IT was a huge relief to find this admirable orchestra back at their spiritual home, their last outing not being a particularly rewarding experience. So, let’s begin this review with the performance of the seriously challenging Tchaikovsky Violin Concerto.
As we know, this great work hardly received the most welcoming of baptisms. The music critic Eduard Hanslick said that “the violin is no longer played; it is pulled, torn, shredded” and derided the concerto itself as “music that stinks”. Lovely.
Leopold Auer, who gave the first performance, had reservations about the idiomatic nature of the violin writing and the great Yehudi Menuhin cut 250 bars out of the score in one recording.
I don’t know if violinist Jacob George found the technical demands beyond the reasonable, but it sounded almost the opposite; the soloist seemed to positively relish the challenge and the performance was exhilarating.
Right from the opening recitative the soloist signalled intent: a fast rollercoaster drive with outrageously clean articulation – fierce pizzicato and razor-sharp attacks, swaggering spiccato, and the trills had a metallic, steel-like quality.
To be sure, the orchestra played their part with excellent string and woodwind playing. Lovely tone. The blistering movement closed with an outrageous cadenza. The impression was that of experiencing a high-velocity musical train ride recalling the wonderful themes along the way.
The central Canzonetta marks a transition from the virtuosic ridiculous to the song sublime. The performance glowed, the beauty quite simply irresistible. The movement is surely a tender song offering to his lover and former pupil Joseph Kotek. Tchaikovsky was intending to dedicate the work to him but decided it best to “avoid gossip of various kinds”.
I’d like to think that the snarling opening recitative of the Cossack finale is the great man’s response, but I think it unlikely. Anyhow it does trigger a hedonistic, vodka-soaked dash for the finishing line.
It was an impressive performance by the orchestra as well, the music being deceptively demanding, but it was Jacob George’s playing that stayed long in the memory.
Robert Schumann famously said that Beethoven’s 4th Symphony was “like a slender Greek maiden between two Norse giants”, and I feel the same way about his 8th Symphony. Apart from the fact that it doesn’t sound like an image of a “slender Greek maiden”, plus I’m not sure what one of them is anyway.
Hearing this work performed live reminds you how radical the 8th Symphony is on almost every level. Beethoven has once again inverted expectations: the huge symphonic landscape is dispensed in favour of concision – the second movement Allegretto scherzando is only four minutes long.
John Hastie RIP: Musical director of Academy of St Olave’s, 1997 to 2009
Formal contradictions too: there is no slow movement; almost primal energy; the first movement recapitulation is marked fore-fortissimo (fff). Loud enough to blow those aristocratic wigs off.
The forceful first movement opening, which happens to be the closing one too, was suitably explosive. It demanded attention. Standouts: the solo bassoon passage, ominous pulsating viola passage and that most dramatic, forceful recapitulation convincingly delivered by the bassoons, cellos and basses.
The short, rhythmically driven second movement was very good too. Woodwind staccato passages and extreme dynamic contrasts – fortissimo then suddenly pianissimo blocks of sound. Radical or what! And then the seductive Minuet, really well delivered.
I thought, perhaps understandably, that the finale sounded a little off the pace, a little tired. Having said that, the blistering signing off was unforgettable.
Handel’s Music for the Royal Fireworks was and remains a regal crowd pleaser. As this performance admirably demonstrated it is, quite simply, wonderful music. The opening extensive Ouverture simply bristled with military pomp and circumstance – festive, bright and confident.
The dotted rhythmic passages were cleanly articulated followed by snappy brass and string exchanges. The horns were a little off the mark, but the strings and trumpets in particular were excellent.
There was fine string and oboe plus bassoon playing in the Bourée. The Largo Alla Siciliana had a seductive perpetuo rocking motion. Then back to a fanfare for brass and timpani, finishing with two minuets concluding with stirring drum rolls and resounding brass. Splendid stuff.
This was an ambitious programme and a thoroughly enjoyable one too. Alan George brought the very best out of the players, directing the concert with clarity, insight and his usual musical authority.
I should really leave the review here, but I won’t. The concert interval was not only marked by the traditional Academy of St Olave’s hospitality of complimentary refreshments but also one accompanied by a charming brass fanfare.
The second half was prefaced by a touching tribute to the composer of the work, John Hastie, who had died in June. John was the musical director of the Academy of St Olave’s from 1997 to 2009 and founder of York Guildhall Orchestra.
John Hastie enriched the musical, cultural and educational life in York immeasurably. He was a very good composer too, his music, like the man, understated and impressive. I met him on a number of occasions and can honestly say that on each one I came away that little bit richer.
One of James Jessop’s works on show in Rise Of The Vandals in the disused office block at 2, Low Ousegate, York
GRAFFITI writ large, an American rock musical, G&S and afternoon tea, a theatre festival and a football play find Charles Hutchinson in tune with the joys of June.
Exhibition/installation of the week: Bombsquad, Rise Of The Vandals, 2, Low Ousegate, York, today, tomorrow, then July 5 to 7, 11am to 6pm.
SPREAD over four floors in a disused Low Ousegate office block, York art collective Bombsquad showcases retrospective and contemporary spray paint culture, graffiti, street art and public art in three galleries, a cinema room, a Wendy house and art shop, in aid of SASH (Safe and Sound Homes).
Taking part in Rise Of The Vandals are York graffiti archivist Keith Hopewell, James Jessop, Bristol legend Inkie, Chu, Rowdy, Kid Acne, Remi Rough, Prefab77, SODA, Replete, Jo Peel, Sharon McDonagh, Lincoln Lightfoot, Anonymouse, Boxxhead and live DJs in SODA’s booth. Free entry; donations are encouraged. Dog friendly.
Johnny Marr: Playing songs from The Smiths to Electronic to his solo career (compiled on his Spirit Power collection) at Scarborough Open Air Theatre
Coastal gigs of the week: Johnny Marr and The Charlatans, tonight; Gregory Porter, Monday, Scarborough Open Air Theatre, gates 6pm
JOHNNY Marr, The Smiths and Electronic guitarist, superstar collaborator and solo artist, cherry-picks from all eras of his career, right up to his November 2023 compilation Spirit Power in his headline set. First up on this north-western double bill on the East Coast will be The Charlatans, as full of indie rock swagger as ever after 22 Top 40 hits.
Grammy Award-winning Californian jazz vocalist and songwriter Gregory Porter performs songs from Liquid Spirit, Take To The Alley, Nat King Cole & Me, All Rise and more besides on Monday night. Box office: scarboroughopenairtheatre.com.
