Shed Seven, huts five: Scarborough Open Air Theatre awaits the York band this weekend
SHED Seven are off to the Yorkshire coast on Saturday for their “biggest ever headline show in their home county”, a long-overdue debut at Scarborough Open Air Theatre.
Joining York’s Britpop titans at the UK’s largest purpose-built outdoor concert arena will be special guests Jake Bugg and Cast.
“It’s been a dream of ours for some time to head out to the coast to play Scarborough OAT,” said Sheds frontman Rick Witter when tickets went on sale last October. “It’s a stunning and historic venue…Yorkshire’s very own Hollywood Bowl!
“It’s going to be a huge celebration following the success we had in 2024. Expect big hits and huge singalongs. See you down the front.”
In addition, Shed Seven will play either side of the Pennine divide for Sounds Of The City 2025, first at Castlefield Bowl, Manchester, on July 4, followed by a return to Leeds Millennium Square on July 11, having headlined the Sound Of The City bill there on July 15 2023. Ian Broudie’s Lightning Seeds and The Sherlocks will be on support duty on both nights.
The first question to ask Rick, after the annus mirabilis of the Sheds’ 30th anniversary year, is “what have you been up to since the chart-topping highs of 2024”?
“It’s been a bit of a quiet beginning to the year, but then suddenly it’s June!” he says. “I was best man to Paul [guitarist Paul Banks] at his wedding at the start of March, when he married Mel.
Rick Witter and guitarist Paul Banks performing on the first night of Shed Seven’s 30th anniversary celebrations at Live At York Museum Gardens last summer. Picture: David Harrison
“I sorted out his stag do, and then at the wedding I sang Chasing Rainbows, changing the words for the happy couple.”
Already the Sheds have played their first outdoor show of 2025, supporting Sheffield United fan Paul Heaton at his beloved Bramall Lane homecoming on May 25. “It wasn’t our gig, so we just rocked up and did our thing. Playing Chasing Rainbows to 28,000 was great,” says Rick.
Rehearsals for Scarborough and the summer season ahead took place on Monday and Tuesday before the Sheds headed to Norway to play Bergen. “We’re really looking forward to Scarborough. Yes, it’s not before time, but it’s worked in our favour because we could do the end-of-year 30th anniversary tour and then do the festivals this summer, knowing we needed to take a bit of a break in between.
“It’s nice not to have the pressure of having to sell albums this year. It’s more like a victory lap for us. We have some great ideas for the shows, but I can’t reveal them – though it could be in keeping with things like having the kids’ choir from our old school [Huntington School] singing with us in the Museum Gardens last summer. Something like that.”
The Sheds take pride in providing good value in the bills they have put together for Scarborough, Manchester and Leeds. “We always want to create as much value for money as we can get, while keeping prices as low as possible,” says Rick. “We talk with our booking agents and promoters, and thankfully all the acts we asked were more than happy to join the Shed Seven party.”
Shed Seven will be playing 14 festival and open-air shows this summer, not least a “career-spanning set” at Glastonbury festival on June 27. “It’s our first time there in 30 years, when we played possibly the NME stage. There was a huge crowd for us back then, and this time we’ll be on the Woodsies stage, which used to be the John Peel Stage, playing mid-afternoon on the Friday [5.15pm to 6pm to be precise].
“It’s going to be in a tent, which is nice because you know the audience are there for you, and the lighting show can be better.”
Reflecting on the maximum highs of 2024 – the brace of number one albums, the Museum Gardens concerts and 30th anniversary tour – Rick says: “What a year! At the end of the day, you never know what’s coming next with what you do, but we could sense something building over the last few years, and then everything seemed to align for us last year.
Shed Seven’s poster for Live Summer 2025 concerts at Scarborough Open Air Theatre, Manchester Castlefield Bowl and Leeds Millennium Square
“How incredible for it to happen in our 30th year, but the fact we are self-managed now and in control gave us our buzz, and we became the biggest we’d been since the mid-1990s.
“It got to the point in November [when on tour], where I was getting up, cleaning my teeth, looking in the mirror and thinking. ‘oh no, not you again’! But I think we’re very savvy as a band at knowing when to push it and when to step back.”
Rick continues: “I’m very proud that we’re among only 20 acts since 1953 to have two UK number one albums in one year – and no other indie guitar band has done it. It’s an exclusive club!”
Looking ahead, “in the down time, we’ll start writing for the next album for a couple of years’ time, with plans for a Shedcember tour at the back end of 2026”.
Rick finished this interview with a recollection from 1995. “We had nowhere to rehearse in York at the time, but Tom [Gladwin], the bass player, knew the owner of the Cockerill potato plant, on Hull Road, where there was a disused office just collecting dust.
“His son said, ‘if you want to go and write and record there’…and that’s where we put together the ideas for A Maximum High. Then B&Q bought the site, and where they now sell sheds at B&Q is the exact spot where Cockerills had that disused office. It’s like it was meant to be!”
Shed Seven play Scarborough Open Air Theatre, supported by Jake Bugg and Cast, June 14; gates open at 6pm. Box office: scarboroughopenairtheatre.com/shedseven.
Dame Sarah Connolly and Dame Imogen Cooper: Playing the Olav Arnold Memorial Concert at St Andrew’s Church on June 19
THE 31st edition of the Northern Aldborough Festival, in the North Yorkshire village of Aldborough, near Boroughbridge, opens with this evening’s 6.30pm concert by Fantasia Orchestra, conducted by Tom Fetherstonhaugh, at St Andrew’s Church, fresh from their Proms debut.
Violinist Tamsin Waley-Cohen will be the soloist for Vaughan Williams’s The Lark Ascending and other works include Elgar’s Serenade for Strings and Dvorak’s Nocturne and Serenade for Strings.
2025 sees the festival celebrate the artistry and power of the human voice, centred on the annual nationwide hunt for the UK’s best classical singing talent in the New Voices Singing Competition, now in its third year, with a star-studded judging panel of Sir Thomas Allen, Dame Jane Glover, Sholto Kynoch, festival director Robert Ogden and Sir Andrew Lawson-Tancred.
Fantasia Orchestra with conductor Tom Fetherstonhaugh: Opening the festival this evening at St Andrew’s Church
Semi-finals take place at St Andrew’s Church at 4pm and 6pm on Sunday, followed by the Monday’s final on Monday at 7pm in the 14th century church with a prize fund of £7,000.
