Category: Music

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More Things To Do in York and beyond the last-minute shopping rush. Here’s Hutch’s List No. 52, from The Press, York

Casting a shadow: James Willstrop’s bullying bruiser Bill Sikes in Pick Me Up Theatre’s Oliver Twist at Theatre@41, Monkgate

THE myriad delights of Christmas entertainment shine through Charles Hutchinson’s tips to vacate the festive fireside.

Dickens at Christmas, but not A Christmas Carol: Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York, until December 30. 7.30pm performances on December 21, 27, 28 and 30, plus 2.30pm Saturday and Sunday matinees. No performances on December 23 to 26

HELEN Spencer takes the director’s reins and plays Fagin in York company Pick Me Up Theatre’s staging of Deborah McAndrew’s adaptation of Charles Dickens’s 1838 novel, described as a “a new version of Oliver with a festive twist”.

Not to be confused with Lionel Bart’s musical Oliver!, it does feature musical arrangements by John Biddle to to complement Dickens’s tale of Oliver Twist being brought up in a workhouse, sold into an apprenticeship and recruited by Fagin’s band of pickpockets and thieves as he sinks into London’s grimy underworld in his search for a home, a family and love. Box office: tickets.41monkgate.co.uk.

Harris Beattie and Jonathan Hanks in Northern Ballet’s revival of A Christmas Carol at Leeds Grand Theatre. Picture: Tristram Kenton

Christmas ballet of the week: Northern Ballet in A Christmas Carol, Leeds Grand Theatre, until January 4 2025

FIRST choreographed by Massimo Morricone and directed by Christopher Gable in 1992, Northern Ballet’s retired landmark production of A Christmas Carol is being revisited by director Federico Bonelli to the glee of longtime supporters and new audiences alike.

“Charles Dickens’s classic Victorian tale of redemption, with its message of human kindness and compassion, is something that resonates with us all, especially at this time of year,” says Bonelli. “Its iconic characters lend themselves so well to ballet”, complemented by Lez Brotherston’s colourful sets and costumes and Carl Davis’s festive score. Box office: 0113 243 0808 or leedsheritagetheatres.com.

Holly Cassidy and Grace Hussey-Burd in a scene from Riding Lights Theatre Company’s winter show A Christmas Cracker. Picture: Tom Jackson

Alternative Nativity play of the week: Riding Lights Theatre Company in A Christmas Cracker, Friargate Theatre, York, today to Christmas Eve, 11am and 1.30pm each day; 6pm, first three days; 4pm, last day

IN Paul Birch’s first play as artistic director of Riding Lights, world-famous storyteller Ebenezer Sneezer is lost, with snow in her wellies and faithful canine companion Cracker full of strange ideas about Christmas.

When caught taking shelter in Mrs McGinty’s barn, she allows them to stay on the condition that Ebenezer brings her glad tidings with her stories. If so, a hot supper awaits. If not, exit pronto. Ebenezer must triumph over not only Mrs McGinty’s frozen heart but also Deadly, a dastardly donkey ready to kick comfort and joy out of his stable. Box office: 01904 613000 or ticketsource.co.uk/ridinglights.

The poster for The Snowman screenings with live orchestra at York Barbican

Christmas film & music event of the week: The Snowman with Live Orchestra, York Barbican, Sunday, 1pm and 4pm

CARROT Productions presents two screenings of Dianne Jackson and Jimmy T Murakami’s animated 1982 film with the accompaniment of a live orchestra of professional musicians.

Raymond Briggs’s story of a young boy’s Christmas snowman magically coming to life for a journey to meet Santa Claus will be shown with The Snowman And The Snowdog at 1pm and The Bear, The Piano, The Dog And The Fiddle at 4pm. Each show includes a fun introduction to the orchestra and a visit from the Snowman himself. Box office: yorkbarbican.co.uk.

Shed Seven’s Paul Banks and Rick Witter: Performing as an acoustic duo at Huntington Working Men’s Club in the last gigs of their 30th anniversary celebrations this weekend. Picture: David Harrison

Recommended but sold out already: Shed Seven’s Rick Witter and Paul Banks, Huntington Working Men’s Club, York, tonight and Sunday, doors 7pm

AFTER two number one albums in a year, summer shows in York Museum Gardens and their biggest ever tour, Shed Seven end their 30th anniversary celebrations back home in York, where lead singer Rick Witter and guitarist Paul Banks play a weekend of acoustic sets in the intimate setting of a working men’s club.

“We’re finishing the year in the village where Rick and I first met back in 1984, and where all of this began,” says Banks. “What a journey we’ve been on.” Sheds’ bassist Tom Gladwin serves up a DJ set too. Box office for returns only: store.shedseven.com.

Nun better: Freida Nipples hosts her Baps & Buns burlesque Christmas cabaret at Rise@Bluebird Bakery, Acomb

Feast your eyes on: Freida Nipples’ Baps & Buns Burlesque Christmas Cabaret, Rise@Bluebird Bakery, Acomb Road, Acomb, tonight, 8pm; doors open at 7pm

YORK’S queen of burlesque, Freida Nipples, presents drag, comedy and showgirls in her Baps & Buns Christmas Cabaret with festive good cheer after a joyous year of shows at Rise, Acomb’s answer to Paris’s Folies Bergère.

“Prepare yourself for an evening of debauchery and glamour in Acomb,” says Freida. “The big question is: are you ready for it?!” Box office: bluebirdbakery.co.uk/rise.

Central Methodist Church: Hosting City Screen Picturehouse’s pop-up Christmas Cinema at Saint Saviourgate, York

Pop-up film event of the festive season: City Screen Picturehouse presents Christmas Cinema at Saint Saviourgate, The Great Hall, Central Methodist Church, St Saviourgate, York, until December 23

CITY Screen Picturehouse, York, has set up a pop-up screen at Central Methodist Church for the Christmas season. Dougal Wilson’s Paddington In Peru (PG) will be shown at 4pm on Sunday, followed by Jon Favreau’s Elf (PG) at 7pm and Monday screenings of Robert Zemeckis’s The Polar Express (U) at 4pm and Frank Capra’s season-closing 1946 chestnut It’s A Wonderful Life (U) at 7pm. Box office: picturehouses.com/YorkXmas.