Hamish Brown’s Alexis, left, Alexandra Mather’s Miss Aline Sangazure and Anthony Gardner’s John Wellington Wells in York Opera’s The Sorcerer. Picture: John Saunders
Everything stops for tea: York Opera in The Sorcerer, York Theatre Royal, July 3 to 6, 7.30pm and 2.30pm Saturday matinee
JOHN Soper directs York Opera in The Sorcerer, Gilbert and Sullivan’s first full-length comic opera, wherein Sir Marmaduke Pointdextre (Ian Thomson-Smith) hosts a tea party in the Ploverleigh Hall gardens to celebrate the betrothal of his only son, Alexis (Hamish Brown) to Miss Aline Sangazure (Alexandra Mather), daughter of Lady Annabella Sangazure (Rebecca Smith).
When a love-at-first-sight elixir is mixed into the celebration tea by a sorcerer, John Wellington Wells (Anthony Gardner, in the role played by Soper for York Opera in 2001), mayhem follows as the assembled guests fall under his magic spell. What could possibly go wrong? Box office: 01904 623568 or yorktheatreroyal.co.uk.
Julia Bullock’s Geraldine Granger, Oliver Clive’s Hugo Horton and Grahame Sammons’s David Horton in 1812 Theatre Company’s The Vicar Of Dibley
Religious conversion of the week: 1812 Theatre Company in The Vicar Of Dibley, Helmsley Arts Centre, July 3 to 6, 7.30pm plus 2.30pm Saturday matinee
JULIE Lomas directs Helmsley Arts Centre’s resident company in a stage play adapted from the original BBC television series by Richard Curtis and Paul Mayhew-Archer. When Reverend Pottle dies, much to the surprise of the Dibley Parish Council, his replacement is Geraldine Granger, a vicar who is also a chocoholic sex kitten.
Follow the antics of David Horton, his son Hugo, Jim, Owen, Frank and Mrs Cropley as they adjust to working with the witty and wonderful Geraldine, assisted by her verger, Alice Tinker. Box office: 01439 771700 or helmsleyarts.co.uk.
Bright Light Musical Productions in Green Day’s American Idiot: York premiere at Joseph Rowntree Theatre. Picture: Dan Crawfurd-Porter
Musical of the week: Bright Light Musical Productions in Green Day’s American Idiot, Joseph Rowntree Theatre, York, July 4 to 6, 7.30pm and 2.30pm Saturday matinee
NORTH Yorkshire company Bright Light Musical Productions make their JoRo debut in the York premiere of punk rock opera Green Day’s American Idiot with a cast of 14 directed by Dan Crawfurd-Porter and a seven-piece band under Matthew Peter Clare’s musical direction.
Inspired by the Californian band’s 2004 album, American Idiot tells the story of Johnny (Iain Harvey), “Jesus of Suburbia”, and his friends Will (William Thirlaway) and Tunny (Dan Poppitt) as they attempt to break out of their mind-numbing, aimless suburban existence. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
The bootiful game: Long Lane Theatre Club in The Giant Killers at the Milton Rooms, Malton
Football alternative to England at the Euros: Long Lane Theatre Club in The Giant Killers, Milton Rooms, Malton, July 4, kick-off at 7.30pm
THE Giant Killers tells the story of how Darwen FC came to the public’s attention in 1870s’ Lancashire to proclaim Association Football as the people’s game and not only the preserve of the upper classes.
Andrew Pearson-Wright & Eve Pearson-Wright’s play recounts how a ragtag bunch of mill workers in Darwen took on the amateur gentlemen’s club of the Old Etonians in the FA Cup quarter-final in 1879, rising up against prevailing social prejudice and the might of the Football Association to earn a place in history as the first real ‘‘giant killers’’ in English football. Box office: 01653 696240 or themiltonrooms.com.
For those about to rock: Live/Wire take the highway to hell with AC/DC classics at The Crescent
Tribute show of the week: Live/Wire, The AC/DC Show, The Crescent, York, July 5 and 6 (sold out), doors 7.30pm
LIVE/WIRE, The AC/DC Show pays tribute to the Aussie heavy rock band, replete with a wall of Marshall amps for two hours of high voltage rock’n’roll. Podge Blacksmith, a double take for frontman Brian Johnson, revels in a set taking in everything from Highway To Hell and Whole Lotta Rosie to Back In Black and latest album Rock Or Bust. Box office for July 5 only: thecrescentyork.com.
In Focus: Shepherd Group Brass Bands, Best Of Brass, York Theatre Royal, tonight, 7.30pm
The poster for Shepherd Group Brass Bands’ Best Of Brass at York Theatre Royal
TONIGHT’S Shepherd Group Brass Bands concert features all of the Shepherd bands playing individually and then a mighty ensemble piece, when all 170 players perform a specially composed piece by Liz Lane to mark 20 years of the bands’ sponsorship by the Shepherd Group.
Liz’s celebratory work represents the bands – Brass Roots, Academy Brass, Youth Band, Concert Band and Shepherd Group Brass Band – and the company support that provides first-class rehearsal facilities and has enabled the band organisation to grow.
Liz has led several workshops, where she has worked with each band, “ storyboarding players’ feelings about the band, what we get from it as players and as a band family as a whole”.
She has been allowed to visit the Portakabin production site too, where she drew inspiration from the machinery used in the production of product lines.
On May 21, players from each band gathered in the band room for the first full run-through in Liz’s presence. Afterwards she went away with a couple of ideas for final tweaks. Now comes the premiere performance with “a few real surprises in store for the audience”. Box office: 01904 623568 or yorktheatreroyal.co.uk.
In Focus too: Festival of the week: Ripon Theatre Festival, July 2 to 7
Barrie Rutter: Presenting Shakespeare’s Royals in Ripon Cathedral on July 4 at 7.30pm
PUPPETS, stories, dance, drama, circus and street entertainment pop up in new and surprising places alongside more familiar venues, such as Newby Hall, The Old Deanery, Ripon Cathedral, Ripon Arts Hub and Fountains Abbey, as Ripon Theatre Festival returns.
In all, 109 events and activities will be crammed into five days and six nights. Among the highlights will be Barrie Rutter’s Shakespeare’s Royals, The Adventures Of Doctor Dolittle, Red Ladder’s Miners’ Strike musical comedy We’re Not Going Back, the Family Day on July 7 and Folksy Theatre’s open-air As You Like It.