Further highlights include jazz vocalist Jacqui Dankworth & Her Trio, at The Old Hall, North Deighton, tomorrow, 7.30pm; opera company Wild Arts, in a semi-staged performance of Donizetti’s The Elixir Of Love, conducted by Orlando Jopling, at St Andrew’s Church, on Sunday, 7pm, and two musical Dames, mezzo soprano Dame Sarah Connolly with Dame Imogen Cooper on piano, at St Andrew’s Church on June 19, 7.30pm.
French horn player Ben Goldscheider: Playing with The Heath Quartet at St Andrew’s Church on June 17
In the programme too will be the Thanda Gumede Trio, (vocals, piano and bass), at The Old Hall, North Deighton, tomorrow, 11am; French horn player Ben Goldscheider, playing with The Heath Quartet, St Andrew’s Church, June 17, 7.30pm; An Evening With Matthew Parris, the journalist and former MP, St Andrew’s Church, June 18, 7.30pm, and Armonico Consort, playing Rachmaninov’s The Vespers, directed by Christopher Monks, St Andrew’s Church, June 20, 7.30pm.
Mezzo-soprano Judith le Breuilly will be accompanied by pianist George Ireland at St Andrew’s Church on June 16 at 11am; the Young Artists Showcase will be held there on June 18 at 11am, and The Asteria Trio (flute, harp and viola) will be led by Harrogate-born harpist Megan Humphries at Farnley Hall, near Otley, on June 19 at 11am.
Vocalist Thanda Gumede: Leading his trio at The Old Hall, North Deighton, tomorrow morning
Aldborough’s late-night venue, The Shed, returns for concertgoers who want to continue festivities after the evening concerts in a relaxed environment, with a variety of live entertainment and refreshments.
The Last Night Outdoor Concert, in the grounds of Aldborough Manor, features The Killerz Tribute, performing the hits of The Killers, supported by singer-songwriter Pearl Natasha, on June 21 when gates open at 6pm.
Running from today to June 21, the full programme, performance times and booking details can be found at aldboroughfestival.co.uk. Box office enquiries can be made to festival@aldborough.com . Tickets are on sale at 01423 900979 too.
Robert Ogden, director of the 31st Northern Aldborough Festival, outside St Andrew’s Church, Aldborough
Christopher Finnegan, Peter Pearson, Tommy Carmichael and Jonny Wakeford in The Growth House’s interactive cabaret Big Strong Man
BIG Strong Man will invite tomorrow’s audience at Bilton Working Men’s Club, Skipton Road, Harrogate, to become part of the action, challenging societal norms and shining a light on the systemic barriers that shape how men’s mental health is addressed.
“This is radical theatre at its most alive: unfiltered, unafraid and unmistakably northern,” says The Growth House, as this surrealist comedy theatre company mounts its boldest tour yet, “setting a new standard for socially driven, interactive performance”.
Mentored by Emma Rice’s Wise Children company, The Growth House is on a 12-venue tour with its groundbreaking flagship production. As associate artists at CAST in Doncaster, the company continues to seek to push boundaries with its unapologetically working-class, socially conscious theatre.
Part party, part protest, Big Strong Man is a riotous, high-energy cabaret where four northern lads blend fast-paced improv, physical comedy and the aforementioned audience participation to tackle men’s mental health.
The lads are given the impossible task of deconstructing and rebuilding manhood in one night. Bonj reckons we should get rid of this outdated concept forever; Winston thinks we should listen to King Charlie; Gaz knows all we need is work, women, food and the gym; Timternet thinks they’re all idiots and would rather play Pokemon Go
“Only one of them can become the Big Strong Man to save us all. Which one?!” Find out as The Growth House probes men’s mental health
They have some big decisions to make, but every time they do, something happens: a game, a song, a scene or a mysterious feeling they cannot quite describe. They need help to get the job done…and that’s where you, the audience, comes in, because only one of them can become the Big Strong Man to save us all. Which one?!
“Big Strong Man puts the power in your hands by letting you choose what parts of the show you want to see,” says The Growth House. “What elements of masculinity do you love? Let’s celebrate it. What aspects do you hate? Let’s talk about it. And what is it missing? Let’s find out!
“This show is a celebration of northern culture and community spirit. A unique experience with all the remarkable features of a cabaret or gig.”
Created in response to the disproportionately high rates of suicide and depression among working-class men in the North, this urgent, electrifying, interactive cabaret show will be performed by Christopher Finnegan (Winston), Peter Pearson (Bonj), Tommy Carmichael (Timternet) and Jonny Wakeford (Gaz).
Cue alternative comedy, storytelling, song, dance, improvisation, ladders, competition, boy band parodies, lip syncs, placards, blocks, charity-shop suits, a bear and “Poundland-level extravagance”, plus the content warning of “strong language and references to suicide, mental health conditions, infant death, domestic violence and karaoke”.
Big Strong Man: “A celebration of northern culture and community spirit with all the remarkable features of a cabaret or gig”
“Male identity is no longer as rigid and homogenous as it once was,” says The Growth House. “Industry, politics and society are moving away from a single culture. Big Strong Man looks at the current state of masculinity to attempt to understand the soaring depression and suicide rates facing men across the north of England.
“What are the rules to being a male? What are the expectations of men in the 21st century? What can we do to develop male culture in order to make the world a better place to live in?”
The Growth House was founded by directors Finnegan, Pearson and Sam Dunstan, who have been collaborating for five years on works that combine movement, voice, song, contemporary creative writing and sweat aplenty from the performers.
Co-writer, choreographer and performer Finnegan is an actor, director, writer, lecturer, physical theatre practitioner and tutor; Pearson is a Geordie actor and performer who specialises in devised and improvised theatre, working with social theatre companies that combine activism with art; director and co-writer Dunstan is a creative director, producer and educator, born and bred in Yorkshire.
The Growth House, in association with Harrogate Theatre, presents Big Strong Man at Bilton Working Men’s Club, Skipton Road, Harrogate, tomorrow (13/6/2025), 7.30pm. Further tour dates include Slung Low, The Warehouse, Crosby Street, Holbeck, Leeds, on July 12, 7.30pm. Box office: Harrogate, harrogatetheatre.co.uk/events/big-strong-man/; Leeds, ticketsource.co.uk/booking/select/emyxmqvaznlp.
