Four from the Cavern to Abbey Road at the Joseph Rowntree Theatre
Tribute gig of the week: Joseph Wilson Productions presents The Upbeat Beatles, Joseph Rowntree Theatre, York, tomorrow, 7.30pm
THE Upbeat Beatles travel the Fab Four’s long and winding road from the early Cavern days through Beatlemania and Shea Stadium, New York City, to Sgt. Pepper’s Lonely Hearts Club Band and Abbey Road, with narrative and full multi-media presentation. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Nobody puts Baby’s poster in the corner: Dirty Dancing In Concert at York Barbican
Film event of the week: Dirty Dancing In Concert, York Barbican, May 28, 7.30pm
RELIVE the film that stole the hearts of generations with this live-to-screen concert event featuring Emile Ardolino’s 1987 American romantic drama projected in full, accompanied by a live band and singers performing every song from the soundtrack.
Feel the romance, rhythm and emotion as the love story of Baby and Johnny (Jennifer Grey and Patrick Swayze) comes to life on a full-size cinema screen. A dance-along encore party follows the final scene. Box office: yorkbarbican.co.uk
John McCusker: Leading his trio at the NCEM on Friday
Recommended but sold out already: John McCusker Trio, York Festival of Ideas, National Centre for Early Music, York, May 29, 7.30pm
SCOTTISH violinist John McCusker is joined by virtuoso multi-instrumentalist and singer Sam Kelly and flute, whistle and guitar player Toby Shaer in his trio to perform a thrilling combination of instrumental dexterity, heartfelt songs and live energy. Their fusion of original compositions, traditional melodies and contemporary folk bursts with innovation, joy and soul. Box office for returns only: 01904 658338 or ncem.co.uk.
The Scott Bradlee’s Postmodern Jukebox poster for the The Future Is Vintage tour, visiting York Barbican on Friday
Retro gig of the week: Scott Bradlee’s Postmodern Jukebox, The Future Is Vintage Tour 2026, York Barbican, May 29, doors 7pm
SCOTT Bradlee’s troupe of singers, dancers and instrumentalists perform a new show in signature time-twisting style, putting a retro spin on everything from Seventies’ rock classics and Britpop hits to the latest chart toppers and movie and video game soundtracks.
“We’re humbly presenting our own unique vision of a spectacular future; one that is built upon the timeless musical genres of the past and the authentically human spirit of creativity that inspired them,” says founder and arranger Bradlee, who invites you to dress in your vintage best for the full time-travel experience. Box office: yorkbarbican.co.uk.
Ben Moor on his ‘Three Thing Day’. Picture: Andy Lane, Barbican, London, January 11 2025
Oddball storytelling of the week: Ben Moor, A Three Thing Day, Theatre@41, Monkgate, York, January 29, 7.30pm
A STORYTELLER for 30 years and counting, Ben Moor has a show opening later, but first he has a family meeting, and before that there’s a funeral. A single day can encompass the past, present and future; friends, family and strangers; the ridiculous, the moving and the inspirational. Like life.
Surreal and ‘melancomic’, Moor’s2025 Edinburgh Fringe hit is crammed with one-liners and observations, alongside beautiful and poetic digressions. Under discussion will be good gullibility, dolphin infestations, snacks and unreliable phones. Box office: tickets.41monkgate.co.uk.
Mike Amber: Performing Joni Mitchell’s Woodstock songs with Lola-Mae at The Basementnext Saturday
Nature lovers of the week: Navigators Art presents Back To The Garden, York Festival of Ideas, The Basement, City Screen Picturehouse, York, May 30, 7.30pm, doors 7pm
NAVIGATORS Art has invited York performers to celebrate and explore the York Festival of Ideas theme of Place and Space with a focus on the peaceful, wild, mythical, inspirational green worlds of gardens.
Original words and music features alongside well-loved works by familiar names in the company of storyteller Lara McClure; Mike Amber & Lola-Mae, taking on Joni Mitchell’s Woodstock; poet and novelist Janet Dean; performance poet Carrieanne Vivianette and alt folk band Sofa Sofa, whose songs are rooted in nature and people, woods, weather, long walks, short thoughts, longing and love. Box office: ticketsource.com/navigators-art-performance or on the door.