Ronan Keating: Playing at York Racecourse Music Showcase Weekend next summer. Picture: Supplied by York Racecourse

Outdoor gig announcement of the week: Ronan Keating, York Racecourse Music Showcase Weekend, July 26

IRISH singer, charity campaigner and breakfast show host Ronan Keating will perform after the Saturday race card as the first act to be confirmed for next summer’s Music Showcase Weekend on Knavesmire. A further act will be announced for the evening meeting on July 25.

Keating, 47, has three decades of hits to call on, from Boyzone boy band days to his solo career, from Love Me For A Reason and When You Say Nothing At All to Life Is A Rollercoaster and If Tomorrow Never Comes. Olly Murs is confirmed already for the new 2025 race day of June 28. For race day tickets, go to: yorkracecourse.co.uk.

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Totally gravy or absolute giblets? 2024’s Christmas albums toasted or roasted…

Heart-warming Christmas classics with Karen and Richard Carpenter, revisited in 2024

Carpenters, Christmas Once More (A&M/Ume) ****

Wrapping: A nice new sleeve packages a compilation of much-loved classics. Search for the Gold Vinyl limited edition pressing.

Gifts inside: Carpenters fans already will be familiar with their Christmas Portrait album from 1978 and Karen’s posthumous collection, An Old Fashioned Christmas, from 1984. The best of these songs and the inclusion of Merry Christmas Darling, featuring the Royal Philharmonic Orchestra, are given a remix from Richard Carpenter.

Style: Karen and Richard Carpenter’s music is a timeless, classy staple.

’Tis the reason to be jolly: Christmas with the Carpenters is as traditional and as heart-warming as watching It’s A Wonderful Life.

Scrooge moan:  Isn’t it tragic that we lost Karen so early.

White Christmas? Oh, there are lots of wintry references: Sleigh Ride, The First Snowfall and Let It Snow, Let It Snow, Let It Snow!

Blue Christmas? Of course there are sad songs on here! Far too many to list.

Stocking or shocking? Every home should have a Christmas Carpenters album. It’s the law!

Reviewed by Ian Sime

Jennifer Hudson: She comes bearing gifts of Gospel power

Jennifer Hudson, The Gift Of Love (Interscope) *****

Wrapping: Lucky ones will opt for the red vinyl version of Ms Hudson’s fourth studio LP. However, the bland, uninspiring artwork does not do justice to a superlative collection of Old School Gospel.

Gifts inside: Four brand-new songs and ten standard covers or traditional carols all given JHUD’s unique Gospel twist.

Style: The roots of this deep Gospel collection come from the Church. Slight deviations into Big Band (Winter Wonderland) and jazz (Almost Christmas, featuring The Common) showcase a most spiritual Yuletide collection.

’Tis the reason to be jolly: Although Jennifer Hudson has proved to be an incredibly versatile vocal talen,t adept at covering many a genre, this album visits the foundations of her talent. Few can carry off Go Tell It On The Mountain like this diva.

Scrooge moan: The download version includes tracks missing from the physical collection.

White Christmas? Winter Wonderland and Jingle Bells receive a make-over. However, mostly this collection is deeply Spiritual, without a flake of snow or glitter.

Blue Christmas? There is a time and a place for The Gift Of Love, which features Carol Of The Bells, O Holy Night, Christmas Song and a Deep Southern take on Auld Lang Syne. Although a deeper shade of blue than Wham or Shakin’ Stevens, this is an album to savour in many a future Christmas.

Stocking or shocking? This is my Christmas album of choice in 2025. However, not everyone likes their Christmas fare so raw or unsweetened. Choose the recipient wisely.

Reviewed by Ian Sime

Ben Folds: Heading home for Christmas

Ben Folds, Sleigher (New West Records) ****

Wrapping: Bespectacled Ben walking his dog through a moon-lit, snow-dusted cityscape at midnight on Christmas Eve. Same skyline and houses, but no sign of Ben, as the sun rises on Christmas Day morning on the back sleeve. Inside, all the credits, including Amanda  Stephan for “Laughing” on track #8. No lyrics or writer’s notes, however.

Gifts inside: Seven originals, including a brace of instrumentals, by North Carolina-born, piano-playing, indie pop songwriter Ben Folds, 58, on his first holiday album and sixth studio set, complemented by titivated covers of Robert Wells and Mel Tormé’s 1945 chestnut The Christmas Song (slow and whisky warm), Burt Bacharach’s chocolate-rich 1962 easy-listener The Bell That Couldn’t Jingle and jazz pianist Seger Ellis’s 1955 novelty number You Don’t Have To Be A Santa Claus, the playful album closer.

Style: Imagine the vintage crooning Christmas chops of Andy Williams crossed with Vince Guaraldi Trio’s 1965 masterpiece A Charlie Brown Christmas, replete with jingling bells, twinkling piano, swelling strings and Bacharach flourishes. Romantic too on the duet We Could Have This, sung with Christmas Eve anticipation with co-writer Lindsey Kraft.

’Tis the reason to be jolly: Christmas Time Rhyme could have been penned by The Beach Boys, harmonies et al.

Scrooge moan: At 2.36am, on Sunday, May 26 2024, Folds decided he needed one more song to complete the album, calling on ChatGPT to write Christmas lyrics in “the parlance of today”. The robotic nonsense of Xmas Aye Aye suggests he should have gone to bed instead.

White Christmas? No sign of that weather forecast of a festive favourite, but instant classic Sleepwalking Through Christmas demands the Michael Bublé cover treatment.

Blue Christmas? Folds’ opening instrumental, Little Drummer Bolero, could not be bluer. Likewise the sanguine reflections of Maurice And Me, songwriting on a par with Neil Sedaka or Randy Newman, on an album that adroitly balances festive cheer and cheese with the season’s melancholia as Folds charts the passing years, the hopes and fears, the mounting memories and losses, of Christmas past, present and AI future.

Stocking or shocking? Shocking album title but Ben Folds stocks Sleigher with four new Christmas corkers that suggest he is a gift to festive songwriting.