The Growth House’s poster artwork for Big Strong Man, heading for Harrogate tomorow and Holbeck, Leeds, on July 12. The 12-date tour already has played The Carriageworks Theatre, Leeds, on May 23 and 24 and Hull Truck Theatre on May 29
Blackpool Tower Ballroom here they come: Chloe McDonald’s Nat, left, Martha Godber’s Sally and Emilio Encinoso-Gil’s Kyle keep the faith in John Godber’s hymn to Northern Soul, Do I Love You?
JOHN Godber has a new play on its way this autumn: Black Tie Ball, a tale of hotel upstairs and downstairs, bow ties and fake tans, jealousies and avarice, divorces and affairs, told by staff at breakneck speed from arrival at seven to carriages at midnight. Harrogate Theatre, from September 10 to 13, and Stephen Joseph Theatre, Scarborough, from November 12 to 15, await.
There is a Godber house style, billed as his “signature visceral style”, one that applies as much to his hymn to Northern Soul, Do I Love You?, as it will to Black Tie Ball. Ever since Bouncers and Teechers, less has been more in Godber plays: compact casts, concise scenes, minimal props and space aplenty for combative or compatible movement.
No-nonsense Yorkshireman Godber has been writing plays since 1977, the year of punk at its scratchy apex, and likewise he tore up the rule book to write working-class dramas, economical but full of home truths, albeit with a nod to Bertolt Brecht in breaking down theatre’s fourth wall to favour direct address.
Do I Love You? is up there with his best works, visiting York Theatre Royal in the concluding week of its third tour since its 2023 debut, still with the same fresh-faced cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil, who are in the groove not only of the sublime underground Sixties and Seventies music, but also of working together regularly, like the comic interplay of a well-oiled TV comedy series.
Frank exchange: Martha Godber’s Sally makes her point to Chloe McDonald’s Nat as Emilio Encinoso-Gil’s Kyle seeks to intervene in Do I Love You?
Godber is always at his best when his fractious comedies are fired by both love and anger, ideally backed by a pulsating soundtrack too. The love here is for Northern Soul from his own days of going to all-nighters and weekenders across the north, and he writes with passion, Record Collector levels of knowledge, not so much nostalgia, but more a lament for what we have lost.
Qualities of authenticity, truth, pride: all values he attributes to Northern Soul, music of pain and sorrow and ecstatic release; music of and for the working classes.
He places his drama in the hands of what he calls the lost generation, the twenty-something post-Covid generation stuck in the sludge of working at drive-through fried chicken counters.
Meet Martha Godber’s Sally, who looks after her ailing Irish-born grandma (played with a scarf, a fag and a hacking cough by McDonald), neglected by her drunkard mother. Meet Encinoso-Gil’s Kyle, her best mate, from Spanish stock, but the timing has never been right for it to be anything more than that. Meet McDonald’s Nat (or ‘Natalie’, she insists), their friend since schooldays, who has a crush on Kyle too and likes a spliff or two.
The anger lies in Godber surveying how little has changed between Britain in 1973 and 2023, the year in which the play is still set with Rishi Sunak as Prime Minister, “looking 11 years old” as he puts it.
Do I Love You? writer-director John Godber: Keeping the faith in Northern Soul when losing the faith in everything else
Godber writes of rising costs and prices, unemployment and small-town blues; of pubs closing, hospitality venues going; strikes on-going. Plus ca change.
He writes too of the everyday difficulties of young lives, as they fall out with each other, while facing mounting problems at home. What is left but to find a love, something to believe in, to keep the faith?
Godber interweaves the trio’s trials and tribulations with their initiation into Northern Soul, brilliantly described in Sally’s account of their first visit to a Cleethorpes all-nighter: £3 for eight hours. Soul devotees on the dancefloor, sliding, gliding, kicking, making her cry, although she doesn’t know why, but the way Godber writes, we do.
He takes us there with a sense of poetic wonder, just as he captures the tedium of taking fried chicken orders by reducing the experience to the fewest words possible for the maximum comical impact.
Emilio Encinoso-Gil’s Kyle tentatively shows off his dancefloor moves in Do I Love You?, to the scornful amusement of Chloe McDonald’s Nat and Martha Godber’s Sally
The songs can be played only in snippets that have to stop all too quickly, but Godber evokes Northern Soul by mentioning all the landmark songs and locations and by the power of his pen.
Best of all is the fulminating speech by Encinoso-Gil’s hunched-up Keith, a soul veteran with a criminal past and fingers in every pie, who is Do I Love You’s version of Lucky Eric in Bouncers, except that he squeezes all he has to say into one impassioned yet beautiful rant-cum-lament, whereas Eric has four bites at the sour cherry.
All three performances are terrific, Martha Godber especially so, and if no moment that follows Keith’s speech quite matches it, Do I Love You? packs an emotional punch, full of northern wit, grit and soul power hits.
John Godber Company in Do I Love You?, York Theatre Royal, until Saturday, 7.30pm plus 2pm matinee tomorrow (12/6/2025) and 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Making her point: Martha Godber’s Sally, left, in a contretemps with Chloe McDonald’s Nat as Emilio Encinoso-Gil’s Kyle seeks to intervene in John Godber’s Do I Love You?
CELEBRATIONS of Northern Soul and British comedy greats are right up Charles Hutchinson’s street for the week ahead.
Weekender of the week: John Godber Company in Do I Love You?, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees; post-show discussion on June 13
THE John Godber Company is on its third tour of John Godber’s hymn to keeping the faith in Northern Soul, with the same cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil.
Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of drive-through counter jobs, who find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Blackpool Tower Ballroom, Chesterfield to Stoke. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh, on tour at the Grand Opera House, York
Comedy legends of the week: The Last Laugh, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm matinees today, tomorrow and Saturday
WHO will have The Last Laugh at the Grand Opera House when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?
Find out in the Edinburgh Fringe, West End and New York hit’s first tour stop as Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too. Box office: atgtickets.com/york.