Rick Wakeman: Performing with English Rock Ensemble in The Wizard of Prog show at York Barbican next March
Gig announcement of the week: Rick Wakeman, The Wizard of Prog, Ultimate Highlights Concert Tour with English Rock Ensemble, York Barbican, March 11 2027
KEYBOARD player extraordinaire Rick Wakeman, who turned 77 on May 18, will be reuniting with the English Rock Ensemble to focus on a broad sweep across Wakeman’s classic back catalogue, including extracts from epic concept albums Journey To The Centre Of The Earth and The Myths & Legends Of King Arthur & The Knights Of The Round Table, Yes material and surprises.
The band line-up reunites from 2025’s Return Of The Caped Crusader Part 2 tour: Wakeman, Jesse Smith (lead vocals), Adam Wakeman (keyboard, guitars and vocals), Dave Colquhoun (guitars and vocals), Lee Pomeroy (bass and vocals), Adam Falkner (drums) and backing vocalists Sara Davey, Jo Goldsmith-Eteson and Jo Marshall. Tickets go on sale on May 29 at 10am at yorkbarbican.co.uk/whats-on/rick-27.
York Chamber Music Festival director and cellist Tim Lowe
THE recital was billed as the Festival Launch Concert – Gems of the Romantic Cello, but as the York Chamber Music Festival itself does not begin until September, I’m not entirely sure the description quite worked.
In truth, it felt more like a “taster” concert: a glimpse of what audiences might expect from this well-established and prestigious event later in the year.
That idea of a “taster” could — just — be applied to the opening work in the programme, Beethoven’s 12 Variations on “See The Conqu’ring Hero Comes”, WoO 45, for cello and piano, written when Beethoven was only 26 years old.
To be sure, he had already published significant works around this period — the Piano Trios, Op.1, the Piano Sonatas, Op.2, and his first two piano concertos — but it was as a virtuoso pianist that he initially established himself in Vienna. That background is reflected in the unusually substantial piano part.
The theme itself is based on the famous chorus from Handel’s Judas Maccabaeus, a composer Beethoven greatly admired. I really enjoyed the way the performers projected the reshaping of this famous ceremonial tune through the work’s changing moods and textures.
At first, the short movements came across as decorative, but from Variation 3 onwards the interplay became far more engaging. Here, cellist Tim Lowe’s agile playing danced around the melody while pianist Stephen Gutman’s accompaniment shimmered in the background.
The expressive cello line in Variation 5 felt almost operatic, while the witty exchanges and unexpected accentuation of Variation 7 were great fun. Even more thrilling were the technical fireworks of Variation 11. Indeed, it was the sheer exuberance of the performance that proved so enjoyable.
If describing the Beethoven as a “taster” work might be a slight stretch, it certainly applies to Richard Strauss’s Cello Sonata in F major, Op.6. Strauss began writing the work at the age of only 17 — an age when most young men are taking their first tentative steps into adulthood via their local pub.
The opening Allegro con brio was full of energy and passion. The roles of both players are very much equal, and Lowe and Gutman clearly relished the challenges. What struck me most was the orchestral nature of the writing: thick textures and an expansive Romantic atmosphere, especially in the development section.
Like the opening movement, the closing Finale: Allegro vivo featured exhilarating quickfire exchanges and extended virtuoso passages, particularly for the cello. The exhilarating dash to the finish line was genuinely thrilling.
Pianist Stephen Gutman
Yet it was the warm intimacy of the central Andante ma non troppo that left the strongest impression. Here, Lowe’s melodic playing glowed, amplified and sustained by Gutman’s tender support. But the partnership was very much one of equals, and the two players complemented each other superbly.
Camille Saint-Saëns’s Cello Sonata No.1 in C minor, Op.32 (1872), is surely one of the great Romantic works for cello and piano. The performers instinctively projected the dark, turbulent character of the opening Allegro. Lowe’s playing possessed the necessary dramatic nobility, while Gutman’s piano drove the music forward with urgency and weight.
The dialogue between the performers was powerful, while the sudden bursts of lyricism and the virtuosity of the closing passages fully convinced. Much the same could be said of the closing Allegro moderato, this time propelled by an almost relentless rhythmic momentum. Echoes of Beethoven? Maybe.