Opening the festival on Tuesday at 11am and 2pm, Andrew Bates’s Brother Aidan brings heritage crafts, history and storytelling to his new home at Fountains Abbey. In Hazelsong Theatre’s interactive event for adults, he creates an Anglo-Saxon book, interwoven with stories of his life as a monk, with his demonstration including parchment and ink making, bookbinding and calligraphy.
On the first night, the Hilarity Bites Festival Special comedy bill will be hosted by Ripon favourite Lee Kyle at Ripon Arts Club on Tuesday at 8pm. Taking part will be sketch supergroup Tarot, musical comedy duo Black Liver and 2023 BBC New Comedian of the Year Joe Kent-Walters in the guise of his outrageous comic creation, Frankie Monroe, the MC of a working men’s club that provides a portal to hell.
York company Pilot Theatre and One To One Development Trust present daily screenings of Monoliths, an immersive, digital theatre experience that interweaves three northern landscapes – a moor, a city and a coast – with sweeping soundscapes and poetic monologues at Ripon Cathedral.
Written by Hannah Davies, from York, Carmen Marcus, from Saltburn-by-the-Sea, and Asma Elbadawi, from Leeds, the stories are an arresting testament to the inextricable link between person and place. Directed by Lucy Hammond, each performance lasts 11 minutes and can be experienced by three visitors at a time, wearing XR headsets. Times: 1.30pm to 3.30pm, July 2 to 5; 10.30am to 3.30pm, July 6.
Nicola Mills is joined by pianist Maria King for A Spoonful Of Julie, an hour-long tribute to Julie Andrews, full of charming stories of her life, songs, singalongs, medleys and favourite things, at Holy Trinity Church on Wednesday from 1pm to 2pm.
In Look After Your Eyes, at Ripon Arts Club at 8pm that night, Yorkshire theatre-maker, performer and physical comedian Natalie Bellingham reflects on the pain and beauty of love: what it is to both connect and unravel.
Performed by a clown “delving into the space inside us left behind by loss”, her show celebrates being human in all its banality, sprinkled with joy and ridiculousness.
Natalie Bellingham in Look After Your Eyes
Thursday opens with Stand Up Stories, presented by Ripon Theatre Festival storyteller in residence Ilaria Passeri at the Storehouse Bar. Describing herself as the product of a bold Scottish mother, an errant Italian father and a little sister with the vocabulary of a truck driver, Ilaria has found herself in more than a few scrapes, situations and silly scenes.
In a whistlestop twilight tour through the confusing comedy of errors of her life, her tales introduce her family, friends, pets and one very peculiar clown.
From 7.15pm, Ripon Museum Trust guides lead the Ripon Heritage Ghost Walk from the Market Place. At 7.30pm, Northern Broadsides founder Barrie Rutter OBE celebrates the Bard’s Kings and Queens, their achievements, conquests and foibles, in Shakespeare’s Royals at Ripon Cathedral. Cue anecdotes and memories from a globe-spanning career of playing and directing Shakespeare.
Ilaria Passeri returns on Friday morning from 10.30am to 11am for Storytime for pre-schoolers at Ripon Library, featuring Derek the Dragon, Rita the skateboarding Mouse and Brian the Chicken’s messy bedroom. A short-story writing workshop for adults follows from 11.30am to 1pm; bring a pen and notepad.
At 2pm at Ripon Cathedral, Redheart Theatre presents Rupert Mason in Mr Owen’s Notebook, an exploration of Wilfred Owen’s experience of war through his poetry and the works of his contemporaries.
Written and directed by Justin Butcher, Mason’s one-man performance recalls how Owen lived his last summer in Ripon, where he spent his last birthday in the cathedral, now the backdrop to this sold-out show.
Mason charts how an officer travels from the Allied HQ to the Western Front one week before the Armistice and discovers the pocketbook of a young lieutenant killed that day: Wilfred Owen.
In a marquee at The Ripon Inn, in Park Street, Tell Tale Hearts serve up the teatime entertainment Trunk Tales, wherein a well-travelled lady arrives with her trunk of tales that tell of boastful toads, magical fish and fearsome beasts.
Using only the contents of her magical luggage, she creates Arabic seas, epic mountains, fields of turnips and the tallest trees in her interactive stories from around the world for four-year-olds and upwards.
Paulus the Cabaret Geek in Looking For Me Friend
Paulus the Cabaret Geek’s tour of Looking For Me Friend, The Music Of Victoria Wood arrives at Ripon Arts Hub on Friday at 8pm, accompanied by Fascinating Aida pianist Michael Roulston for an hour of songs and stories.
In telling Wood’s story, Paulus unfolds his own in a relatable account of a 1970s’ childhood and what it really means to find your tribe.
Saturday keeps festivalgoers on the move in a day of Pop-Up Events at various locations from 9.30am to 6pm. Ilaria Passeri hosts a morning of adventures for four-year-olds and upwards in Tales From Honeypot Village, featuring Rita the Mouse and the Tidy Trolls in the front room of The Unicorn Hotel at 9.30am and the back room of The Little Ripon Bookshop at 11.30am.
Puppeteers Eye Of Newt open their magical miniature suitcase for Ayla’s Dream, a captivating tale of night skies, light and counting sheep for three to ten-year-olds at Ripon Library at 10.30am (accompanied by a puppet workshop) and Ripon Cathedral from 12 noon to 12.30pm (performance every ten minutes).
York performer Tempest Wisdom takes a journey down the rabbit hole in the family-friendly Curiouser & Curiouser, a show for age five + packed with Lewis Carroll’s whimsical writings, inspired by Ripon Cathedral’s nooks and crannies. Free performances take place at Ripon Cathedral at 11am, 12.30pm and The Little Ripon Bookshop at 2.30pm.
Join the Master and Matron on the front lawn for an interactive game of giant Snakes And Ladders At The Workhouse Museum. Learn how life then, as now, is as precarious as a shake of the dice; slither down the snake to a shaven head and defumigation or ascent to a life out of the ashes from 11am to 12.30pm or 1pm to 3pm.
Festival favourites Lempen Puppet Theatre return with the free show Theatre For One in Ripon Cathedral from 10.45am to 11.30pm and Kirkgate from 1.30pm to 2.30pm and 3pm to 4pm. In a micro-theatre experience for one at a time, plus curious onlookers, a mini-performance of The Belly Bug or Dr Frankenstein will be staged every five minutes.