One of the Famous Faces on show in the Artistic Spectrum exhibition at Pocklington Arts Centre
Exhibition of the week: Artistic Spectrum: Famous Faces, Pocklington Arts Centre, on show until June 27
BOLD artworks feature in Famous Faces, a powerful, large-scale portrait project from Artistic Spectrum, co-created with more than 100 neuro-divergent and Special Educational Needs children and adults across East and South Yorkshire to challenge perceptions, champion inclusivity and put the power of representation into the hands of those too often left out of the frame.
Developed in group workshops over several weeks, participants created striking portraits of people who inspired them, from musicians and sports stars to activists and screen icons, using collage, found materials and personal objects to make works rich with texture, colour and personal meaning.
Comedian Scott Bennett and his daughter in the promotional picture for Blood Sugar Baby, on tour in York and Pocklington
Storyteller of the week: Scott Bennett, Blood Sugar Baby, Theatre@41, Monkgate, York, tonight, 8pm; Pocklington Arts Centre, August 6, 8pm
ONE family, one condition, one hell of a hairy baby: Scott Bennett, from The News Quiz, relates how his daughter fell ill with a rare genetic condition, congenital hyperinsulinism (CHI).
Never heard of it? Neither have new parents Scott and Jemma as they fight to achieve the right diagnosis for their daughter and are plunged into months of bewildering treatment, sleepless nights, celebrity encounters and bizarre side effects, but a happy ending ensues. Box office: York, tickets.41monkgate.co.uk; Pocklington, 01759 301547 or pocklingtonartscentre.co.uk.
Shed Seven: Off to the Yorkshire coast on Saturday to play Scarborough Open Air Theatre
Coastal gigs of the week: The Corrs and Natalie Imbruglia, tonight; Gary Barlow and Beverley Knight, Friday; Shed Seven, Jake Bugg and Cast, Saturday, all at Scarborough Open Air Theatre; gates open at 6pm
THE 2025 season of Cuffe & Taylor concerts in the bracing sea air of Scarborough opens tonight with the Irish band The Corrs and Australian singer and Neighbours actress Natalie Imbruglia, followed by Take That and solo songwriter and The X Factor and Let It Shine judge Gary Barlow on his Songbook Tour 2025 on Friday, when Beverley Knight supports. Expect hits from both his band and Barlow back catalogues.
After two chart-topping 2024 albums in their 30th anniversary year, York band Shed Seven make their belated Scarborough Open Air Theatre debut on Saturday, supported by Jake Bugg and Cast. Box office: scarboroughopenairtheatre.com.
Henry Blofeld: Wickets and wit in cricket chat at Helmsley Arts Centre
The sound of reporting on leather on willow: An Audience With Henry Blofeld, Sharing My Love Of Cricket, Helmsley Arts Centre, tomorrow, 7.30pm, rearranged from March 21
LEGENDARY BBC broadcaster and journalist, Henry Blofeld, former stalwart of the BBC’s Test Match Special commentary box, takes a journey through modern cricket, while looking back at the great games of yesteryear.
Blowers reflects on how cricket used to be and where it is headed: the theme of his September 2024 book Sharing My Love Of Cricket: Playing The Game And Spreading The Word, wherein he explores the big shifts, innovations and challenges facing the game. Box office: helmsleyarts.co.uk.
Saul Henry: On the Funny Fridays bill at Patch at the Bonding Warehouse, York
York comedy bill of the week: Funny Fridays at Patch, Bonding Warehouse, Terry Avenue, York, Friday, 7.30pm
THE second Funny Fridays comedy night at Patch features Saul Henry, Gemma Day, Ethan Formstone, Lucy Buckley and headliner Jack Wilson, hosted by founder and comedian Katie Lingo.
Formstone’s profile reveals he is a bricklayer from York, who grew bored and now, “using his natural stage presence and wild imagination, lays surreal stories that will delight you and leave you slightly confused”. Tickets: eventbrite.co.uk/e/funny-fridays-at-patch-tickets-1353208666549?aff=oddtdtcreator.
The poster for the SatchVai Band’s Surfing With The Hydra Tour, visiting York Barbican on Friday
Rock gig of the week: SatchVai Band, Surfing With The Hydra Tour 2025, York Barbican, Friday, doors 7pm
FOR the first time in nigh on 50 years of playing rock, guitarists and friends Joe Satriani and Steve Vai have united to tour as the SatchVai Band, opening their European travels in York before heading to London, Paris, Copenhagen, Amsterdam, Istanbul and Athens.
Powerhouse drummer Kenny Aronoff, bassist Marco Mendoza and virtuoso guitarist Pete Thorn complete the stellar quintet. Box office: for returns only, yorkbarbican.co.uk.
Alex telling her story in EGO Arts’ You Know My Mum at Theatre@41, Monkgate, York, on Friday
Cheeky comedy of life, loss and love for all the family:EGO Arts in You Know My Mum, Theatre@41, Monkgate, York, Friday, 7.30pm.
LEADING EGO Midlands Creative Academy’s disabled and neuro-divergent cast, Alex is a 25-year-old woman with Down’s syndrome struggling with the death of her mum. One day, she discovers Bluey, a baby Blue Tit, in her garden.
While Bluey learns about fried chicken factories and joins a boot camp for birds, Alex battles Harry Potter monsters and dreams about life after death. As her wild imagination comes to life, she learns that the love she thought she lost is all around her. Box office: tickets.41monkgate.co.uk.
Angels Of The North: Headlining the main stage on Knavesmire at York Pride 2025
YORK Pride and celebrations of Northern Soul and British comedy greats are right up Charles Hutchinson’s street for the week ahead.
Festival of the week: York Pride, Parliament Street to Knavesmire, York, 12 noon to 6pm
NORTH Yorkshire’s largest LGBT+ celebration and York’s biggest free one-day festival, York Pride 2025, takes to the streets for its biggest, boldest and most fabulous event yet today, led off by the Pride Parade that will follow a new path through the streets from Parliament Street at midday.
On Knavesmire, the festival’s main stage will be headlined by Angels Of The North (6pm) and on the bill too will be Ryan Petitjean (1.10pm), tribute act Pet Shop Boys, Actually (1.35pm), Marcus Collins (2pm), Eva Iglesias (2.30pm), York drag superstar Janice D (3.35pm), La Voix (4pm), West End queen Kerry Ellis (5.15pm), The Cheeky Girls (5.35pm) and plenty more. Find the full line-up at yorkpride.org.uk/line-up.
