How Rachel Hill brought her passion project to fruition with Futuresound’s York Museum Gardens concert series this summer

Rachel Hill: Project manager for Futuresound’s July concerts at York Museum Gardens

FUTURESOUND events promoter and project manager Rachel Hill has long had her eye on putting on concerts in the Museum Gardens in her home city of York.

This summer that aspiration becomes a reality when chart-topping local heroes Shed Seven play sold-out 30th anniversary shows on July 19 and 20, bookended by Anglo-Italian singer-songwriter Jack Savoretti on July 18 and Sugababes’ original girl group line-up of Mutya Buena, Keisha Buchanan and Siobhán Donaghy on July 21.

“I used to come to the Museum Gardens as a kid, to sit in the gardens and muck around,” recalls Rachel. “As I got older and Mr H [Tim Hornsby] took me under his wing at Fibbers, I realised I wanted a career in music in some capacity. I remember thinking, ‘the Museum Gardens would be the perfect place for gigs: the landscape, the history, the location. It’s just beautiful.”

Rock and pop concerts are not unprecedented in the Museum Gardens: Hawkwind in July 1971; Roxy Music in July 1973, when they parked their tour van in Marygate; Procol Harum in July 1976 and Wendy Wu’s New Wave band The Photos in June 1980.

Since then, the Gardens have played host to the York Mystery Plays (most recently in 2012), light installations, children’s storytelling days, birds of prey displays and operatic soprano Rebecca Fewtrell’s York Proms concerts since 2017.

Jack Savoretti: Topping the Futuresound bill at York Museum Gardens on July 18

“We’re going to follow the same template as the York Proms because York Museums Trust knows that template works well,” says Rachel. “That’s why the stage will be set up in front of the Yorkshire Museum, rather than by the St Mary’s Abbey ruins [where the York Mystery Plays were staged from their revival for the Festival of Britain in 1951 onwards].

“St Mary’s Abbey might happen in the future, but in order for us to make it work this summer, it was right to use the York Proms template.”

The Futuresound Group, a music management and promotion company based in Munro House, Duke Street, Leeds, already runs the two Live At Leeds festivals (In The Park and In The City) each year, along with the pop-punk, emo and metal Slam Dunk Festival at Temple Newsam, Leeds and Hatfield House, Hertfordshire (May 25 and 26 2024), as well as owning The Wardrobe venue in the thriving Quarry Hill arts, media and education quarter of Leeds.

The four-day York event is the latest addition to the portfolio, as Rachel’s passion project comes to fruition. “York Museum Gardens lend themselves to staging concerts. I’m really passionate about this, and I wanted them to be put on by a local person, a Yorkshire company, with a relationship with the local community,” she says.

“It’s been in the pipeline for a while as a venue for Futuresound. It was about finding the right format, the right dates, taking into consideration what goes on at the Hospitium in the gardens [such as wedding parties]. It came down to careful planning, and thankfully the stars aligned.”

Shed Seven’s Paul Banks, left, Tim Wills, Rick Witter, Tom Gladwin and Rob’Maxi’ Maxfield, in front of St Mary’s Abbey, York Museum Gardens. Two sold-out gigs await in July

Shed Seven’s 30th anniversary was the perfect opportunity. “I know them from when they first performed at Fibbers, when I started working there for Tim Hornsby, and I still see them around town, though we don’t see each other in pubs these days. It’s now in supermarkets – and not even in the booze aisle!” says Rachel.

The chart-topping success of the Sheds’ January album A Matter Of Time gave further impetus to their 4,000-capacity Museum Gardens gigs, both selling out rapidly. Rachel then added Jack Savoretti and 2024 MOBO Award-winning Sugababes too.

“It was really important to have contrasting concerts,” says Rachel. “I’m very aware that York is a really diverse city culturally, and I really wanted to expand the genres over the four days. That was important to Futuresound’s head promoter, Andy Smith, too, who’s followed my lead on it, and that’s why we’ll have local opening acts.

“York singer-songwriter Benjamin Francis Leftwich will be on the Jack Savoretti bill, along with Irish musician Foy Vance, and we’ll be announcing the Sugababes’ supports over the next few weeks.