Reviewed by Charles Hutchinson

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REVIEW: Martin Dreyer’s verdict on Intesa at York Early Music Christmas Festival

Intesa’s Lucine Musaelian and Nathan Giorgetti

NCEM Platform Artists:  Intesa, A Merry Conceit, Bedern Hall, Bedern, York, December 15

IT is rare, even under the umbrella of Early Music, to encounter a concert as wide-ranging as this. Intesa, who are Lucine Musaelian and Nathan Giorgetti and combine playing bass viols with singing, roamed as far back as 5th-century Armenia while including a 21st-century piece by Musaelian herself in this mid-morning recital.

The programme was devised to show the coming of light to a dark and wintry world and had an appropriately religious flavour. Armenia became the first officially Christian state in AD 301, when its king was converted. Its largely musical liturgy depends on eight basic modes (octoechos), considerably pre-dating Gregorian chant, which were reformed in the 12th century by St Nerses IV, who was nicknamed “Shnorhali” (Gracious).

So it was fascinating to begin with one of Shnorhali’s own pieces, Aravot Luso (O Morning Of Light), which involved hypnotic drone under sinuous soprano. It was quite a stretch to Morley’s duet madrigal Miraculous Love’s Wounding immediately afterwards, although we needed to hear a little more from Giorgetti’s light tenor.

Lucine Musaelian: Fiery melismas

Two more traditional Armenian songs proved catchy, especially when jazzed up with plucked viols, as in Shogher jan, which marks the return of friends along with the cool weather. They were preceded by the superb Maria, Dolce Maria by Francesca Caccini, the first woman known to have composed operas, where Musaelian’s fiery melismas – bunches of notes to a single syllable – added considerable intensity.

At the centre of it all lay a touching Canzonetta Spirituale by Tarquinio Merula, an extended rocking lullaby over a bass ostinato that presages the Christ-child’s ultimate fate. That still left Dowland’s timeless lute song Time Stands Still, one viol simulating a lute, and two gamba duets by Tobias Hume, where Intesa’s virtuosity really had a chance to blossom.

Muselian’s love-song to her own poetry, Morning Light, was gracefully dusted with both syncopation and viol harmonics, the latter a first in my experience.

Finally, Intesa took us to Wales, with All Through The Night. We had traversed eight countries and 16 centuries, a tasting menu if ever there were. Tasty too.

Review by Martin Dreyer

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REVIEW: The Howl & The Hum band night, The Crescent, York, December 17 *****

The Howl & The Hum’s singular voice, Sam Griffiths. Picture: Stewart Baxter

TONIGHT will be the last time The Howl And The Hum frontman and sublime songwriter Sam Griffiths plays The Crescent in York before packing his bags on Thursday to start a new life in London.

Latterly living in Leeds, but with his band rooted in the York scene since 2017, Sam is to take up a post teaching guitar at a primary school and will live in Walthamstow, home to Europe’s longest street market, by the way.

He hinted at the move south during The Howl & The Hum’s divine set at their traditional Christmas gig at The Crescent last night, a tease greeted with jovial Yorkshire jeers, and then confirmed his exit in conversation with CharlesHutchPress post-show, still dressed as a King from the band’s Nativity play attire for their 17-song set.

Sam will play an intimate, seated solo set under The Howl & The Hum moniker tonight when Diehard Christmas, one of several Scrooge-spirited withering wintry missives he has composed, will definitely feature.

CharlesHutchPress, reviewing elsewhere earlier in the evening, caught the second half of last night’s  set, after support spots by Seafarers’ Scottish songwriter and saxophonist Matthew Herd and Leeds musician Marnie Glum.

Herd’s sax and keys have become integral to Griffiths’ new line-up of The Howl And The Hum, also featuring Sam’s Leeds flatmate Naomi McLeod on bass, Dave Hamblett on drums and Arun Thavasothy on guitar.

His King’s crown removed after Echo, Griffiths went into solo mode on guitar for No Calories In Cocaine, Sunny Christmas – written on a cocktail of spite and drink, he said – and Hostages, a trilogy of blissed release from pain marked by a stillness and grace in performance that has come to mark his magnetic stage craft, laced with disarming wit and charm between songs.

Griffiths’s fellow Kings and the Virgin Mary (or maybe Naomi  was an angel?) returned for a glorious home run of Sweet Fading Silver, Hall Of Fame, second album title track Same Mistake Twice and debut single Godmanchester Chinese Bridge, still arguably the most beautiful song ever written in York.

Herd’s saxophone grows on you, the more it caresses each Griffiths search for beauty in nature or forensic coroner’s inquest into relationship fallouts or navigation through the vulnerabilities of a wasted night.

But that’s the thing with Sam Griffiths: he keeps surpassing that early peak, whether Dirt or first encore The Only Boy Racer Left On The Island, He has even found the perfect finale in the communal balm of the “Everything will be alright’ closing refrain to Everything Is Not On Fire.

After more than 12 years, this eloquent, exquisitely poetic University of York alumnus is returning south, but with the promise of Christmas reunions at The Crescent for years to come.

In the meantime, thank you, Sam, for so many Miserable Disco nights. It’s been emotional, as Vinnie once said. May The Howl & The Hum prosper, wherever the path leads you next.

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What’s On in Ryedale, York and beyond at the height of Christmas cheer. Here’s Hutch’s List No. 46, from Gazette & Herald

Helen Spencer’s Fagin in Pick Me Up Theatre’s production of Deborah McAndrew’s Oliver Twist at Theatre@41, Monkgate, York

THE myriad delights of Christmas entertainment shine through Charles Hutchinson’s tips to vacate the festive fireside.

Dickens at Christmas, but not A Christmas Carol: Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York, until December 30. 7.30pm performances on December 18 to 21, 27, 28 and 30, plus 2.30pm Saturday and Sunday matinees. No performances on December 23 to 26

HELEN Spencer takes the director’s reins and plays Fagin in York company Pick Me Up Theatre’s staging of Deborah McAndrew’s adaptation of Charles Dickens’s 1838 novel, described as a “a new version of Oliver with a festive twist”.

Not to be confused with Lionel Bart’s musical Oliver!, it does feature musical arrangements by John Biddle to to complement Dickens’s tale of Oliver Twist being brought up in a workhouse, sold into an apprenticeship and recruited by Fagin’s band of pickpockets and thieves as he sinks into London’s grimy underworld in his search for a home, a family and love. Box office: tickets.41monkgate.co.uk.