Members of the Workhouse Theatre Group invite you to experience justice 1871 style in The Trial Of John Sinkler in a case of poaching and threatening behaviour from 2pm to 3pm at The Courthouse Museum.
Ensure justice is seen to be done or perhaps take a more active role in a lively scripted re-enactment led by Mark Cronfield, formerly of Nobby Dimon’s North Country Theatre company.
The festival fun continues in Kirkgate with buskers, bands and more from 3pm to 6pm.
For full festival details and tickets, head to: ripontheatrefestival.org. A preview of further events at Ripon Theatre Festival on July 6 and 7 will follow.
Utopia: Making their York Early Music Festival debut at the NCEM, at St Margaret’s Church, Walmgate, York
YORK Early Music Festival is launching a cultural partnership celebrating the musical heritage of Flanders at next month’s event.
Two world-class ensembles from northern Belgium, Utopia and Cappella Pratensis, will be performing in York as part of the new collaboration, organised in association with the Alamire Foundation, in Leuven, and AMUZ, a thriving arts centre in a disused baroque church and former Augustine monastery in Antwerp, with support from the Flanders government.
“The partnership celebrates the historic ties between York and Flanders from the medieval period, built on the trading of wool by enterprising merchants, through to the present day,” says festival director Dr Delma Tomlin, the first woman governor in the 660-year history of the Merchant Adventurers’ Hall.
“The York Early Music Festival has worked with our partners in Flanders for 25 years and we have a similar mind-set to supporting and developing Early Music ensembles, with a willingness to provide opportunities.
“We are particularly delighted to be part of this exciting new partnership, the beginning of a new collaboration with artists and colleagues based in Flanders in what is a considerable investment on their part. I would like to say a huge thank-you to the Almire Foundation, AMUZ and the Flanders Government for their support.
“This marks a very important moment in this city’s musical history and highlights York’s historical relationship with Flanders, giving us the opportunity to celebrate our cultural heritages. We look forward to building on this partnership in the future with the embassy to fly the flag for York and Flanders.”
Both concerts will take place on July 12, firstly Flemish vocal ensemble Utopia – “hot favourites in Antwerp,” according to Delma – making their York debut at the festival’s home, the National Centre for Early Music, in a 6pm programme entitled Salve Susato: Treasures from Antwerp’s Golden Age.
Cappella Pratensis: Returning to York for July 12 concert in the Quire of York Minster
“Utopia invite you to meet Tielman Susato, a composer known today mostly for his instrumental works but who flourished in 16th-century Antwerp as a publisher of vocal music by Josquin, Lassus, Gombert, Crecqillon, Clemens non Papa and Susato himself,” says Delma. “His Missa [mass] In Illo Tempore and motet Salve Quae Roseo will sit at the heart of this programme.”
At 9pm, in the Quire of York Minster, Cappella Pratensis and I Fideli will be directed by Stratton Bull in a hour-long programme of Jacob Obrecht and Jacobus Barbireau works.
“Obrecht and Barbireau were two prominent representatives of Franco-Flemish polyphony with connections to the Church of Our Lady – today’s Antwerp Cathedral – around 1500,” says Delma.
“In his masses and motets Obrecht was an innovative user of the cantus firmus technique in which polyphonic fabric weaves around an existing melody, as in his celebratory Missa, Sub Tuum Praesidium. Osculetur Me, Barbireau’s only surviving motet, will complete the programme.”
Delegates from Flanders will host a reception in York Mansion House to welcome the artists and celebrate this new partnership on July 11 – aptly Flanders National Day – in the presence of York’s Civic Party and representatives of York industries with links to Flanders.
Bart Brosius, General Representative of Flanders in the United Kingdom and Ireland, says: “Flanders and York share historical connections through several key aspects of their heritage and centuries of cultural and economic exchanges. We share bustling medieval markets, elegant Gothic architecture, entrepreneurship and academic excellence.
“We are celebrating this connection in York in July through Early Music. We are delighted to work with the local authorities, the University of York and the renowned York Early Music Festival. We also look forward to welcoming our friends from York later in the summer for the Flanders Festival Antwerp.”
“This marks a very important moment in this city’s musical history and highlights York’s historical relationship with Flanders,” says York Early Music Festival director Delma Tomlin
Established in 1977, York Early Music Festival celebrates music from the medieval to the baroque within an array of historic venues across the city, attracting an array of world-class artists and audiences from all over the world.
Among the 2024 highlights will be the festival climax on July 13, the York International Young Artists Competition, a groundbreaking event held every two years where young ensembles compete for a professional recording contract with Linn Records, a £1,000 cheque and opportunities to work with BBC Radio 3 and the National Centre for Early Music.
The competition also offers prizes supported by the Cambridge Early Music Festival, the European Union Baroque Orchestra Development Trust and Friends of York Early Music Festival.
Presented by keyboard musician Steven Devine at the NCEM from 10am to 5pm, the 2024 competition final will feature Rubens Rosa, Ensemble Bastion, (Hanse) Pfeyfferey; Ayres Extemporae; Apollo’s Cabinet; Pseudonum; Trio Altizans and Friedrichs Nebelmeer Ensemble.
Swiss-based ensemble Brezza also were selected for the final but have since had to withdraw from the competition.
The finalists will spend time in York performing informal concerts and learning from experts before the July 13 final, when festivalgoers will discover who will follow in the footsteps of such past winners as Protean Quartet, L’Apothéose, Barroco Toutand Sollazzo Ensemble.
The 2024 festival has the theme of Metamorfosi for eight days of concerts and illustrated talks focusing on the human voice and song, with The Gesualdo Six, Concerto Soave, Vox Luminis and The Sixteen among the vocal specialists taking part.
Among the sell-outs are Florilegium on July 7 and Orchestra of the Age of Enlightenment on July 8, both at the NCEM. BBC Radio 3 will be recording Florilegium, Cubaroque (July 7, NCEM), The Gesualdo Six (Chapter House, York Minster, July 9), Apotropaik (Holy Trinity, Micklegate, July 10) and the International Young Artists Competition for later broadcast. The competition final will be streamed live too.
For the full programme and ticket details, head to: ncem.co.uk.
Alexandra Kidgell: Soprano soloist for The Creation at York Minster
AS tradition decrees, the concert was introduced by the Dean of York Minster, the Very Reverend Dominic Barrington.