“The Sheds curated their own bill, which was important for them, with Libertines’ co-frontman Peter Doherty on both nights; The Lottery Winners and Serotones [Rick Witter’s son Duke’s band] on July 19, and Brooke Combe and Apollo Junction on July 20.”

Sugababes: Playing York Museum Gardens on July 21

Rachel has past experience of working with Doherty, one of rock’s legendary wild men. “We assisted on Rock’n’Roll Circus with The Libertines a couple of years ago. You just have to mother him!” she says. “He’s got a great relationship with the Sheds, especially with Rick [duetting with him on A Matter Of Time’s closing track, Throwaways].”

Rumour has it that Doherty will not be the only contributor to A Matter Of Time likely to be making an appearance at the Sheds gigs. “I believe Rowetta will doing the shows too,” says Rachel, referring to the Happy Mondays’ singer, who plays the female foil to Witter on In Ecstasy.

Rachel believes in the importance of building relationships, especially with an eye to establishing Futuresound’s open-air shows as a regular component of the Museum Gardens summer. “York Museums Trust [which runs the Yorkshire Museum] have been very supportive of us running a four-day event, and we’ve been engaging with the local residents too with two community engagement evenings.

“The first one was at the Hospitium and the second one will be held in the Fairfax Room in the Yorkshire Museum, open to those who live in close proximity to the gardens. I’ve done all the letter drops myself. We would really like to keep doing these concerts; that’s something very close to my heart.”

The last word goes to Shed Seven’s Rick Witter in praise of Futuresound. “We’ve really enjoyed the experience of working with them as they’re really forward thinking,” he says. “They like to go down the unusual route, like having us play in the Museum Gardens. That’s something different from playing York Barbican or the new football stadium.

“They’re thinking outside the box by not putting on two more nights with more indie bands but appealing to people who like other types of music by having Jack Savoretti and Sugababes.”

More Things To Do in Ryedale, York and beyond Easter. Magical thoughts in Hutch’s List No 8, from the Gazette & Herald

Four sigils or “spell tokens” from the Believe It Or Not? exhibition at Ryedale Folk Museum, Hutton-le-Hole. Picture: Olivia Brabbs

MAGICAL thinking and life 11,000 years ago, Shakespeare mischief making and nightclub trouble-spotters, a comedian’s needs and a painterly musical outweigh the delights of chocolate at Easter for Charles Hutchinson.

Ryedale exhibition launch of the week: Believe It Or Not?, Ryedale Folk Museum, Hutton-le-Hole, until November 17, from 10am daily except Fridays

RYEDALE Folk Museum’s new exhibition turns the spotlight on folk beliefs through a selection of more than 200 objects. Believe It Or Not?’ explores the traditions and rituals of our ancestors, pondering whether whether we are still “magical thinkers” today.

Featuring heavily are stories of those accused of witchcraft, represented through their own objects, such as a crystal ball passed down by those seeking to foretell the future and four sigils or “spell tokens”, likely created as a form of “love magic” by a magical practitioner or service magician. Tickets: ryedalefolkmuseum.co.uk.

Curators Andrew Woods, left, Adam Parker and Emily North with Mesolithic remains of a wooden platform and materials used for fire-making in the Yorkshire Museum’s Star Carr exhibition. Picture: Anthony Chappel-Ross

York exhibition opening of the week: Star Carr: Life After The Ice, Yorkshire Museum, Museum Gardens, York; open Tuesday to Sunday, 10am to 5pm

EXCAVATED in the Vale of Pickering, the Star Carr archaeological site provides the first evidence in Britain of the beginnings of home, a place where people settled and built places to live.

The Yorkshire Museum’s interactive exhibition brings together artefacts from “the Mesolithic equivalent of Stonehenge” to give an insight into human life 11,000 years ago, a few hundred years after the last Ice Age. On display are objects from the Yorkshire Museum collection, from antler headdresses and a decorated stone pendant to the world’s oldest complete hunting bow and the earliest evidence of carpentry from Europe. To book tickets, go to: yorkshiremuseum.org.uk.