Northern Ballet in A Christmas Carol: Festive favourite makes its return to Leeds Grand Theatre

Christmas ballet of the week: Northern Ballet in A Christmas Carol, Leeds Grand Theatre, until January 4 2025

FIRST choreographed by Massimo Morricone and directed by Christopher Gable in 1992, Northern Ballet’s retired landmark production of A Christmas Carol is being revisited by director Federico Bonelli to the glee of longtime supporters and new audiences alike.

“Charles Dickens’s classic Victorian tale of redemption, with its message of human kindness and compassion, is something that resonates with us all, especially at this time of year,” says Bonelli. “Its iconic characters lend themselves so well to ballet”, complemented by Lez Brotherston’s colourful sets and costumes and Carl Davis’s festive score. Box office: 0113 243 0808 or leedsheritagetheatres.com.

The poster for HAC Around The Tree, the last show of 2024 at Helmsley Arts Centre

Festive celebration of the week: HAC Around The Tree, Helmsley Arts Centre, tomorrow, 7.30pm

JOIN the Helmsley Arts Centre Singers, 1812 Theatre Company, 1812 Youth Theatre, Ryedale Writers and invited guests for an evening of theatre, music, poetry and prose around the Christmas tree. The bar will be serving mulled wine and mince pies to spark up the festive spirit in Helmsley Arts Centre’s last event of 2024. Box office:  01439 771700 or helmsleyarts.co.uk.

Step Into Christmas: Festive hit after festive hit at York Barbican

Christmas songs galore: Step Into Christmas, York Barbican, tomorrow, 7.30pm

THIS feel-good Christmas show brings all the magic of the season to musical life with favourite festive songs, from All I Want For Christmas Is You, Last Christmas, Jingle Bell Rock, Stay Another Day and Let It Snow to White Christmas, Do They Know It’s Christmas, A Winter’s Tale and Merry Xmas Everybody. Box office: yorkbarbican.co.uk.

Chapter House Choir: Choral music old and new in the Nave of York Minster

Carol concert of the week: Chapter House Choir, Carols By Candlelight, York Minster Nave, Friday, 7.30pm, doors 6.45pm

THE Chapter House Choir, directed by musical director Benjamin Morris, combine with the Chapter House Youth Choir, directed by Charlie Gower-Smith, for this ever-popular candle-lit concert, first performed in 1965 and now held in the Nave. In addition to traditional choral music old and new, festive music will be played by the chamber choir’s Handbell Ringers. For returned tickets only, check yorkminster.org/whats-on/event/carols-by-candlelight/or contact 01904 557256.

Gary Stewart: Presenting tributes to Fleetwood Mac’s Rumours and Paul Simon’s Graceland at York Barbican

Tribute gig of the week: Gary Stewart presents Fleetwood Mac’s Rumours and Paul Simon’s Graceland, York Barbican, Friday, 8pm

SCOTTISH-BORN Easingwold musician Gary Stewart presents Weetwood Mac and his Graceland band in a celebration of two career-defining works, Fleetwood Mac’s Rumours, from 1977, and Paul Simon’s Graceland, from 1986. “With combined sales of more than 50 million worldwide, both albums have stood the test of time and are cherished to this day,” says Stewart.

“Littered with gossip and controversy, Rumours and Graceland elevated their artists to new heights of popularity, inspiring the popular music canon for decades to come. This evening celebrates a time of artistic discovery and re-creates the excitement of the era, with these seminal albums lovingly interpreted by some of today’s finest touring musicians.” Box office: yorkbarbican.co.uk.

Mike Newall: Laidback storytelling at York Barbican

Comedy gig of the week: Laugh Out Loud Comedy Club Christmas Special, York Barbican, featuring Mike Newall, Friday, 8pm

MANCUNIAN Mike Newall, who appeared on Britain’s Got Talent, takes top billing on with his laidback storytelling, Swiss clock timing and tack-sharp turn of phrase. “He’s like your best, most humorous friend – only funnier,” says promoter and master of ceremonies Damion Larkin. Two support acts feature too. Box office: lolcomedyclubs.co.uk or yorkbarbican.co.uk.

Holly Cassidy with the puppet of Cracker in A Christmas Cracker at Friargate Theatre, York. Picture: Tom Jackson

Alternative Nativity play of the week: Riding Lights Theatre Company in A Christmas Cracker, Friargate Theatre, York, December 21 to 24, 11am and 1.30pm each day; 6pm, first three days; 4pm, last day

IN Paul Birch’s first play as artistic director of Riding Lights, world-famous storyteller Ebenezer Sneezer is lost, with snow in her wellies and faithful canine companion Cracker full of strange ideas about Christmas.

When caught taking shelter in Mrs McGinty’s barn, she allows them to stay on the condition that Ebenezer brings her glad tidings with her stories. If so, a hot supper awaits. If not, exit pronto. Ebenezer must triumph over not only Mrs McGinty’s frozen heart but also Deadly, a dastardly donkey ready to kick comfort and joy out of his stable. Box office: 01904 613000 or ticketsource.co.uk/ridinglights.

The Snowman: Two screenings with a live orchestra at York Barbican

Christmas film event of the week: The Snowman with Live Orchestra, York Barbican, Sunday, 1pm and 4pm

CARROT Productions presents two screenings of Dianne Jackson and Jimmy T Murakami’s animated 1982 film with the accompaniment of a live orchestra of professional musicians.

Raymond Briggs’s story of a young boy’s Christmas snowman magically coming to life for a journey to meet Santa Claus will be shown with The Snowman And The Snowdog at 1pm and The Bear, The Piano, The Dog And The Fiddle at 4pm. Each show includes a fun introduction to the orchestra and a visit from the Snowman himself. Box office: yorkbarbican.co.uk.

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REVIEW: Martin Dreyer’s verdict on Art Sung: Edith Sitwell, York Late Music at Unitarian Chapel, St Saviourgate, York, December 7

Elizabeth Mucha: Pianist and founder of Art Sung

ART Sung, created by pianist Elizabeth Mucha, is a variable group that unites song and narrative.