I only mention this because, in the midst of all the usual ‘great music, please switch off mobile phones and the loos are over there’, was a joke. In case of the fire alarm going off, it will not be a practice and therefore can I ask you to remain in your seats. Well, it made me chuckle.
The opening Representation of Chaos of Haydn’s oratorio is utterly unexpected in that it is so radical. The York Musical Society Orchestra superbly caught the haunting evocation of chaos, putting down a marker of excellence that they displayed throughout.
Baritone Thomas Humphreys sang the weighty opening narrative with a lovely clean tone (good lower register) and apposite nobility. The spine-tingling blast of C major enlightenment gets me every time, and here was no exception.
Nathan Vale has a lovely lyrical tenor voice, although I did lose some of the lowest register, but his aria Now Vanish Before The Holy Beams, complemented with assured string support, was right on the money.
The choir delivered an infectious A New Created World chorus, embracing the music’s almost child-like innocence. The balance wasn’t quite right for The Marvellous Work Beholds, the orchestra obscuring much of soprano Alexandra Kidgell’s singing.
This was quickly remedied in the later With Verdure Clad The Fields Appear where this fine soprano was allowed to deliver the aria with both clarity and infectious charm.
Conductor and musical dirtector David Pipe: “Directed the performance with an assured, understated authority”
As ever, in an impressive performance of a truly great work, there are fresh moments of insight. For example, the gorgeous window illuminated during Nathan Vale’s singing of With Softer Beams And Milder Light. It came across as so gentle, so unexpected.
Then there was the ghost of Mozart I hadn’t noticed before: With Flying Mane And Fiery Look (The Magic Flute) and On Thee Each Living Soul Awaits (The Marriage Of Figaro). Maybe it’s just a senior moment.
The closing The Heavens Are Telling (Part One) chorus was splendid. The string playing at the opening of the aria On Mighty Pens Uplifted Soars was delivered with crisp, clean articulation. There were also lovely flute (Della Blood) and clarinet (Andrew Cavell) solo contributions.
Haydn clearly relished the musical tone-painting opportunities; for example the musical depiction of the merry larks and cooing doves. In The Scream (Cave Birds), Ted Hughes said that the worms in the ground were doing a good job. Well, not here they’re not, and as for the outrageous raspberry tart signing off the heavy beasts, the contrabassoon pitch seemed to emanate from the very bowels of Hell itself.
Back in the heavenly spheres, the love duet By Thee With Bliss, sung by Thomas Humphreys and Alexandra Kidgell, was simply divine and the soaring oboe (Jane Wright) angelic.
The closing The Lord Is Great, with its monumental double fugue, brought the best out of a very good choir. There was fine work throughout the orchestra, the violins in particular, along with Shaun Turnbull (organ continuo), while Oliver Bryant (contrabassoon) should get a pay rise for that one low note alone.
Finally, conductor David Pipe had mercifully decided against the irritating musical windmill-on-speed approach, choosing instead to direct the performance with an assured, understated authority.
Let us pray…for laughs: The Little Sisters of Hoboken and Ben Wood’s Brother Timothy in York Light Opera Company’s Nunsense: The Mega-Musical! Picture: Matthew Kitchen
BLACK box theatre. Thick walls. No air conditioning, beyond a smattering of cooling fans. Then add nuns’ habits and wimples and the hottest night of the year.
No wonder, in the last breaths of her climactic big number, Clare Meadley’s Sister Mary Hubert suddenly exclaimed: “God it’s hot in here.”
The stultifying heat made the opening joke of Act 2 even more apt. “How do you make holy water?” “Boil the hell out of it!”. Theatre@41 boiled the hell out of us all, actors, Martin Lay’s band up high on the mezzanine level, and audience members alike, some improvising impromptu fans from programmes.
Good news – if not for sun worshippers – lies in the weather forecast. Lower temperatures for the rest of this week, even lower next week. Hallelujah, as the Little Sisters of Hoboken might well sing.
Or at least the last 12 still standing – and dancing, singing, acting, and telling jokes, too – after Sister Julia, Child of God’s dodgy Vichyssoise put paid to 52 of the sisters in a culinary catastrophe. Forty-eight have been buried but, heaven forbid, Reverend Mother Mary Regina (Joy Warner) has chucked money at buying a plasma TV, leaving the final four in limbo in the convent freezer.
Now the Little Sisters must stage a revue and talent show to raise the necessary funds, taking over the set for the 8th grade’s production of Grease at the neighbouring Mount St Helen’s School, James Dean & Marilyn Monroe posters, Fifties’ jukebox et al.
Cue the out-of-touch Reverend Mother mistakenly thinking the high-school musical was called Vaseline, but otherwise Grease references are not milked in Dan Goggin’s 1985 off-Broadway musical comedy.
Inspired by attending a school run by the Marywood Dominican Sisters that first spawned his line of greetings cards of a nun’s funny quips, Nunsense grew from a cabaret show into a full-scale production and later the Mega-Musical version with an expanded cast, more characters and more comic mayhem that Neil Wood is directing for York Light. In a nutshell, more fun per nun.
See Emily play: Emily Rockliff’s scene-stealing Sister Robert Anne in Nunsense: The Mega-Musical!. Picture: Matthew Kitchen
No nun pun is knowingly resisted by Goggin, from the song title Nunsense Is Habit Forming to the sisters’ vow that “on our way to heaven, we’re here to make some hell”, all in the cause of proving that “nuns can be fun”.
Five principal nuns each have a story to tell in both song and tale, enabling nuns and York Light alike to parade “triple threat” skills, whether Emma Craggs-Swainston’s Sister Mary Leo’s ballet dancing on point, or Emily Rockliff’s restless Sister Robert Anne, desperate to outgrow her “understudy” role, the convent equivalent of rising from chorus line to lead, as she parades her gift for mimicry with her wimple.
Kathryn Addison has fun with Sister Julia’s life-endangering cooking, Warner’s Reverend Mother maximises the comedy pratfalls in inhaling a mind-altering substance, and best of all is Annabel van Griethuysen’s forgetful but unforgettable Sister Mary Amnesia, parading her operatic voice, comic timing in eye contact and vocal delivery, even hammy ventriloquism with grouchy nun puppet “Maryonette”, all topped off by a country cowgirl song.