Hoglets Theatre’s Gemma Curry, left, Claire Morley and Becky Lennon in A Midsummer Night’s Mischief, visiting Helmsley Arts Centre on Saturday

Children’s show of the week: Hoglets Theatre in A Midsummer Night’s Mischief, Helmsley Arts Centre, Saturday, 2.30pm

THE forest fairies are starting a fight, but which side are you on? Team Titania or Team Oberon? York company Hoglets Theatre presents founder Gemma Curry’s interactive, fun and larger-than-life show for children aged five to 11 based on Shakespeare’s A Midsummer Night’s Dream.

Expect wild characters, raucous singalong songs, puppets, stunts and some frankly ridiculous disco dancing in the company of Curry, Claire Morley and Becky Lennon. At 3.30pm, Gemma will be running a children’s workshop, showing how to make a paper boogie-woogie puppet of Shakespeare’s donkey-headed character Bottom. Box office: 01439 771700 or helmsleyarts.co.uk.

Jessica Fostekew: On her Mettle at Pocklington Arts Centre

Comedy gig of the week: Jessica Fostekew, Mettle, Pocklington Arts Centre, April 4, 8pm

IN her new stand-up show of passion, pace and purpose, Jessica Fostekew’s son has joined a cult and her cat has learnt to talk. Nevertheless, she feels fine. In fact she is hurtling faster and hustling harder than ever for the things that she wants and needs.

Fostekew appeared in the sitcom Motherland and Sundance Festival Grand Jury prize-winning film Scrapper and is a regular co-host of The Guilty Feminist podcast, host and creator of her own podcast about eating, Hoovering, and the star and writer of BBC Radio 4’s Sturdy Girl Club. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

The four doormen of the apocalypse: John Godber Company in Bouncers, on tour at York Theatre Royal

York play of the week: John Godber Company in Bouncers, York Theatre Royal, April 5, 7.30pm; April  6, 2.30pm and 7.30pm

MEET Lucky Eric, Judd, Les and Ralph, the original men in black, as they tell the torrid tale of one Eighties’ night in a Yorkshire disco in John Godber’s northern parody of Saturday Night Fever. All the gang are out on the town, the lads, the lasses, the cheesy DJ, the late-night kebab man, and the taxi home, all under the watchful eyes of the Bouncers (Nick Figgis, George Reid, Frazer Hammill and newcomer Tom Whittaker).

“We’re delighted to be taking Bouncers back to the heyday of disco and the 1980s,” says Goober. “Looking back, there was so much wrong with the decade but also so much to celebrate; this new production dances a balance between what was great and what is cringe-worthy now!” Box office: 01904 623568 or yorktheatreroyal.co.uk.

Putting themselves in the picture: Pick Me Up Theatre cast members James Willstrop (as Jules), left, Neil Foster (as Soldier), Natalie Walker (as Dot) amd Sanna Jeppsson (as Yvonne), front, set the scene for Sunday In The Park With George

York musical of the week: Pick Me Up Theatre in Sunday In The Park With George, Theatre@41, Monkgate, York, April 5 to 13, 7.30pm except April 8; 2.30pm, April 6, 7 and 13

STEPHEN Sondheim and James Lapine’s musical follows painter Georges Seurat (played by Adam Price) in the months leading up to the completion of his most fanous painting, A Sunday Afternoon On The Island Of La Grande Jatte. 

Consumed by his need to “finish the hat”, Seurat alienates the French bourgeoisie, spurns his fellow artists and neglects his lover Dot (Natalie Walker), not realising that his actions will reverberate through the next 100 years. Box office: tickets.41monkgate.co.uk.

The Moondogs: Paying tribute to Fifties and Sixties favourites at Milton Rooms, Malton

Tribute show of the Easter break: The Moondogs, Milton Rooms, Malton, April 6, 8pm

PREPARE to be transported back in time to the late-1950s and Swinging Sixties as The Moondogs bring their raw energy to the hits of Chuck Berry, The Everly Brothers, Cliff Richard, The Searchers, The Swinging Blue Jeans, The Beatles, The Who, The Kinks, The Rolling Stones and more. Box office: 01653 696240 or themiltonrooms.com.

Fairground Attraction: Mark Nevin, left, Roy Dodds, Eddi Reader and Simon Edwards reunite after 35 years for a York-bound tour and new album

Gig announcement of the week: Fairground Attraction, York Barbican, October 1

AFTER an absence of 35 years, all four original members of short-lived late-Eighties’ band Fairground Attraction are reuniting for a 14-date British tour and an as-yet-untitled new studio album, preceded by first single What’s Wrong With The World?, out now.