In this incarnation, they were two singers, two pianists, a dancer and a videographer, all focused on the life of Edith Sitwell, Behind Her Façade – who can lay claim to be Scarborough’s most famous daughter.

Young William Walton – “Willy” as she called him – knew the Sitwell family better than most, having encountered them at Oxford and lodged with them in London for more than a decade.

His decision to set Edith’s Façade poems thrust him onto the musical map; its success can be said to have benefited her equally. Neither looked back thereafter and, by the time of her death in 1964, she had become the grande dame of English poetry.

Art Sung made numbers from Façade the backbone of its exploration of Sitwell’s life, with mezzo Lucy Stevens inhabiting the role to her fingertips, dressed all in black, including gloves and turban-style hat.

Realism was enhanced with the very curtain used in the work’s 1923 premiere, from behind which she had projected her poetry through a megaphone. James Symonds contrived a video backdrop here with animated sketches intensifying her reminiscences.

During a potpourri of some 30 items, other composers had a welcome look-in. There was a surprising song from Michael Head, The King O China’s Daughter’ and two Ned Rorem settings of Sitwell too.

Two settings of Olivia Diamond’s Sitwell-related poetry by Hayley Jenkins made an impact, the one with exciting speech-song, the other involving tenor Michael Gibson in a solemn line, which he controlled smoothly.

He also offered an all-too-brief extract from Still Falls The Rain, Sitwell’s meditation on the raids of 1940, which Britten set as his Canticle III. It deserved more, but since this was mainly a frolic it may not have seemed to fit.

An opportunity was certainly missed to look into The Heart Of The Matter, a Sitwell programme devised especially for the Aldeburgh Festival in 1956, with Britten’s music.

Three extracts from Satie’s ballet Parade, played with considerable panache by pianists Elizabeth Mucha and Nigel Foster, either or both of whom were present throughout the evening, offered an opportunity for dancer Roxani Eleni Garefalaki to evoke the spirit that led to the Roaring Twenties. She reappeared in a fragment from West Side Story, recalling Sitwell’s visit to the USA.

A Joseph Horovitz setting of Out, Out Damned Spot (Macbeth) near the end accurately encapsulated the mixture of enthusiasm and derangement that Stevens had so vividly painted in this wide-ranging programme.

Review by Martin Dreyer

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Helen Spencer takes on double challenge of playing gang boss Fagin and directing Oliver Twist for Pick Me Up Theatre

Helen Spencer’s Fagin in Pick Me Up Theatre’s Oliver Twist at Theatre@41, Monkgate, York

IN a new twist, the opening of Pick Me Up Theatre’s Oliver Twist at Theatre@41, Monkgate, York, is being delayed by a day through cast illness.

All being well, the curtain will now rise on the York company’s winter production on Wednesday night.

At the show’s helm both on stage and off is Helen “Bells” Spencer, who is not only playing Fagin in Deborah McAndrew’s adaptation of Charles Dickens’s 1838 novel, but also has taken over the director’s seat from producer and designer Robert Readman five weeks ago.

“Robert started rehearsals while I was still rehearsing Last Five Years [Black Sheep Theatre Productions and Wharfemede  Productions’ November musical at the NCEM], so I wasn’t available until that was over, and then, after a while, he asked me to step in, taking over his vision.

“I’ve worked with Robert a lot over the last couple of years, so I know how his mind works. When Pick Me Up had to pull the original dates for Young Frankenstein, I took over the reins with Andrew Isherwood to re-mount the production, but this is a slightly different situation from that one, as we’re still working to Robert’s ideas.

Playwright Deborah McAndrew

“We have a lot of mutual respect, so I can crack on, but it’s certainly a challenge that so many young people are in it. We have two ‘teams’: two Olivers, two Dodgers, two Roses, two Bets and ‘Children’s’ roles too; there are about 12 young people in all, ranging from eight to 17, so I’m working with a big age differences in the young cast.”

Not to be confused with Lionel Bart’s musical Oliver!, McAndrew’s stage adaptation “on the surface looks like an easy show, but it’s definitely not,” says Helen. “It’s incredibly complex, and one of the things that makes it harder is that no-one knows the songs in the way they do with Oliver! – and there are no recordings, bar for one song.”

Devised at the Bolton Octagon and staged at Hull Truck Theatre in December 2018 as “a new version of Oliver with a festive twist!”, McAndrew’s adaptation is an ensemble piece. “There’s a Greek-style chorus commenting on what’s happening and actors taking on different roles, so it’s quite a different way of working to what most people are used to in musical theatre,” says Helen.

“It’s not like coming on, singing a solo and going off, so the logistics have been more complex, especially when you have no familiarity with the score. I feel like what we got was the script and the basic score and we’ve tried to create our version with the actors we have and the musicians we have.

“I’m really glad I haven’t seen it before as we just want to do a version that makes sense to us, with the core adult cast pulling together to create the ensemble, and some of the adversity we’ve experienced has worked to our advantage.”

Into the dark: James Willstrop’s Bill Sikes

Readman has designed the set with a bridge across the stage. “We’ve been lucky to get into the theatre early enough to work on the show with the set in place. It  will look fantastic, very atmospheric, and not what people might expect at all,” says Helen.

“The show will have Christmassy moments but it will have a darkness to it too to allow characters like James Willstrop’s Bill Sikes to be really horrible, which has been a real joy in rehearsals.

“When you think of actors like James, Jennie Wogan-Wells [who plays Nancy] and me, we’re very happy to do musical theatre, with James as the classic leading man, Jennie as the bright-eyed leading lady, and me doing comic parts, so I think people will be surprised to see us in these darker roles – though I used to do straight acting roles before musical theatre and I always enjoyed playing serious parts.”

Helen will play Fagin, who runs a band of pickpockets and thieves in London’s grimy Victorian underworld, where Oliver is the new recruit in his search for a home, family and love. “I suppose the most obvious thing to say is that I’m a female and the original was not,” she says.

“We had a discussion about whether I should play it as a woman, or a women playing a man, and we decided to lean into being a female taking on a male part, so all the references are still to ‘he’ and ‘him’. I’m playing him as an old man.