Duncan Honeybourne: Performing the last concert of York Late Music’s 2024-2025 series this afternoon
Season’s finale: York Late Music presents Duncan Honeybourne, piano, Unitarian Chapel, St Saviourgate, York, today, 1pm
PIANIST Duncan Honeybourne performs new commissions commemorating the 100th anniversary of the death of the influential French composer Erik Satie, written especially for this afternoon’s programme by Philip Grange, Fred Viner, Sarah Dacey, Andrew Hugill, Steve Plews, Sarah Thomas, Simon Hopkins, Jenny Jackson and others, some of whom will be heard at Late Music for the first time.
Each composer has been asked to provide a new miniature piano solo influenced or inspired in some way by Satie and their works will be interspersed with a selection of Satie’s own pieces, such as Gnossiennes and Gympnopédies. Box office: latemusic.org/duncan-honeybourne-piano/ or on the door.
Film event of the week: John Barry From York With Love, Everyman York, York, today at 2.30pm and 4pm
JOHN Barry From York With Love, Sean Parkin’s unauthorised documentary of the early career of the York-born film composer, will have two private screenings at Everyman York this afternoon.
Private, yes, but tickets are available, although for copyright reasons, those tickets are for the after-viewing party at The Crescent community venue. The film viewing is free but there will be no entry without an after-show ticket. Doors open at Everyman at 2pm; the after-view party is at 3.45pm. All profits go to the Future Talent charity. A further screening follows at 4pm. Tickets: fienta.com.
Lady Nade: Paying tribute to Nina Simone at Helmsley Arts Centre
Celebration of a legacy: Lady Nade Sings Nina Simone, Helmsley Arts Centre, tonight, 7.30pm,
KNOWN for paying homage to those who have influenced her journey profoundly, Lady Nade holds Nina Simone in high regard for leaving behind a legacy of liberation, empowerment, passion and love through her extraordinary body of work.
As a black woman, Lady Nade acknowledges Simone’s trailblazing role in paving the way for artists of her generation. Her high-energy performance is a heartfelt dedication to recreating the transformative sound that blended popular tunes of the era into a distinctive fusion of jazz, blues, gospel, and folk music. Box office: 01439 771700 or helmsleyarts.co.uk.
The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith
Comedy legends of the week: The Last Laugh, Grand Opera House, York, June 10 to 14,7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
WHO will have The Last Laugh at the Grand Opera House, York, when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?
Find out in the Edinburgh Fringe, West End and New York hit’s first tour stop as Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too. Box office: atgtickets.com/york.
Keeping the faith in Northern Soul: Chloe McDonald, left, and Martha Godber in John Godber’s Do I Love You?, on the dancefloor at York Theatre Royalfrom June 10
Weekender of the week: John Godber Company in Do I Love You?, York Theatre Royal, June 10 to 14, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees; post-show discussion on June 13
THE John Godber Company is on its third tour of John Godber’s hymn to keeping the faith in Northern Soul, with the same cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil.
Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of drive-through counter jobs, who find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Tower Ballroom, Chesterfield to Stoke. Box office: 01904 623568 or yorktheatreroyal.co.uk
Making a last stand: Pickering Musical Society bids farewell to musicals in Hello, Dolly!Picture: Robert David Photography
Goodbye to musicals: Pickering Musical Society in Hello, Dolly!, Kirk Theatre, Pickering, June 10 to 14, 7.30pm plus 2.30pm Saturday matinee
PICKERING Musical Society is preparing to raise the curtain on its final full-scale musical production, after more than a century, citing rising production costs and falling membership.
Set in the energetic bustle of 1890s’ New York, Jerry Herman’s Hello, Dolly! follows the irrepressible Dolly Gallagher Levi (society favourite Rachel Anderson) – a witty matchmaker, meddler and “arranger of things” – as she decides to find a match for herself. Box office: 01751 474833 or kirktheatre.co.uk or in person from the box office on Tuesdays, 11am to 1pm.
Podcaster Blindboy Boatclub
Podcaster of the week: The Blindboy Podcast Live, York Barbican, June 10, 7.30pm
POLYMATH, author, screenwriter, songwriter, musician, producer and academic Blindboy Boatclub is on the biggest tour yet of his storytelling podcast, wherein he follows the Irish tradition of the Seanchaí, intertwining history, fiction, cultural critique and politics.
Drawing on his knowledge and chronic curiosity to democratise topics such as art, psychology, politics, science and music, Blindboy gives his insight into complex issues. Look out for a surprise special guest too. Box office: yorkbarbican.co.uk.
The invitation to Mark Hearld’s book signing on Thursday at Janette Ray Booksellers
Book signing of the week: Mark Hearld at Janette Ray Booksellers, 8, Bootham, York, June 12, from 4.30pm
YORK artist, ceramicist and York Open Studios stalwart Mark Heard will be signing copies of his book, Raucous Invention, The Joy Of Making, published in a beautiful new edition by Thames & Hudson. Mark will be on hand from 4.30pm to 7.30pm.
Released on June 5,the newly expanded edition of Hearld’s monograph bursts with more than 400 colour illustrations and fresh insights in a vivid journey into the heart of his creativity and love of the animal world.
Christopher Simon Sykes’s photograph of Mick Jagger in concert on the Rolling Stones’ Tour of the Americas in 1975, on show at Sledmere House from June 13
Exhibition launch of the week: On Tour With The Rolling Stones 1975, A 50th Anniversary Exhibition of Photographs by Christopher Simon Sykes, Sledmere House, Sledmere, near Driffield, June 13 to July 6, except Mondays and Tuesdays, 10am to 5pm
IN June 1975, Christopher Sykes, of Sledmere House, joined the Rolling Stones Tour of the Americas, known as T.O.T.A ’75: his first rock’n’roll itinerary as a snapper after specialising in photographing stately home interiors.
“You know going on tour is not like country life, Chrissie,” advised Mick Jagger on his first day of accompanying the Stones on their three-month tour of North America and Canada, playing 40 shows in 27 cities. The photos were used in a tour diary published the following year, and this exhibition showcases a selection of the best of the behind-the-scenes and stage pictures in the Courtyard Room. Tickets: sledmerehouse.com.