Once again, however, it was the central Andante tranquillo sostenuto that made the deepest impression. The sheer elegance of the playing was genuinely delightful.
One of the most striking features of the work was the dramatic use of the cello’s lowest string — the C string. The sound Lowe produced was dark and resonant, creating an almost orchestral quality throughout the sonata, and not only in the outer movements. In the Andante, that darker quality softened into warmth — a kind of chocolate-rich intimacy that proved utterly seductive.
This is a typical characteristic of Lowe’s instrument – the cello made by Carolus Tononi in Bologna in 1716 – and it may also explain the occasional blurring of the pitch centre in the higher positions.
The programme closed with Robert Schumann’s Adagio and Allegro, Op.70, surely one of the finest short chamber works of the Romantic era. Originally written in 1849 for horn and piano, it was later rearranged — with Schumann’s blessing — by the cellist Friedrich Grützmacher for cello and piano.
I’m glad he did, because Lowe’s warm cello tone drew out and intensified the yearning quality of the Adagio. Both players shaped the movement beautifully, capturing its introspective character withreal sensitivity.
The pivotal transition to the explosive energy of the Allegro was entirely convincing. Schumann marks the music Rasch und feurig (“Fast and fiery”), and indeed it was.
Lowe’s cello playing displayed a dazzling, heroic character, filled with sweeping runs, dramatic leaps and sharp exchanges with Gutman at the piano. What really elevates the movement, however, is the brief glimpse back towards the earlier tenderness — a fleeting glance over the shoulder before the inevitable drive towards the triumphant conclusion.
I don’t usually like encores. They are almost invariably unnecessary, creating a self-indulgent buffer that obscures the impact of a concert’s true ending. But I really did like this one: Schumann’s Five Pieces in Folk Style (Fünf Stücke im Volkston), Op.102, No.2 (Langsam). A sublime melody, beautifully played, reminding me why I fell in love with Robert Schumann’s music all those years ago.
Coming to terms with loss: Alexa Chaplin ‘s Annie in York Musical Theatre Company’s Calendar Girls The Musical. All pictures: Gareth Jenkins *
WRITTEN by two Honorary Yorkshiremen from the Wirral, friends-since-schooldays Tim Firth and Gary Barlow, Calendar Girls The Musical plays an immediate crowd-pleasing ace card by opening with a song called Yorkshire.
Premiered under the name The Girls at Leeds Grand Theatre in 2015 and first staged in York by York Stage Musicals at the Grand Opera House in 2022, the show now plays out against All In One Productions’ photographic scenery of the rolling Yorkshire Dales at their most green and pleasant pastured. In front is a dry stone wall with a gate. You can almost smell the ‘Yorkshireness’ of it all.
Welcome to director-choreographer Kathryn Addison’s production for York Musical Theatre Company, with musical director John Atkin in the pit to conduct a band wherein Rosie Morris’s piano is to the fore (as to be expected when Take That keyboardist Gary Barlow is the composer), complemented by Cameron McArthur’s keys and guitar, Paul McArthur’s bass, Andy Jennings’ percussion and the emotive Yorkshire brass of Ross Simpson’s trumpet and Martin Farmery’s trombone.
From the Yorkshire-wide grin of that opening number, Firth and Barlow then introduce ‘The Girls’, the Knapely Women’s Institute members who will go on to pose for the fundraising artistic nude calendar that launched so many doppelgangers.
Eve Clark’s Jenny
The new WI chairwoman Marie (Andrea Copeland) may be old-school, all Jam and Jerusalem, dull guest speakers and duller regulations, but as second song Mrs Conventional establishes, these girls can be unconventional, especially Katie Melia’s rebellious Chris, whose sparky individuality so attracted husband Rod (Jack Hooper), who runs a flower shop.
However, the sunshine dims when John ‘Clarkey’ Clarke (Peter Melia), National Park officer, gardener and sunflower-loving husband of best friend Annie (Alexa Chaplin), is diagnosed, spoiler alert, with non-Hodgkin’s lymphoma.
Struggling to come to terms with the impending loss of this gentle, gregarious giant, Chaplin’s Annie delivers a beautiful rendition of Barlow and lyricist Firth’s outstanding number, Scarborough, with its devastating closing lyric: “And who will protect me/While telling me lies/If you’re not here.”