Tracey Rea’s Widow Corney and Nick Sephton’s Mr Bumble in a scene from Pick Me Up Theatre’s Oliver Twist

“We decided to see how it would feel, and it does feel right. The way the script has been written, it is right to do it this way, rather than make it wholly appropriate to a woman. It’s so exciting to play a male character, which I would never do normally.

“To have the chance to do that, having a face-off and a bit of fisticuffs with Sikes, it’s so liberating, even though he’s an older, frailer man, because if you were an older woman you wouldn’t deliver it that way.”

Describing the music, Helen says: “What strikes me is that they’re not conventional songs; they are more conversational songs, no big numbers, but there are a couple of fun chorus bits. It’s very much about creating the atmosphere in the scenes, rather than through big numbers and big choreography.

“What we need is the actors’ expertise because the songs are difficult and the text is difficult, and that’s been a challenge for even our most experienced cast members, but everyone has risen to it.”

Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York, December 18 to 30, 7.30pm, except December 23 to 26 and 29; Saturday and Sunday matinees, 2.30pm. Box office: tickets.41monkgate.co.uk.

Who’s in Pick Me Up Theatre’s cast for Oliver Twist?

Frankie Whitford: Playing Oliver Twist in Oliver Twist at Theatre@41, Monkgate, York

Oliver Twist – Frankie Whitford/Logan Willstrop; Fagin – Helen Spencer; Mr Bumble – Nick Sephton; Widow Corney – Tracey Rea; Mr Sowerberry and Mr Brownlow – Neil Foster; Mrs Sowerberry and Mrs Bedwin – Rhian Wells; Noah Claypole – Matthew Warry; Charlotte Sowerberry – Ruby Salter; Artful Dodger – Libby Greenhill/Reuben Baines; Nancy – Jennie Wogan-Wells; Bill Sikes – James Willstrop; Bet – Rosie Musk/Tempi Singhateh; Rose – Isla Whitford/Rosie Musk; Dr Grimwig – Rich Musk; Children – Lao Singhateh, Matilda Foster, Tempi Singhateh and Bea Wells.

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REVIEW: Steve Crowther’s verdict on Ensemble Augelletti, York Early Music Christmas Festival 2024

Ensemble Augelletti: “Inspirational programme”

Ensemble Augelletti, The Morning Star, National Centre for Early Music, York, December 13

IT didn’t take me long to work out that the Morning Star in question was not “the only English-language socialist daily newspaper in the world” (Wikki), but also the name for the planet Venus when it appears in the east before sunrise.

Indeed, Ensemble Augelletti’s inspirational programme “celebrating star-gazers across the centuries” was itself inspired by one Edward Piggott who, in a letter dated 23 December 1784, “recounted his discovery of variable stars and made York the centre of the astronomical world”, where it has remained ever since.

The cosmic journey began with Sonata a Tre Pastorale by Johann Heinrich Schmelzer (a contemporary of the Austrian Jesuit astronomer Johann Grüber). I found the performance was simply charming, particularly the opening courteous exchanges between Olwen Foulkes (recorder) and Ellen Bundy (violin).

The two instrumentalists maintained their musical conversation throughout Giovanni Battista Fontana’s Sonata in D major no. 8. The virtuosic and rhythmic shifts enhanced the vibrancy of the performance. It’s worth noting, maybe, that both Fontana and Biagio Marini were composing during an era of remarkable astronomical advancements.

Benedict Williams performed Marini’s Sonata Sopra La Monica à 3, op. 8 no. 45, on the harpsichord instead of the organ. This change provided richer support for the violin and recorder. However, the performance of the piece, originally written for two violins and basso continuo, once again highlighted the soloist’s exchanges.

They appeared to be engaged in a musical competition, a musical one-upmanship (if I may be so bold), alternating florid, ornamented passages with homophonic textures. I particularly enjoyed the ending.

 La Monica was a popular song that had been used by other composers to create sets of variations. Therefore, it was fitting that Olwen Foulkes prefaced the Marini with a beautiful performance of the Christmas tune Unto Us A Son Is Born by Jacob van Eyck.

With Henry Purcell’s Sonata No. 9 in F major, Z.810, affectionately known as the “Golden” Sonata, the programme transitioned into the distinctive Baroque style. The opening Allegro once again showcased the lively, intricate conversations between the two soloists.

The melancholic Largo, filled with the poignant imagery of “dying falls”, evoked profound emotions, but mercifully, it was lifted by a spirited contrapuntal Canzona. Once more, after a contemplative yet sombre reflection (Grave), the work concluded with a joyous dance, brimming with vitality. The knowing cadence is always guaranteed to bring a smile to your face, and it certainly did.

Handel’s A Flight Of Angels in C major, HWV600, was composed for a musical clock with a tiny organ inside, crafted by Charles Clay. I found the title, the concept and the performance delightful.

Corelli’s Sonata in F major, op. 5 no. 3 had so much going for it: the highly virtuosic opening Allegro with cadenza windows, as well as the driving energy and shaping of the concluding Allegro. But it was the tenderest of harpsichord and recorder duets in the central Adagio which moved me the most.

Telemann’s Trio Sonata in A minor commenced with the most enchanting violin playing in the opening Affetuoso. It was a delicate, persuasive and tender performance. The unaccompanied duet between the recorder and violin in the closing Menuet was equally impressive, showcasing the profound musical understanding between the two players.

The performance was preceded by the composer’s Wie Schön Leucht Uns der Morgenstern (How Lovely Shines The Morning Star), a Chorale Prelude for solo organ. Benedict Williams’s rendition of this piece, based on a Lutheran hymn by Philipp Nicolai, was a delight.

 It was an intimate and almost hypnotic experience, listening to the performer skilfully weaving the composer’s diverse contrapuntal textures around the cantus firmus (fixed melody).

The Toccata Seconda & Canario by Giovanni Kapsberger were performed by Toby Carr on the theorbo. The opening Toccata is titled Arpeggiata, which is quite fitting. The playing was impeccable, showcasing the perfect technique. However, it sounded like Spanish music played on a guitar to me.

Well, the planets were certainly aligned in Mr Carr’s performance of this simple yet utterly seductive Canario. It essentially has a simple ground bass in 6/8 time with metric shifts (3/4), accompanied by the cosiest of melodies. The playing had a musical chocolatey comfort about it, so incredibly satisfying.