Best known for their chart-topping debut, Perfect, winner of the Best Single prize at the 1988 Brit Awards, Fairground Attraction return with their country-pop line-up of singer Eddi Reader, guitarist Mark Nevin, guitarrón bassist Simon Edwards and drummer Roy Dodds. Tickets go on sale on Friday at 10am at axs.com/York.

REVIEW: Steve Crowther’s verdict on York Musical Society Orchestra and Chorus, York Barbican, March 23

Bass-baritone Alex Ashworth: “Convincing sombre performance”. Picture: Debbie Scanlan

DVORAK’S Deum dispenses with the sober, contemplative settings associated with the standard Latin text in favour of optimism, of celebration.

The York Musical Society’s performance really did capture that all-important festive splendour. A forceful hello from the timpani set the mood of driving energy and melodic invention. The contrasting Sanctus featured a delightful soprano solo from Anita Watson; richly romantic and a lovely tone.

The movement returns to the energetic Allegro moderato before crashing headlong into the serious world of the Tu Rex Gloriae, Christe. Bass-baritone Alex Ashworth delivered a convincing sombre performance dripping with appropriate gravitas. Fine brass support.

To be sure, I heard the distinct Czech folk music-inspired melodies, but the overwhelming mood was of a music written to appeal to a new audience, America – upbeat vocal lines, funky rhythms and percussion. I was even reminded, particularly in the Vivace third movement, of John Adams’s Short Ride in a (spiritual) Fast Machine. Maybe.

Next up was Brahms’s terrific thank-you note to the University of Breslau (which had bestowed an honorary doctorate on the great man), the Academic Festival Overture. I love the letter of request from conductor Bernard Scholtz, which said: “Compose a fine symphony for us! But well-orchestrated…not too uniformly thick!”

Whether the conductor was referencing the orchestral texture or the academic limitations of the student faculty, remains uncertain. Anyway, back to the review.

The YMS Orchestra’s performance of the work sparkled with energy and delight – as well as displaying some considerable technical skill. They caught the humour, not a quality usually associated with the composer, particularly in his use of the popular student drinking songs. We had the hilarious buffo bassoons and a brilliantly inebriated Gaudeamus Igitur conclusion. So maybe we do have the answer to the earlier conundrum. Much credit here must go the clear direction of conductor David Pipe.

The second half of the programme was dedicated to Brahms’s magnificent Ein Deutsches Requiem. And very good it was too. The orchestra conveyed the all-important serenity of the opening scene. As ever, I was struck by Brahms’s inspired orchestration that leaves out the violins, clarinet and trumpets, thus resulting in a rich texture of divided violas and cellos.

The chorus entry was nicely balanced, singing a text that addresses the forces of life rather than death. There were some fine flute and oboe contributions and notes of optimism delivered by the harp arpeggios towards the end of the movement.

The second movement, however, is a musical meditation on mortality (“For all flesh is grass…”), patience (“unto the coming of the Lord”), the omnipresence of God and the Christian theme of hope and redemption (although there is no actual reference to Christ in the text for the Requiem).

The choir really delivered the burst of sunshine (“Aber des Herrn Wort bleibet in Ewigkeit”) – committed, good diction, and the orchestral tone painting of the pitter, patter “evening” rain drops – flute, harp and pizzicato violins – was spot on. Indeed, the gentle coda – trumpets and timpani – was quite magical.

But it is the gorgeous Bb minor (I think) opening that always does it for me. I know it is designed to be world-weary, maybe with a touch of “heavy burden” thrown in, but yet again I found it so seductive, so sensuous and the timpani and brass climax so satisfying.

The third movement saw Alex Ashworth deliver a very persuasive baritone solo, asking, or rather, imploring God to “know mine end…”.  This leads to a demanding choral fugue. I thought the choir rose to the challenge with real energy.

The chorus “Wie lieblich sind deine Wohnungen” was very touching, as was the gesture of returning the conductor’s baton before the movement began. Soprano Anita Watson delivered a moving solo in “Ihr habt nun Traurigkeit”; so full of warmth and humanity. The closing “Ich will euch trosten, wie einen seine Mutter trostet” nearly drew a tear from my eye. Nearly.