Those lines are typical of the observant golden touch of Firth, whose script judges perfectly what the crescendo should be (the stripping off one by one for the calendar), while also introducing three teenage children (James Hepworth’s Danny, Eve Clark’s Jenny and Frankie Jackson’s Tommo), who show another side to their parents.
Alison Taylor’s Ruth performing My Russian Friend And I
Firth applies the right balance of pathos, sadness, northern humour and bloody-minded defiance, the tears and the cheers, all heightened by the piano-led storytelling songs that show off another side to Barlow’s songwriting in modern musical set-pieces such as Yorkshire, the carol-singing Who Wants A Silent Night (led by Amy Greene’s Cora at the piano) and Sunflower, (fronted by Melia’s Chris).
Barlow’s mastery of balladry is affirmed by Chaplin’s performances of not only Scarborough but also Very Slightly Almost and Kilimanjaro, while Firth’s lyrics lend exuberant humour to So I’ve Had A Little Word Done, the big, brassy, belter for Sarah Brown’s Celia, then a darker sting to vodka-swilling Ruth’s My Russian Friend And I, sung with confessional candour by Alison Taylor, bordering on self-loathing.
Melia and Chaplin bring out all sides of Chris and Annie’s friendship, the light and the shade, the highs and the lows , the contrasting temperaments, the fun and the fall-outs, the grief and the renewal. Around them, Greene’s Cora, Brown’s Celia, Taylor’s Ruth, Copeland’s Marie and the ever-wonderful Sandy Nicholson’s former teacher Jessie savour their moment in the spotlight.
So too does Nicola Dawson in her cameo as Knapely show judge Lady Cravenshire, Janie Woolgar’s ill-fated WI lecturer, Brenda Hulse, and Paula Stainton and Samantha Cole’s two Miss Wilsons, a double act forever offering pots of tea and coffee.
Kate Melia’s Chris and Jack Hooper’s Rod in York Musical Theatre Company’s Calendar Girls The Musical
Peter Melia’s John is affable, phlegmatic, humorous, even in the face of a terminal illness, while Jack Hooper’s Rod delivers two homespun homilies on love and marriage that will make even a cynic go all warm and fuzzy.
Hepworth’s disgraced head boy Danny and Clark’s wayward schoolgirl Jenny, who leads him astray, delight in their awkward teenage journey of discovery, joined by Jackson’s ever-cheeky, work-shy Tommo.
No less awkward is Joe Marucci’s Lawrence, the shy photographer who suggests how the traditions of the WI – knitting, baking, piano playing, flower arranging – should be adapted for the calendar shoot featuring the ladies of Knapely in all manner of shapely.
Aside from some technical difficulties with the sound, Wednesday’s opening night reaffirmed what a wonderful celebration of community, Yorkshire, life, flowers, love, humour, humanity and the power of song Calendar Girls remains.
York Musical Theatre Company in Calendar Girls The Musical, Joseph Rowntree Theatre, York, tonight, 7.30pm; tomorrow, 2.30pm and 7.30pm. Box office: 01904 501935 or yorktheatreroyal.co.uk.
In full bloom: Kathryn Addison’s cast in the finale to Calendar Girls The Musical at the Joseph Rowntree Theatre
* Photographer Gareth Jenkins
BASED in Kirkbymoorside, Gareth is “always happy to photograph creative events at no charge”. Any arts organisation in need of a photographer can contact him on 07875 018888 or 01751 430116.
Leading light: Dan Crawfurd-Porter’s Melchior in Inspired By Theatre’s Spring Awakening. Picture: Mia Scudds
MIKHAIL Lim played Georg in York Stage Musicals’ northern premiere of Spring Awakening at the Vaudeville Theatre, Joseph Rowntree School, York, in November 2010.
Roll forward to May 19 2026 when his startling production of Duncan Sheik and Steven Sater’s rock musical was launched with a 20th Anniversary Preview Event, 20 years to the day since the off-Broadway premiere opened at the Atlantic Theater Company in New York City.
Entry came with a tote bag emblazoned with a lyric from the show. Inside were a notepad and pen (tools for the reviewers, received gratefully) and a Welcome note from Inspired By Theatre, the York company fast establishing a reputation for injecting thrilling new life into landmark musicals.