Heinrich Ignaz Franz von Biber’s Sonata in A major, La Pastorella, C.106, for violin and theorbo, is a virtuosic tour de force for the violin. While it may not possess the explosive fireworks of some of the more renowned sonatas, Ellen Bundy’s absolute mastery of the technical demands ensured an exhilarating performance experience. The piece also features moments of genuine charm.

For the final performance of this immensely gratifying concert, it was back to the ground bass, accompanied by the two instrumental protagonists, the recorder and the violin. They engaged in initial exchanges that escalated into rapid-fire volleys of melodic ideas, as if they were playing a game of musical tennis.

I would have appreciated hearing more from Benedict Williams (organ/harpsichord) as a solo contributor, but that’s a minor nitpick. Ensemble Augelletti is an incredibly impressive ensemble with a profound understanding of their innovative repertoire. They clearly enjoy playing together, and this joy was infectious.

P.S. I found the themed astronomy thread that runs throughout the entire programme to be delightfully bonkers. The example below is (meant to be) gently satirical…

Jeremy Paxman: “University of York, your starter for ten. What is the astronomical connection between composers George Frideric Handel and Arcangelo Corelli?”

University of York: “Corelli performed regularly in the Cardinal’s Monday evening concert series and benefited from his extensive music library, presided over by librarian and astronomer Francesco Bianchini (1662-1729).

“Both [composers] were members of the literary society Accademia dell’Arcadia and engaged in an exhilarating exchange of artistic and scientific research. Whilst Corelli became famous for his use of a new style of harmony that operates around the tension and release of diatonic dissonance and resolution, Biancini is remembered for research that includes…his study of Venus, the morning star.” (Olwen Foulkes)

Review by Steve Crowther

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More Things To Do in York & beyond as sprites & seagulls step into Christmas. Hutch’s List No. 51, from The Press, York

Pocklington Arts Centre cast members Levi Payne, left, Caitlin Townend and Dylan Allcock in Jack Frost’s Christmas Wish

CHRISTMAS shows dominate Charles Hutchinson’s recommendations but there is still room to fit in comedy and a homeward-bound singer-songwriter too.

East Riding Christmas play of the week: Jack Frost’s Christmas Wish, Pocklington Arts Centre, until December 24

ELIZABETH Godber’s second Christmas show for Pocklington Arts Centre invites everyone aged three to 103 to join Jack Frost (Levi Payne) and his friends Oslo the Rabbit (Dylan Allcock) and Blue the Winter Sprite (Caitlin Townend) as they race across the world to make his one wish come true: to be home for Christmas. Could that home be in East Yorkshire?

Wrap up warm for a frosty adventure from the team who delivered The Elves And The Shoemaker: Save Christmas last winter, steered by director Jane Thornton. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Saving Scarborough: Stephen Brailsford’s Captain Cliff in Captain Cliff & The Seagull Squad at the SJT. Picture: Tony Bartholomew

Coastal children’s play of the week: Captain Cliff & The Seagull Squad, The McCarthy, Stephen Joseph Theatre, Scarborough, until December 21

ON a busy day at Scarborough’s South Bay, judges from Britain’s Best Beach are soon to arrive, but after a big rush of tourists, the bins are overflowing with rubbish in a play for children aged up to six, written and directed by Rob Salmon for the SJT and CU (Coventry University), Scarborough.

Faced by litter everywhere and a pile of something sticky by the rock shop, who can save Scarborough? Step forward Captain Cliff and the Seagull Squad, who must complete four missions, one for each season. Cue a rescue adventure full of songs, silliness and festive fun. Box office: 01723 370541 or sjt.uk.com.

Mike Newall: Laidback storytelling at Laugh Out Loud Comedy Club

Comedy gigs of the week: Laugh Out Loud Comedy Club Christmas Specials, York Barbican, Michael Legge, tonight; Mike Newall, December 20, both 8pm

TONIGHT’S headliner, Michael Legge, combines improvised irreverence with spiky tongue-in-cheek antics. “This livewire performer has ‘funny’ popping out of him at every opportunity,” says promoter and master of ceremonies Damion Larkin.

Mancunian Mike Newall, who appeared on Britain’s Got Talent, takes top billing on Friday with his laidback storytelling, Swiss clock timing and tack-sharp turn of phrase. “He’s like your best, most humorous friend – only funnier,” says Larkin. Both nights will feature two support acts too. Box office: lolcomedyclubs.co.uk or yorkbarbican.co.uk.

Ian Stroughair: Performing at York’s Annual Community Carol Concert

York’s Annual Community Carol Concert, York Barbican, Sunday 2pm

YORK RI Golden Rail Band, Knavesmire Primary School, Heworth Community Choir and Ian Stroughair, York’s West End showman behind drag diva Velma Celli, join forces for an afternoon of Christmas carols and songs.

Regular participant  Steve Cassidy will sing with the ensemble, while the community singing will be led by musical director Mike Pratt. Proceeds go to the Lord Mayor and Sheriff of York’s Christmas Cheer Fund and York Hospital Radio. Box office: yorkbarbican.co.uk.

Snow queen of folk: Kate Rusby’s Winter Light tour arrives at York Barbican on December 17

Christmas folk concert of the week: Kate Rusby, Winter Light Tour, York Barbican, December 17, 7pm

BARNSLEY folk songstress Kate Rusby draws on her seven Christmas albums – she released her latest, Light Years, in 2023 – for her annual celebration of South Yorkshire carols sung in pubs through the winter months.

Spreading Yuletide joy, Kate will be joined by her regular band, featuring her husband, producer, guitarist and banjo player Damien O’Kane, bolstered by the Brass Boys quintet. Look out for the fancy-dress finale. Box office: yorkbarbican.co.uk.

Sam Griffiths: Singer, songwriter and frontman of The Howl And The Hum. Picture: Stewart Baxter

Christmas double joy of the week: Please Please You & Brudenell Presents present The Howl & The Hum, The Crescent, York, full band band show, December 17, 7.30pm; solo show, December 18, 7pm

IN the wake of a sublime sold-out gig at Leeds Irish Centre on November 15 and the autumn release of second album Same Mistake Twice, York band The Howl & The Hum end the year with their now obligatory festive celebrations at The Crescent.