In Focus: Chalky The Yorkie at No 84 Sandwich Bar, Micklegate Arts Trail, York
Artist Chalky The Yorkie stands behind his Tiki bar at No 84 Sandwich Bar, created for the Micklegate Arts Trail
ROVING, rock’n’roll-loving York artist Chalky The Yorkie has always had a canny eye for spotting locations for his installation pieces.
Raise a glass to his latest artwork, the outdoor, Polynesian-style Tiki bar at No 84 Sandwich Bar, Julian Smith’s deli and cafe in Micklegate, created for the 2025 Micklegate Arts Trail but destined to remain in place after the festival ends on June 15.
“Last year Julian had a conversation with me about how it would be great to have a bar out here, at the back, which was full of bins at the time,” recalls Chalky. “So the bar was the first idea, but then, when we were thinking about the Arts Trail, two friends had suggested I should incorporate bikes, and another said it would be great to do something for the environment, repurposing things out of skips and the old bicycles.
Chalky The Yorkie’s Tiki bar installation poem on the plight of cyclists
“So what I’ve come up with is a bar built with scrap wood and salvaged wood after I was donated some leftovers by a builder to create the Re-Cycle Tiki Bar, to give something back to the planet. David Burton gave me one bike, along with one from his childhood and another was provided by Recycle York, in Walmgate.
“I thought I should create a memorial, taking the term ‘Re-cycle’ to highlight the plight of cyclists who lose their lives in accidents or come off their bikes and get injured in cycle lanes.”
Artist Chalky The Yorkie with No 84 owner Julian Smith at the Tiki bar
Originally Chalky considered designing a 1950s’ bar but then settled on a colourful Tiki bar. “The primary colours are there to match traffic lights, with red, amber, though it’s more yellow than amber, and green. I went for yellow, because it’s a more definitive colour,” he says. “The blues I use signify the pain of loss in a cycling accident.”
Incorporated in the installation too are Beaumont ceramics of exotic birds and figures, acquired from York Catering Supplies, in Walmgate, butterfly motifs, floral decorations and tinkling bells. “I like the Buddhist convention of chiming bells in remembrance of people as part of their memorial ceremonies,” says Chalky.
Welcoming Chalky’s installation, Julian says. “Chalky is part of the fixtures and fittings here. He even came around for our Christmas dinner!
It Can Happen To You – Take Care:Chalky The Yorkie’s Re-cycle memorial to cyclists
“We’re taking part in the Micklegate Arts Trail because it’s all about traders promoting local artists whose work they like, with Navigators Art giving us a platform to do that. Jasmine Foo has never exhibited before, and we picked her crochet work because my wife is a knitter. We’re delighted to be showing Sinead Corkery and Jude Redpath too – and Chalky’s cheeky Tiki bar is the icing on the cake.”
Inside the deli, look out too for Chalky’s day and night paintings of No 84, both featuring the family pet, Sid the dog, in the upstairs window.
Chalky The Yorkie’s painting of No 84 Sandwich Bar, Walmgate, York, at night
Conductor John Atkin, front, centre, with York Beethoven Project musicians
YORK Beethoven Project Orchestra is approaching the half way point in its aim to play a complete cycle of all nine Beethoven symphonies before his bi-centenary in 2027.
Next up will be “probably the best known of all”, Symphony No. 5 Op 67 in C minor, at St Mary’s Church in Hemingbrough on Saturday, June 28, concluding with an informal, free public performance at 4pm.
Founder and conductor John Atkin says: “To reach the half way point is a great milestone. It’s come around so quickly since the first discussion to set up the project took place under the stage in Harrogate Theatre in 2023.
“We have played the first four symphonies with an average of 52 musicians and the format works well for us. Registrations take place up to six months in advance, with music being distributed electronically, then we meet and rehearse the whole work throughout the day, finishing with the free concert.”
Some musicians have done all four days, others only one. “We have played with more than 80 musicians in total so far,” says John.
“Symphony No. 6 is coming up in September at Selby Abbey with Symphonies No. 7, 8 and 9 planned over the next 18 months. We are always interested in hearing from new players, especially an extra bassoon and French horn, but we are not short of players.
“The problem we are having is finding venues big enough for us all to fit in but I think we are now sorted for the next three. Details are to be announced soon.”
The York Beethoven Project aims to use “local players in local venues” and hopes to continue after No. 9 with similar occasional days, two or three times a year, playing some more varied repertoire.
“By the time we performed the Eroica (No. 3) at the Joseph Rowntree Theatre last year, we were getting invitations to work with a number of venues and questions about what we will do next,” says John.
“To be honest, I’d not thought beyond No.9, as it was set up as part of my bucket list to complete a cycle I started at university 35 years ago. We’ve discussed the York Puccini Projector the York Sondheim Project, but I think we’ll just keep it open for now, complete the nine symphonies and see where we are in 2027.
Anyone interested in playing with the orchestra should email yorkbeethovenproject@gmail.com. Anyone wanting to attend Symphony No. 5 on June 28 should turn up at around 3.45pm.
THE appearance in Beverley of a North Riding soprano who has made it in the international arena was enough to attract any Yorkshireman. For anyone who had actually heard Rowan Pierce before, it was an unmissable event.
With the superb backing of the ten members of Florilegium, she delivered a Handel aria and one of Bach’s most challenging secular cantatas. Orchestral works by the same composers combined to make this a succulent opening night of the festival.
The demanding coloratura of ‘Sweet Bird’, from Part I of Handel’s Milton-inspired oratorio L’Allegro (1740), sounded as if written with Pierce in mind, so flexible was her tone. Her duetting alone with Ashley Solomon’s equally agile flute was delightfully evocative of the poet’s “most melancholy enchantress of the woods” (a bird otherwise unidentified).
Florilegium, led by Ashley Solomon. Picture: Amit Lennon
She returned later with Bach’s Cantata No 204, Ich Bin In Mir Vergnügt (‘I am content in myself’), which decries the vanity of riches. Its prodigious length, four arias in succession with preceding recitatives, is a test of any singer’s stamina. But Pierce was undeterred, showing particular involvement with the text.
The recitatives were unusually dramatic. But the restfulness of the opening aria, with two oboes in close attendance, and the crisp interweaving of voice and flute in the penultimate one, were more typical of the contentment she conjured.