Spring Awakening director Mikhail Lim, right, in rehearsal with actor-musician JJ Thornton, who plays Hanschen. Picture: Tiggy-Jade
“What you are about to witness is a production that aims to honour the heart and spirit of Spring Awakening whilst bringing fresh and contemporary ideas to the piece through thrust staging, actor-musicianship, expressive movement and an intimate, visceral approach to storytelling,” the statement read, emphasising the desire to highlight the kinetic musical’s continued relevance two decades later.
Your reviewer would argue that Sheik and Sater’s raucous musical take on Frank Wedekind’s late-19th century play has taken on even more resonance in those 20 years. The original play’s controversial themes of rape, abortion, teenage suicide, gay first love and adolescent sexual discovery led to Spring Awakening being judged too scandalous to perform in Wedekind’s lifetime, with no public performances until November 1906.
Rianna Pearce’s Wendla, centre, with Maz Nachif’s Martha, left, and Skye Pickford’s Ilse in Spring Awakening. Picture: Mia Scudds
Wedekind was damning the lack of birds & bees tuition and protection provided both by hand-washing and wringing parents and teachers when faced by their young charges’ burgeoning sexual feelings and search for identity. Now, the world has gone the other way, in the era where social media and the dark web provides a tsunami of information, but teenagers can still feel overwhelmed.
Spring Awakening – such an apt title – is a devastating, dark musical of youthful yearning rubbing up against austere learning in the strict schooldays of 1891 Germany. Part play, part punk concert, it comes suited and booted with strong language (the best song is called Totally ****ed) and scenes of a sexual nature (staged with the involvement of intimacy co-ordinator Lina Glissman, by the way).
In a tale of sex & drudge & shock’n’roll, company founder Dan Crawfurd-Porter swaps directorial duties for the Hamlet-echoing role of piercingly bright, free-thinking, atheist, rebellious student Melchior, sharing centre stage with Rianna Louise’s awakening young flower Wendla and Eryn Grant’s tormented, workaholic, tragic Moritz.
Blow by blow account: JJ Thornton’s Hanschen and guitar-playing actor-musician Oskar Nuttall’s Ernst in Spring Awakening. Picture: Mia Scudds
Spring Awakening is above all a wake-up call to the damage that ignorance imposes on young people in a sexually repressive era, here represented by the multiple stultifying roles of the Adult Woman (Gemma McDonald) and Adult Men (Stefan Michaels). Righteous, religious, blinkered, they rule by book and sometimes by belt.
The combination of Gi Vasey’s thrust set design, placing the audience close up, and musical director Jessica Viner’s band of keys, drum and string players, bolstered by guitar and piano/bass/Cajon-playing actor-musicians, gives even more intensity to the already heightened drama.
Vasey places a bare tree stump at the back, draped in ribbons, complemented by bare branches to either side. In the centre is a sand pit, framed in stones, that serves as school playground and field and transfers to a school room with the aid of chairs. The sand is of the shifting variety, in keeping with sense of seismic change, of matters going beyond balance and control.
Eryn Grant’s Moritz, centre, with JJ Thornton’s Hanschen, left, Oskar Nuttall’s Ernst, Lewis Jordan’s Georg and Kailum Farmery’s Otto. Picture: Mia Scudds
Freya McIntosh’s choreography matches the anger and frustration of the modern yet instantly timeless songs, breaking out of the formal lines and restrictive behaviour of the classroom for free, explosive expression, often with a microphone in the hand (a style of presentation later seen in Six The Musical).
Julie Fisher’s costume designs, with green school uniforms for the boys and a more diverse palette for the girls’ dresses, work well with Daniel Grey’s lighting design, and Will Nicholson’s sound design blends band and actor-musicians with clarity.
Eryn Grant is particularly impressive as the crushed Moritz, while Crawfurd-Porter’s Melchior has an edge to him, contrasting with the innocence of curiosity of Rianna Louise’s Wendla.
Explosion of punk energy in the classroom, observed by Stefan Michaels’ Adult Man and Gemma McDonald’s Adult Woman in Spring Awakening. Picture: Mia Scudds
Skye Pickford’s Ilse, with her stillness of presence, JJ Thornton’s Hanschen and Maz Nachif’s Martha catch the eye too, performing in tandem with Oskar Nuttall’s Ernst, Lewis Jordan’s Georg, Kailum Farmey’s Otto, Ines Campos’s Thea and Greta Piasecka in a schoolroom cast that has uniformity but bags of individuality too.