Frontman and songwriter Sam Griffiths will be joined by his full band – saxophonist and keyboard player Matthew Herd, drummer Dave Hamblett, guitarist Arun Thavasothy and bass player Naomi McLeod – on Tuesday night and will then play an intimate, stripped-back, seated solo show on Wednesday. Box office: thecrescentyork.com.

The poster for Step Into Christmas at York Barbican

Christmas songs galore: Step Into Christmas, York Barbican, December 19, 7.30pm

THIS feel-good Christmas show brings all the magic of the season to musical life with favourite festive songs, from All I Want For Christmas Is You, Last Christmas, Jingle Bell Rock, Stay Another Day and Let it Snow to White Christmas, Do They Know It’s Christmas, A Winter’s Tale and Merry Xmas Everybody. 

Meanwhile, the Barbican’s 7.30pm screening of the Christmas rom-com The Holiday with a live orchestra on December 16 has sold out. Box office: yorkbarbican.co.uk.

Homeward bound: Benjamin Francis Leftwich will make a sold-out return to York on December 19

Homecoming of the week: The Crescent & Brudenell presents Benjamin Francis Leftwich, National Centre for Early Music, York, December 19, 7.30pm

“I FEEL like there’s nowhere for me to hide on this record,” says York-born singer-songwriter Benjamin Francis Leftwich of Some Things Break, his fifth album, released in February. “I’m proud of so much of my earlier work, but trying to replicate that now would feel very obsequious and fake. I’m proud of this – it’s from the heart.”

Now living in London, Leftwich heads back to his home city for a sold-out show in the quietude of St Margaret’s Church, Walmgate.  Nadia Kadek supports. Box office for returns only: 01904 658338 or ncem.co.uk.

Chapter House Choir: Choral music old and new in Carols By Candlelight

Carol concert of the week: Chapter House Choir, Carols By Candlelight, York Minster Nave, December 20, 7.30pm, doors 6.45pm

THE Chapter House Choir, directed by musical director Benjamin Morris, combine with the Chapter House Youth Choir, directed by Charlie Gower-Smith, for this ever-popular candle-lit concert, first performed in 1965 and now held in the Nave. In addition to traditional choral music old and new, festive music will be played by the chamber choir’s Handbell Ringers. For returned tickets only, check yorkminster.org/whats-on/event/carols-by-candlelight/or contact 01904 557256.

Holly Cassidy with the puppet of Cracker in A Christmas Cracker at Friargate Theatre

Alternative Nativity play of the week: Riding Lights Theatre Company in A Christmas Cracker, Friargate Theatre, York, December 21 to 24, 11am and 1.30pm each day; 6pm, first three days; 4pm, last day

IN Paul Birch’s first play as artistic director of Riding Lights, world-famous storyteller Ebenezer Sneezer is lost, with snow in her wellies and faithful canine companion Cracker full of strange ideas about Christmas.

When caught taking shelter in Mrs McGinty’s barn, she allows them to stay on the condition that Ebenezer brings her glad tidings with her stories. If so, a hot supper awaits. If not, exit pronto. Ebenezer must triumph over not only Mrs McGinty’s frozen heart but also Deadly, a dastardly donkey ready to kick comfort and joy out of his stable. Box office: 01904 613000 or ticketsource.co.uk/ridinglights. 

The Corrs: Heading to the Scarborough coast next summer

Gig announcement of the week: The Corrs and Natalie Imbruglia, TK Maxx presents Scarborough Open Air Theatre, June 11 2025

THE Corrs, Irish sibling purveyors of sleek pop rock, lush harmonies and Celtic folk trimmings, will line up as ever with Andrea on lead vocals, piano and  tin whistle, Sharon on violin, piano and vocals, Caroline, on drums, piano and vocals, and Jim on guitar, keyboards and vocals.

Former Neighbours soap actress, Torn hit-maker and The Masked Singer 2022 winner Natalie Imbruglia will support. Box office: ticketmaster.co.uk.

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REVIEW: Martin Dreyer’s verdict on Bertolini, Bucheli & Chabard at York Early Music Christmas Festival, 7/12/2024

Australian soprano and NCEM Platform Artist Emilia Bertolini

Emilia Bertolini, Sergio Bucheli and Lucie Chabard, Love And Melancholy, National Centre for Early Music, York, December 7

NOT the least of the many pleasures thrown up by these festivals is the discovery of new talent in the NCEM Platform Artists’ programme.

Here we enjoyed the Australian soprano Emilia Bertolini, the French harpsichordist Lucie Chabard and the Mexican theorbist Sergio Bucheli, whose common denominator is that they undertook all or part of their training in London, underlining its status as the world capital of advanced music education.

Between songs by Purcell in this midday recital, they included chansons by three of his French contemporaries along with two instrumental interludes. Bertolini is in fact no stranger to North Yorkshire, having played Cupid in Venus & Adonis at last year’s Ryedale Festival with considerable flair. The same enthusiasm shone through her Purcell.

There were some neat decorations in I Attempt From Love’s Sickness To Flyand a lovely line in Fairest Isle, following a tasty instrumental intro. The trio combined graphically in She Loves And She Confesses Too, with its intimations of witchcraft, taken from Abraham Cowley’s The Mistress (1680), while Man Is For The Woman Made was wittily cheeky.

Bertolini has a nicely focused soprano with a touch of darker tone that adds creaminess. This tended to evaporate when she sang the chansons from a seated position. But, standing again, it returned perfectly for the wide leaps of O Solitude and a leisurely account of An Evening Hymn, where her breath control was superb.

Her encore was fascinating: a setting of Thomas Carew’s No More Shall Meads Be Deck’d With Flowers by Nicholas Lanier, the first Master of the King’s Musick, with its Italian-style strophic variations.

Bucheli threaded his way calmly through the improvisational thickets of a Kapsberger toccata, while Chabard’s harpsichord found a nice balance between her hands in an instrumental version of Les Sourdines, an air from Lully’s opera Armide(1686). An elegant programme, stylishly delivered.

Review by Martin Dreyer