The humour is broad in range and style, occasionally smutty, sometimes slapstick, never subtle, and Goggin’s songs are similarly varied, from gospel to Andrews Sisters’ close harmonies, familiar musical theatre tropes to an ensemble tap-dancing dazzler, choreographed joyously by Rachel Whitehead.
Wood’s cast adheres wholly – and holy – to Goggin’s advice to “play nuns trying to be showgirls and not the other way round”, to the betterment of the show’s hearty comedy.
For added entertainment, the role of Father Virgil will be played in The Play What I Wrote guest turn tradition by a different actor at each performance. First up was Richard Bayton, setting the bar high in his good-natured cameo.
After The Sound Of Music and Sister Act The Musical, once more nuns are making a habit of entertaining in song and dance and unguarded humour in Nunsense. And that habit is catching: even stage manager Sarah Craggs is in nun’s clothes.
York Light Opera Company in Nunsense: The Mega-Musical!, Theatre@41, Monkgate, York, running until July 6, 7.30pm (except June 30, July 1 and July 6); 3pm, June 29 and 30 and July 6. Box office: tickets.41monkgate.co.uk.
Adderstone’s Cath Heinemeyer and Gemma McDermott: Wild swimmers, alt-folk duo and organisers of Open Swim on The Arts Barge
YORK’S floating venue, The Arts Barge, will be flowing with music and words at a special river-theme themed gig on Friday night at Foss Basin.
“The barge, alias Selby Tony, has woken up from its winter sleep and is ready for action,” says Arts Barge coordinator Hannah West. “It’s all aboard for Open Swim – but with no swimming allowed!”
In a joyous “aquatic feast of lush music, wild stories, wise words and all-round exquisite vibes”, the 7pm to 11pm bill comprises alt-folk duo Adderstone; multi-instrumentalists White Sail; storyteller and hypnotherapist Lara McClure’s strange tale of aquatic beasts, York slam champ Hannah Davies’s riverside poems; Navigators Art co-founder Richard Kitchen’s poem invoking York’s rivers and Amy-Jane Beer’s stories of paddling along Britain’s rivers.
Poet Hannah Davies by the riverside in York
Ticket sale proceeds from Open Swim will go to Right to Roam, a charity that campaigns for better access to wild spaces. On the night, there will be the chance to buy a signed copy of Right to Roam’s hot-off-the-press new book, Wild Service, featuring a contribution by nature writer Beer.
“Rivers should be safe and accessible for swimmers, paddlers and other water users, both human and wild,” says the Right to Roam campaigner. “But only three per cent of the UK’s rivers have an uncontested right of access, and as we know, sewage and agricultural pollution mean that most of those are in poor health.
“Our own wellbeing is dependent on theirs. We need to reconnect with our rivers, to be able to care for them and fight for them. That’s why the book is called Wild Service, and this gig is an act of wild service.”
Kai West’s poster artwork for Friday’s Open Swim on The Arts Barge
Sewage…agricultural pollution…rivers in poor health: no wonder Open Swim is not a swimming invitation! Catherine Heinemeyer, one half of gig organisers Adderstone, comments: “It’s wonderful to imagine a time when water companies have cleaned up their act and York’s rivers are beautiful clean places to swim – but alas, that’s not the case right now!
“As wild swimmers ourselves, we wanted to host an event to highlight the wild watery spaces we all love. And what better place to host a water-themed gig than the river itself?
“The Arts Barge is a wonderful local project that York is very proud of and we’re so excited to see it move closer to its full potential. Please come along and be enchanted by the wonderful line-up of musicians and artists we have put together, but please don’t bring your cossie!”
Richard Kitchen: Poet, artist and Navigators Art & Performance’s co-founder
All artists have agreed not to take a fee, thereby maximising the gig proceeds, with donations and bar takings going to The Arts Barge. “We’re totally reliant on volunteers and donations, and this summer we’re aiming to build the long-awaited deckhouse to create a covered area on the deck to finally stop the rain getting in,” says Hannah
“This will be a big step forwards towards becoming the fully accessible community arts space York has imagined and come to love. See the story and look out for future events this summer at www.artsbarge.com.”
Running /swimming order
Part 1: 7.30pm, Amy-Jane Beer and Adderstone , intertwined . 8.15pm, short break.
Part 2, Spoken word. 8.35pm, Richard Kitchen; 8.45pm, Lara McClure; 9.05pm, Hannah Davies. 9.25pm, short break.
Part 3: 9.45pm, White Sail; 10.25pm, The Parting Glass (all performers). 11pm, goodnight.
Lynda Burrell, left, and Catherine Ross, curators of Museumand’s exhibition of Caribbean culture, 70 Objeks & Tings, at York Castle Museum. Picture: Gareth Buddo
CARIBBEAN culture and football cup history, sublime saxophone and peerless guitars, riverside poetry and balletic heroes stand out in Charles Hutchinson’s cultural week ahead.
Exhibition of the week: 70 Objeks & Tings, York Castle Museum, until November 4; Mondays, 11am to 5pm, Tuesday to Sunday, 10am to 5pm
70 OBJEKS & Tings, a celebration of 75 years of Caribbean culture, showcases 70 items that connect us to the Windrush Generation in an “extraordinary exhibition of the ordinary”.
Curated by mother and daughter Catherine Ross and Lynda Barrett, founders of Museumand, the National Caribbean Heritage Museum, it features objects that combine familiarity and practicality and have been passed down the generations. On show are cooking and household goods, food packaging and beauty supplies, funeral items, music, games, books and newspapers. Tickets: yorkcastlemuseum.org.uk.
Johnny Marr: Playing songs from his 2023 compilation album, Spirit Power, and his back catalogue of The Smiths and Electronic gems at Scarborough Open Air Theatre
Coastal gig of the week: Johnny Marr and The Charlatans, Scarborough Open Air Theatre, Saturday, gates 6pm
JOHNNY Marr, The Smiths and Electronic guitarist, superstar collaborator and solo artist, cherry-picks from all eras of his career, right up to his November 2023 compilation Spirit Power in his headline set.
First up on this north-western double bill on the East Coast will be Tim Burgess’s band, The Charlatans, as full of indie rock swagger as ever after 22 Top 40 hits, from The Only One I Know to North Country Boy. Box office: scarboroughopenairtheatre.com.
Nathaniel Rateliff & The Night Sweats: Heading for York Barbican
Rhythm & blues gig of the week: Nathaniel Rateliff & The Night Sweats, York Barbican, tomorrow (27/6/2025), doors 7pm
NATHANIEL Rateliff & The Night Sweats play York Barbican as the only Yorkshire venue on their six-date South Of Here summer tour.