The evening opened with Bach’s First Orchestral Suite. With its two chirpy gavottes and acharming woodwind trio in its bourrées, it crystallised the spirit of the dance. Handel’s Concerto Grosso, Op 3 No 3 in G, showed why Florilegium has been at the forefront of our Baroque orchestras virtually since its formation all but 25 years ago, especially in its lively fugal Allegro at the close. Voices ebbed and flowed with stylish precision.
But the evening belonged to Pierce. She capped it with Arne’s setting of Where The Bee Sucks, with flute and strings, which made a perfect encore.
Beverley & East Riding Early Music Festival, Stile Antico, Beverley Minster, May 24
Stile Antico: “Undoubtedly Beverley Minster suited the singers down to the ground: they were on top form.” Picture: Kaupo Kikka Hogg
THE 12 voices of Stile Antico celebrated the quincentenary of Palestrina’s birth with a programme centred on “The Prince of Music” in what is arguably the best cathedral-style acoustic anywhere in the north of England. Undoubtedly Beverley Minster suited the singers down to the ground: they were on top form.
The choir’s very name evokes the ‘old style’ attributed by later centuries to Palestrina, so he is in effect its patron composer. His achievements are still regarded as the epitome of classical Renaissance polyphony, especially in its controlled use of dissonance. If that sounds dry and academic, the effect here was quite the contrary: the music positively gleamed.
It was a smart move to give this music some context by including earlier samples from Des Prez and Arcadelt. The former’s antiphon for compline, Salve Regina, with its high soprano entries, was neatly contrasted by the latter’s Pater noster, darker coloured and beautifully worked here. Further contrast came with Palestrina’s six-voiced Tu es Petrus, whose vigorous inner parts emerged with notable clarity.
The best-known of Palestrina’s 104 masses, Missa Papae Marcelli, was represented by its Credo, whose mood changes are remarkable. The shift from the reverential Crucifixus to the optimism of the Ascension was enhanced by a gradual progression to an Amen of extreme celebration.
Another clever juxtaposition – revealing something of the composer’s own personality – was the downbeat humility of Peccantem Me Quotidie, written in the wake of serious family loss, immediately countered by a secular madrigal reflecting his unbridled happiness on remarriage. A sacred madrigal, in the vernacular not Latin, might have completed the picture.
There were several tributes to the composer’s legacy. The Spanish-tinged harmony of Lassus’s Musica Dei Donum was almost an early ‘An die Musik’, and there was some expert shading in Allegri’s Easter motet Christus Resurgens.
Lovely modern homage came from Cheryl Frances-Hoad’s A Gift Of Heaven, which dressed Palestrina’s style in modern clothing, even imitating him at the quotation of Latin text half-way through. Its significant tenor solo was handled with admirable aplomb by Jonathan Hanley.
Finally, the luxuriant 12-voice Laudate Dominum in tympanis revealed Palestrina at his most supremely confident; like the whole evening, it was impeccably tuned.
By way of encore there was a nod to the 400th anniversary of Gibbons’s death, with The silver Swan. Suffice to say, it brought tears to the eyes.
New Adventures in Matthew Bourne’s The Midnight Bell. Picture: Johan Persson
YORK had to wait 30 years for a first visit by Matthew Bourne’s dandy dance company. That came in March 2017 with Early Adventures, when he vowed to return in his post-show Q&A.
True to his word, he did so in October 2021 with another mid-scale touring work on his world premiere tour of The Midnight Bell, and now he does again with the same show in a case of For Whom The Midnight Bell Tolls Twice.
No complaints here, nor from the exhilarated, enraptured full house on the first night. Some of the original cast remains, joined by actor-dancers steeped in his dance dramas.
Not a word is said in The Midnight Bell, but evocative 1930s’ music abounds – dancers miming in character to the oh-so very English Al Bowlly, Elisabeth Welch and Leslie A. “Hutch” Hutchinson’s male interpretation of George and Ira Gershwin’s The Man I Love – to complement Terry Davies’s nightlife score and Paul Groothuis’s supreme sound design, ear-piercing tinnitus screeching, rain dancing on the roof, et al.
Inspired by the novels of Gaslight playwright Patrick Hamilton, Bourne’s storytelling through dance is so expressive that he creates a narrative language in visual form. You find yourself drawn to each character’s path as seamlessly as that story moves from beautifully framed scene to beautifully framed scene on a typically wondrous set design by Lez Brotherston, replete with the ever-changing London skyline that matches the mood of the scene.
Even the Magritte-style multitude of suspended window frames, the ever-populated bed and the pub bar move with the graceful swish of choreography. Bourne applies wit too: a red telephone box is represented by only the Telephone neon sign and the top of the box; the phone itself is pulled discreetly from the jacket of waiter Bob (Andrew Monaghan).
Brotherston’s costume designs are fabulous too. From lines and contours to hats and correspondent brogues, here is such elegance to meet Bourne’s eloquence in sensuous movement.
Set in The Midnight Bell pub, the surrounding bedsitland, rooms to rent, gated park, members-only club and cinema seats of London, Bourne’s work is billed as a “dance exploration of intoxicated tales from darkest Soho, delving into the underbelly of early 1930s’ London life”.
Devised and directed by Bourne, he peoples the tavern with a lonely hearts’ club of drinkers and staff; troubled souls more at the unhappy hour, rather than happy hour, stage of intoxication.
All have a drink in one hand, slammed down on tables at the outset. All are looking for a refill as much of the heart as the glass, or at least some form of connection, but will they be sated or are they destined for the loneliness of the lovelorn?
What couplings will end up in that bed in cleverly overlapping storylines involving a young prostitute, Jenny Maple (Ashley Shaw), the waiter, the barmaid Ella (Bryony Pennington) and the oddball regular Mr Eccles (Danny Reubens)?
On to the not-so-merry-go-round spin the bespectacled lonely spinster Miss Roach (Michela Meazza); the pickpocket cad Ernest Ralph Gorse (Glenn Graham); the out-of-work actress Netta Longdon (Cordelia Braithwaite), and the schizophrenic, tinnitus-troubled, tortured romantic George Harvey Bone (Alan Vincent).
The forbidden The Man I Love storyline entwines West End chorus boy Albert (Liam Mower) with new customer Frank (Edwin Ray), taking risks in that repressed era, captured in Bourne’s most sublime, serpentine choreography of this remarkable show.