Drawing so strikingly on German Expressionism and folkloric imagery, Mikhail Lim has delivered a shattering, alarming, agitated, impassioned Spring Awakening, reaffirming Inspired By Theatre as a major player, a welcome upstart, on York’s theatre scene.
Inspired By Theatre presents Spring Awakening, Theatre@41, Monkgate, York, tonight and tomorrow, 7.30pm; Saturday, 2.30pm and 7.30pm. Box office: tickets.41monkgate.co.uk.
Inspired By Theatre marking the 20th anniversary of Spring Awakening’s off-Broadway debut on May 19 2006. Picture: Mia Scudds
The full cast in John Cleese’s Fawlty Towers The Play, on tour at the Grand Opera House, York. Picture: Hugo Glendinning
FROM the hotel shenanigans of Fawlty Towers to the uplifting Yorkshire tale of Calendar Girls, Pixies’ 40th anniversary tour to Daniel Sloss’s bitter comic bite, Charles Hutchinson locates cultural hotspots aplenty.
Don’t mention the war: John Cleese’s Fawlty Towers: The Play, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm today, tomorrow and Saturday matinees
FIFTY years since John Cleese and Connie Booth’s chaotic hotel sitcom graced British television screens, Monty Python alumnus Cleese has adapted three vintage Fawlty Towers episodes for a stage play.
Following a sold-out West End season, Caroline Jay Ranger directs the 18-strong tour cast featuring Danny Byrne’s calamitous Basil Fawlty, Mia Austen’s exasperated wife Sybil, Joanne Clifton’s stoical chamber maid Polly and Paul Nicholas’s bumbling Major. Box office: atgtickets.com/york.
Pixies: Making their York debut after 40 years tonight
Recommended but sold out already: Pixies: Pixies 40, Celebrating 40 Years, York Barbican, tonight, doors 7pm
PIXIES are playing York for the first time in their 40-year career, opening the 13-date British and European leg of the Pixies 40 tour at the Barbican, the only Yorkshire show. Celebrating four decades since their formation in Boston, Massachusetts, the American alt.rock band’s founding members, Black Francis, Joey Santiago and David Lovering, are joined by bassist Emma Richardson. Gans support.
Jerron Paxton: Singing the blues at NCEM tonight
The Crescent and Brudenell Presents present Jerron Paxton, National Centre for Early Music, York, tonight, 8pm
SOUTH Central Los Angeles-born singer-songwriter and multi-instrumentalist Jerron Paxton’s lived-in voice and California drawl underpin a stripped-down concoction of blues, ragtime, folk and old-time Black music styles that originated nearly a century ago, as heard on his latest album, Things Done Changed, released on Smithsonian Folkways in 2024.
“I write and sing about the culture I come from. It seems a bit neglected,” says New York-based Paxton, who plays guitar, banjo, piano and violin. As journalist Lynell George expresses in the liner notes: “It’s all there…you’ll discover context and background: the history of people and place and the come-what-may gamble of life-altering journeys.” Box office: 01904 658338 or ncem.co.uk.
Sandy Nicholson, front, left, Katie Melia and Alexa Chaplin in rehearsal for York Musical Theatre Company’s Calendar Girls The Musical
Yorkshire musical of the week: York Musical Theatre Company in Calendar Girls The Musical, Joseph Rowntree Theatre, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee
KATHRYN Addison directs York Musical Theatre Company in Cheshire childhood friends Gary Barlow and Tim Firth’s musical account of the true story of a Yorkshire group of ordinary Women’s Institute members doing something extraordinary after the death of a much-loved husband.
When they decide to make an artistic nude calendar for a cancer charity, upturning preconceptions is a dangerous business, leading to emotional and personal ramifications that no-one could anticipate but bringing each woman unexpectedly into flower. Katie Melia’s Chris and Alexa Chaplin’s Annie lead the cast. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Dan Crawfurd-Porter in the role of Melchior in Inspired By Theatre’s Spring Awakening. Picture: Dan Crawfurd-Porter
American musical of the week: Inspired By Theatre in Spring Awakening, Theatre@41, Monkgate, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre marks the 20th anniversary of Spring Awakening’s off-Broadway debut in New York City by staging Duncan Sheik and Steven Sater’s raw, explosive coming-of-age musical in the matching week.