Noted for supplying the zeal of a whisky-chugging Pentecostal preacher to songs of shared woes, old-fashioned rhythm & blues singer and songwriter Rateliff will be showcasing his Missouri band’s fourth studio album on the eve of its Friday release. William The Conqueror support. Box office: yorkbarbican.co.uk.
Crowning glory: Ballet Black in If At First, part of the Heroes double bill at York Theatre Royal
Dance show of the week: Ballet Black: Heroes, York Theatre Royal, Friday, 7.30pm
CASSA Pancho’s dance company returns to York with the double bill Ballet Black: Heroes. Choreographer Mthuthuzeli November contemplates the meaning of life in The Waiting Game, a 2020 work infused with a dynamic soundtrack featuring the voices of Ballet Black artists.
Franco-British artist Sophie Laplane, choreographer-in-residence at Scottish Ballet, follows up her 2019 Ballet Black debut, Click!, with If At First, her exploration of “a more subtle heroism, a quieter triumph over adversity, in a struggle that unites us all”. Humanity, heroism and self-acceptance combine in this celebratory piece. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Adderstone’s Cath Heinemeyer and Gemma McDermott: Organisers of Open Swim on The Arts Barge
All aboard but no swimming allowed: Open Swim, The Arts Barge, Foss Basin, York, Friday, 7pm to 11pm
YORK’S floating venue, The Arts Barge, will be flowing with music and words in a river-themed gig on Friday with proceeds going to Right to Roam, a charity that campaigns for better access to wild spaces.
On the bill will be alt-folk duo Adderstone; multi-instrumentalists White Sail Band; storyteller Lara McClure’s strange tale of aquatic beasts, York slam champ Hannah Davies’s riverside poems; Navigators Art co-founder Richard Kitchen’s poem invoking York’s rivers and Amy-Jane Beer’s stories of paddling along Britain’s rivers. Tickets: artsbargecom/events or on the door.
Eliza Carthy: Solo concerts at the NCEM, York, and Fylingdales Village Hall
Folk gigs of the week: Eliza Carthy, National Centre for Early Music, Walmgate, York, Friday, 7.30pm; Fylingdales Village Hall, Station Road, Robin Hood’s Bay, Sunday, 7.30pm
ELIZA Carthy, innovative fiddler and vocalist from the First Family of Folk, heads from Robin Hood’s Bay to York for a solo gig at the NCEM. At once a folk traditionalist and iconoclast, she revels in centuries-old ballads and Carthy compositions alike.
In her 32-year career, Carthy has performed with The Imagined Village, The Wayward Band and The Restitution, collaborated with Paul Weller, Jarvis Cocker, Pere Ubu, Rufus & Martha Wainwright, Jools Holland, Patrick Wolf and Kae (CORRECT) Tempest, served as president of the English Folk Dance & Song Society and artist in residence in Antarctica and been described by comedian Stewart Lee as “not the Messiah, but a very naughty girl”. Broadside balladeer Jennifer Reid supports at the York gig. Box office: York, for returns only, 01904 658338 or ncem.co.uk; Robin Hood’s Bay,trybooking.com/uk/events/landing/57434.
Saxophonist Snake Davis: Leading his band at Helmsley Arts Centre
Ryedale gig of the week: Snake Davis Band: Summer 24, Helmsley Arts Centre, Saturday, 7.30pm
SAXOPHONIST to the stars Snake Davis brings his four-piece band to Helmsley, promising “something for everybody, from floaty to danceable, from soul to pop, jazz to world music” in an uplifting set of original material and sax classics, such as Baker Street and Night Train. Box office: 01439 771700 or helmsleyarts.co.uk.
Football alternative to plod-along England at the Euros: Long Lane Theatre Club in The Giant Killers
Ryedale play of the week: Long Lane Theatre Club in The Giant Killers, Milton Rooms, Malton, July 4, kick-off at 7.30pm; East Riding Theatre, Beverley, July 16 and 17, 7.30pm
THE Giant Killers tells the story of how Darwen FC came to the public’s attention in 1870s’ Lancashire to proclaim Association Football as the people’s game and not only the preserve of the upper classes.
Andrew Pearson-Wright & Eve Pearson-Wright’s play recounts how a ragtag bunch of mill workers in Darwen took on the amateur gentlemen’s club of the Old Etonians in the FA Cup quarter-final in 1879, rising up against prevailing social prejudice and the might of the Football Association to earn a place in history as the first real ‘‘giant killers’’ in English football. Box office: Malton, 01653 696240 or themiltonrooms.com, Beverley, eastridingtheatre.co.uk
Anthony Gardner’s John Wellington Wells practises his magic for York Opera’s production of The Sorcerer on a visit to The Potions Cauldron in Shambles, York
ON the last occasion that York Opera staged The Sorcerer in 2001, John Soper played the lead role of John Wellington Wells, the sorcerer of the title.
Roll on 23 years to find him directing the 1877 work, the first of Gilbert and Sullivan’s full-length operas, in next week’s run at York Theatre Royal.
“It’s a delight to be revisiting this great comic opera but this time as the director,” he says. “It’s shaping up to be a fantastic opera.
“In The Sorcerer we see the pattern for all Gilbert and Sullivan’s major works, from H.M.S. Pinafore to The Gondoliers. Its central character, John Wellington Wells, family sorcerer of St Mary Axe, was the first in the line of comedy ‘patter’ roles, followed in the ensuing years by the Major General, the Lord Chancellor, Koko and many others.”
Hamish Brown’s Alexis, left, Alexandra Mather’s Miss Aline Sangazure and Anthony Gardner’s John Wellington Wells in York Opera’s The Sorcerer. Picture: John Saunders
What unfolds in The Sorcerer? Sir Marmaduke Pointdextre invites you to attend afternoon tea in the formal gardens of Ploverleigh Hall to celebrate the happy betrothal of his only son, Alexis, to Miss Aline Sangazure, daughter of Lady Annabella Sangazure. R.S.V.P. Ploverleigh Hall.
A love-at-first-sight elixir is mixed into the celebration tea by the sorcerer, John Wellington Wells. Mayhem ensues as the assembled guests fall under the magic spell. What could possibly go wrong?
All the cast members have been involved in numerous York Opera shows, led off by Anthony Gardner’s John Wellington Wells, his first York Opera principal role since Dick Deadeye in H.M.S. Pinafore in 2022.