Bourne calls these stories of requited and more often unrequited love in restlessly on-edge London “bitter comedies of longing, frustration, betrayal and redemption”. “Bitter comedies” could not put it better, the humour being as dark as London porter in this neon-lit world, but all life is here, sad, bad, mad, yet hopefully happy hereafter too, stamped with the distinctive Bourne identity, as full of panache as punch.
After Emma Rice’s take on Alfred Hitchcock’s North By North West and Gary Oldman’s residency in Krapp’s Last Tape, and now The Midnight Bell, York Theatre Royal is having a cracking 2025, as bright as Bourne’s dance hall mirror ball that dances with delight.
New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, tonight and tomorrow (6/6/2025) at 7.30pm; Saturday, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.Choreographer Sir Matthew Bourne will be in conversation with Theatre Royal chief executive Paul Crewes after tomorrow’s performance (6/6/2025).
Angels Of The North: Headline act on the main stage at York Pride on Knavesmire on Saturday
NORTH Yorkshire’s largest LGBT+ celebration and York’s biggest free one-day festival, York Pride 2025, takes to the streets for its biggest, boldest and most fabulous event yet on Saturday.
“We are so proud to stand together in love, solidarity and Pride,” says chair Greg Stephenson. “As we celebrate this weekend, we must also reflect. Around the world – and here in the UK – our trans and non-binary community is under increasing attack, facing rising hate, hostile attack, and systemic challenges.
“At York Pride, we stand proudly and unequivocally with our trans and non-binary siblings. You are loved, you are valued, and you are welcome here.
“Pride has always been a protest as well as a celebration. We march not just for ourselves, but for those who cannot. We raise our voices for those still silenced. And we will continue to champion inclusion, equality and visibility for all members of our LGBT+ family.”
In 2024, more than 17,500 people filled the city streets for a record-breaking York Pride, and once more the festival promises to be bold, inclusive and joyful in 2025, led off by the Pride Parade that will follow a new path through the streets with an updated starting point on Parliament Street at midday.
On Knavesmire, the festival’s main stage will be headlined by Angels Of The North (6pm) and on the bill too will be Ryan Petitjean (1.10pm), tribute act Pet Shop Boys, Actually (1.35pm), Marcus Collins (2pm), Eva Iglesias (2.30pm), York drag superstar Janice D (3.35pm), La Voix (4pm), West End queen Kerry Ellis (5.15pm), The Cheeky Girls (5.35pm) and plenty more. Find the full line-up at yorkpride.org.uk/line-up.
Look out too for the Cabaret Stage, featuring PJ Taylor, Emily Moran, Ferne Ando, Oliver James Perkins, Malin Fox, Queer Arts Rainbow Choir, The Drag Lord Victorious, Miss Kitty Lee, Coldhell, Liv Harper and 5.45pm headliners The Movement Project.
Knavesmire will play host to a multitude of main arena stalls and tents, including the York Pride Quiet Tent, City of York Council, the Diocese of Middlesbrough LGBT Outreach, York Mind, Amnesty International York, Christians At Pride In York, Sherlock Holmes’ Imaginarium, Barnardo’s North Fostering and Adoption and York St John University.
In a new addition for 2025, York Trans Pride will have a dedicated space to celebrate trans lives through visibility, community and empowerment, supported by Generate, York LGBT Forum, The Portal Bookshop, Know York LGBT and York Pride.
Queer Arts York will play host to the Queer Arts LGBT+ Community Arts Space hub, celebrating creativity, self-expression and community connection. Expect a joyful mix of arts and crafts activities, a participatory mural, interactive workshops and creative drop-ins and moments of performance, movement and expression.
The Pride day will conclude with an Official Pre-After Party with Charra Tea, from RuPaul UK Drag Race, from 7.30pm at Yates York and the Official AfterParty at Ziggy’s (bar and lounge from 7pm; downstairs from 10m to 4am).
York drag act Ginger Slice and York Mansion House duty manager Rio Sambrook demonstrating Georgian fan language in the Guildhall council chamber. Look out for their demonstration at York Pride
Among the festival highlights, Rio Sambrook, York Mansion House duty manager and chair of City of York Council’s staff LGBT+ network, will be giving a demonstration of Georgian fan language to drag performer Ginger Slice at the Georgian Festival stall between 1pm and 6pm.
“Fan language was a secret code of postures and motions for communicating by using a fan, central to Georgian ball culture, as a rebellion against the repression of young women and controlling of speech and lack of a voice,” says Rio, who will be dressed in Georgian inspired costume on Saturday.
“It was a time when young women’s voices were suppressed and they couldn’t speak freely, and it’s now had a strong resurgence in the LGBTQIA community and has a strong association with drag and Pride events.”
In the mid-20th century, gay people had their own secret language, spoken during a time of oppression. “Polari” was a way to communicate discreetly with each other when homosexuality was illegal – and later too when decriminalised but hostility remained widespread in society.
“Polari is an historic mix of language that was developed by sailors, who would have spoken the language at ports,” says Rio. “It was also used by Kenneth Williams [and Hugh Paddick] for the characters Julian and Sandy on the BBC radio show Round The Horne in the 1960s.
“Its use ended because of that, but when Princess Anne told photographers to “naff off” after falling off a horse, ‘naff’ was originally a Polari word.”
Ginger Slice chips in: “‘Drag’ originates as a Polari word too, standing for Dressed As A Girl.” Ginger, a South Yorkshire-born photographer and graphic designer, now settled in York, will be donning her 90s’ Girl Power finery at the weekend in her nod to Ginger Spice.
“There are different moves with the fan to indicate love,” says Ginger. “The full fan, spread out like a peacock, is saying ‘I’m available’. It all starts with eye contact and the fan language takes over.
“In a world obsessed with language, with so many words for everything, it’s fascinating when you take all the words out of it for sign language, because we sometimes have to try to communicate in a way that others won’t understand.”
Rio adds: “If you are trying to fix up a meeting, showing three points of the fan will indicate 3pm. If you hold the fan with the back showing, it means, ‘I never want to see you again’. A closed fan, placed against the chest, indicates you’re in love.”
Further symbols come into play too. “It could be the colour of the handkerchief you are wearing, or which back pocket you’re wearing it in,” says Ginger. “They are like the emojis of their time.”