Cutting straight to the heart of youth, desire, repression and rebellion in 1890s’ Germany, Mikhail Lim’s actor-musician production follows a group of young people navigating sex, love and identity in a society that refuses to educate or protect them, drawing on German Expressionism and folkloric imagery to boot. Box office: tickets.41monkgate.co.uk.
1812 Theatre Company’s poster for Goodnight Mister Tom at Helmsley Arts Centre
Ryedale play of the week: 1812 Theatre Company in Goodnight Mister Tom, Helmsley Arts Centre, tonight until Saturday, 7.30pm plus 2.30pm Saturday matinee
JULIE Wilson directs Helmsley Arts Centre’s resident troupe, 1812 Theatre Company, in Goodnight Mister Tom. Adapted by David Wood from Michelle Magorian’s novel, the play is set during the Second World War, when sad, young William Beech is evacuated to the idyllic English countryside and builds a remarkable and moving friendship with the elderly recluse Tom Oakley. All seems perfect until William is devastatingly summoned by his mother back to London. Box office: 01439 771700 or helmsleyarts.co.uk.
Crumb of discomfort: Can castigated TV baking celebrity Petronella Parfait (Ellen Carnazza) mount a comeback in Badapple Theatre’s Crumbs? Picture: Karl Andre Photography
Bake-off of the week: Badapple Theatre Company in Crumbs, York Theatre Royal Studio, today until Saturday, 7,45pm, plus 2.30pm Thursday & Friday and 2pm Saturday matinees
FORMER TV baking celebrity Petronella Parfait is out of a job and out of her depth, trying to reinvent herself in the cut-throat world of social influencers. Can she keep the lights – and the oven – on as her live comeback show descends into delicious disaster? Expect big laughs, bold flavours, live bread making and a tasty treat for the audience at the end of Kate Bramley’s play as Green Hammerton’s Badapple Theatre Company returns to the Theatre Royal Studio. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Daniel Sloss: Acidic comedy at York Barbican tomorrow
Snappiest show title of the week gig of the week: Daniel Sloss, Bitter, York Barbican, tomorrow, 8pm
ACERBIC Scottish wit Daniel Sloss likes to keep his titles brief. After Jigsaw, Dark, X, Socio, Hubris, Now and Can’t, Sloss is Bitter in his 13th tour show, visiting York this weekend after playing 55 countries so far.
He has performed stand-up for more than half of his lifetime, sold out nine New York theatre seasons off-Broadway, appeared on the Conan show ten times on American television, broken Edinburgh Fringe box-office records and published his book Everyone You Hate Is Going To Die (Knopf/Penguin Random House) in 2021. Box office: yorkbarbican.co.uk.
The Wizard of York welcoming one and all to the magical WizardFest in York. Picture: The Story Of You
Magical event of the week: WizardFest, York, May 23 to 25
WIZARDFEST, York’s official Festival of Wizardry, waves its magic wand over the Spring Bank Holiday weekend as The Wizard of York conjures up spellbinding events, tours, trails, workshops, shows and fantastical food and drink.
Wizardry fans can book for the Wizard Walk of York, Brick Magic LEGO workshop, Wizard Family Rave, Giant Bubble Show or Wicked at City Screen Picturehouse. Expect owl appearances, dragons and the new Wizard Activity Zone on Parliament Street with wand making, face painting and more. Dress to impress for the free fancy dress parade from St Helen’s Square on Monday at 3pm. A digital map and full list of events with booking links can be found at wizardwalkofyork.com/wizardfest.
The Lightning Threads: Playing Ryedale Blues Club at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents The Lightning Threads, Milton Rooms, Malton, May 28, 8pm
FORMED in 2019, The Lightning Threads are an energetic electronic blues-rock power trio from Sheffield, influenced by The Black Keys, Gary Clark Jr, Cream and The Doors. They feature face-melting guitars, groove-ridden basslines and a multi-instrumentalist drummer simultaneously playing keys. Box office: 01653 696240 or themiltonrooms.com.