Amanda Shackleton’s Mrs Partlet, left, Emma Burke’s Constance and Chris Charlton-Matthews’ Dr Daly in The Sorcerer. Picture: John Saunders
Hamish Brown, Macduff in Macbeth in 2023 and Tamino in The Magic Flute in 2021, will be Alexis, playing opposite Alexandra Mather, Josephine in H.M.S. Pinafore in 2022 and Pamina in The Magic Flute, as his beloved Aline.
Chris Charlton-Matthews, director of The Elixir Of Love in 2023, will play the vicar, Dr Daly, and Ian Thomson-Smith follows up Macbeth in Macbeth and Captain Corcoran in H.M.S. Pinafore with the role of Sir Marmaduke Pointdextre.
Rebecca Smith, Little Buttercup in H.M.S. Pinafore, will be the aristocratic Lady Sangazure; Amanda Shackleton, Dame Hannah in Ruddigore in 2010, will play the “pew opener” Mrs Partlet, and Emma Burke, Gianetta in Elixir Of Love, will return as her daughter Constance.
York Opera in Gilbert and Sullivan’s The Sorcerer, York Theatre Royal, July 3 to 6, 7.30pm and 2.30pm Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Stars and stripes: Bright Light Musical Productions’ cast for Green Day’s American Idiot at the Joseph Rowntree Theatre, York
BRIGHT Light Musical Productions will stage the York premiere of punk rock opera Green Day’s American Idiot at the Joseph Rowntree Theatre from July 4 to 6.
Dan Crawfurd-Porter’s high-octane, politically driven production opens on American Independence Day and General Election day in the United Kingdom, also marking the 20th anniversary of Green Day’s groundbreaking album American Idiot.
Produced by Bright Light Musical Productions with support from York company Black Sheep Theatre Productions, the Tony Award-winning show with music by Green Day, lyrics by Billie Joe Armstrong and book by Armstrong and Michael Mayer “promises an electrifying experience that captures the spirit and energy of Green Day’s influential music”.
Inspired by the Californian band’s chart-topping 2004 album, American Idiot tells the story of Johnny, “Jesus of Suburbia”, and his friends Will and Tunny as they attempt to break out of their mind-numbing, aimless suburban existence.
Their journey embodies the youthful struggle between passionate rebellion and the search for love, echoing the voice of their era. From Boulevard Of Broken Dreams to Holiday and 21 Guns, American Idiot brings the “soundtrack of a generation” to the stage with the promise of captivating and energising audiences with early 2000s’ nostalgia.
Boasting a cast of 14 and a seven-piece rock band, Bright Light’s production is propelled by the vision of producer/director Dan Crawfurd-Porter, musical director Matthew Peter Clare and choreographer/assistant director Freya McIntosh.
The poster artwork for Bright Light Musical Productions’ York premiere of Green Day’s American Idiot
In the cast will be Iain Harvey as Johnny; Dan Poppitt as Tunny; William Thirlaway as Will; Mickey Moran as St Jimmy; Chloe Pearson as Whatsername; Ellie Carrier as Heather; Rebecca Firth as Extraordinary Girl/Dance Captain and Richard Bayton as Favourite Son/ensemble. Jack Fry, Kailum Farmery, Tiggy-Jade, Charlie Clarke, Josh Woodgate and Diane Wilkinson will be on ensemble duty.
“This show is a powerful statement about a world that remains unchanged since the original album’s release in 2004,” says director Dan Crawfurd-Porter. “Its relevance to young people today is as strong as ever, with its commentary on America and politics resonating deeply this year, especially on July 4th.
“Personally, the issues it tackles have affected me profoundly, as they have many others. The aim is to give a voice to those who feel unheard, just as it has given one to me.”
Green Day’s American Idiot will be the first York production from a North Yorkshire musical theatre company that was founded in 2022 and made its debut in 2023 with Tick, Tick…BOOM! at Ripon Arts Hub.
“Join us for a memorable and high-energy performance that promises to be both a tribute to a seminal album and a resonant voice for today’s issues,” says Dan.
Bright Light Musical Productions present Green Day’s American Idiot, Joseph Rowntree Theatre, York, July 4 to 6, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
The 2023 tour cast for SIX The Musical. Picture: Pamela Raith
SIX times three equals another chance to see Toby Marlow and Lucy Moss’s “Spouse Girls” revenge musical at the Grand Opera House,York, from October 14 to 18.
Tickets go on sale on Wednesday morning at atgtickets.com/york for the royal return of the West End and Broadway hit that enjoyed sold-out runs at the Cumberland Street theatre in October 2022 and June 2023.
Remixing 500 years of historical heartbreak into an 80-minute celebration of 21st century girl power, Marlow and Moss’s all-female show for the millennial age reactivates the lives of the six wives of Henry VIII in modern mode, with attitude. Call it gig theatre, call it a pop concert, wherein the Queens tell their story in song in chronological order to decide who suffered most at Henry’s hands once he put a ring on that wedding finger.
Premiered by the Cambridge University Musical Theatre Society in a 100-seat room at the 2017 Edinburgh Fringe, SIX The Musical has grown into a global phenomenon. Productions are playing on Broadway at the Brooks Atkinson Theatre, New York, and across the United States on tour, while the West End production continues its third royal residence at the Vaudeville Theatre and the UK tour is booking through to 2025, selling out wherever it goes.
The 2022 tour cast for SIX The Musical
Winner of the 2022 Tony Award for Best Original Score and Best Costume Design on Broadway, the 2022 and 2023 Whatsonstage Award for Best West End Show and 2020 BBC Radio 2 Audience Award for Best Musical, SIXalso was nominated for five Olivier awards, including Best New Musical.
The SIX cast has performed on the results show of ITV’s Britain’s Got Talent and BBC’s Children in Need Appeal Show; the show’s songs have attracted 300 million streams and three billion views on TikTok, and the original studio album has achieved gold status, marking 100,000 sales in the UK.
SIX is co-directed by Lucy Moss and Jamie Armitage, choreographed by Carrie-Anne Ingrouille and designed by Emma Bailey (set), Gabriella Slade (costumes), Tim Deiling(lighting) and Paul Gatehouse (sound).
The score features orchestrations by Tom Curran, with music supervision and vocal arrangements by Joe Beighton, working in tandem withmusical director Jennifer Deacon and UK musical supervisorKaty Richardson.