The climatic sixth movement saw Alex Ashworth brilliantly lead the chorus through this most dramatic of movements. It culminated in a somewhat forced chorus demanding “Death where is thy sting”, followed by vigorous charging strings directly into the famous C major (the key of enlightenment) fugue.

The singing was again full-on committed, but the utterly uncompromising demands made on the singers, and the sopranos in particular, began to take their toll. They sounded strained and possibly a tad exhausted.

Bear in mind, however, that there was absolutely no support from this most unsympathetic, driest of acoustics. The closing “Selig sind die Toten” provided a welcome soft landing forboth singers and audience alike.

The YMS Orchestra were splendid throughout the programme; the clarity of direction from conductor David Pipe was always clean, musical and authoritative. But the last word must go to the YMS singers and the sopranos in particular, who gave it their all.

Review by Steve Crowther

Bound for York Museum Gardens in July, Jack Savoretti will release first Italian-speaking album, Miss Italia, on May 10

Jack Savoretti: First Italian-speaking album at 40. Picture: Chris Floyd

AHEAD of his York Museum Gardens concert on July 18, Anglo-Italian singer Jack Savoretti will be reconnecting with his roots on his first Italian-speaking album Miss Italia.

Released on May 10, it is preceded by first single Senza Una Donna (Without A Woman), Londoner Savoretti’s collaboration with Italian superstar singer-songwriter Zucchero. First released in 1991 as a five million-selling duet between Zucchero and Paul Young, the 2024 version is enriched by new arrangements and production.

Over a 30-year career, blues musician Zucchero has sold more than 60 million records, played world tours and collaborated with Luciano Pavarotti, Andrea Bocelli, Eric Clapton, Joe Cocker, Miles Davis, B.B. King and Sting.

In turn, singer-songwriter Savoretti has chalked up collaborations with Bob Dylan, Kylie Minogue, Shania Twain, Sophie Ellis-Bextor and Nile Rodgers, among others. However, although bi-lingual from birth, writing in Italian was uncharted territory for Savoretti until now in a 16-year recording career that has delivered seven albums, his last two, 2019’s Singing To Strangers and 2021’s Europiana, both topping the official UK album charts.

The cover artwork for Jack Savoretti’s Miss Italia album

Over the years, his songwriting has been informed by his musical upbringing, with its combination of 1960s/1970s’ California singer-songwriters and European chansonniers such as Charles Aznavour and Lucio Battisti. For Miss Italia, Savoretti sought to hone his craft even further, in a different language to boot.

Sourcing a who’s who from the contemporary songwriting scene in Italy, he found a group of fellow craftsmen and women for collaborations. The resulting album came at an important moment in 40-year-old Savoretti’s life, following the death of his Italian father.

“My father was the anchor that tied me to Italy, the connection to my roots that I felt I was at risk of losing without him,” says Jack, whose full name is Giovanni Edgar Charles Galletto-Savoretti.

The poster for Jack Savoretti’s outdoor concert in York Museum Gardens, promoted by Futuresound

“So I went back to school. I didn’t want to imitate Italian music; I wanted to make it my own, combining everything I had learned over almost 20 years of experience from working in America, England, and Italy, merging Anglo-Saxon singer-songwriting with Italian to create something unique. I first had to learn to write in Italian before making MY album in Italian.”

He will be playing York in a month that will take him to Italy to perform at the Tener-A-Mente Festival, Gardone Riviera, on July 7 and Teatro La Versiliana, Marina Di Pietrasanta, on July 31, either side of his Museum Gardens show.

Will he sing any of Miss Italia’s songs in York? Find out on July 18. Tickets are on sale via www.jacksavoretti.com/events/2024-07-18-jack-savoretti-york-museum-gardens. His special guests that day will be Irish storytelling songwriter Foy Vance and York singer-songwriter Benjamin Francis Leftwich. Gates open at 5pm.

Ashley Karrell’s digital portrait of Merchant Adventurers’ Hall’s first woman governor, Dr Delma Tomlin, goes on show at Easter

Photographer Ashley Karrell with his portrait of Dr Delma Tomlin, first woman governor of the Merchant Adventurers’ Hall in York. Picture: Ashley Karrell

THE Merchant Adventurers’ Hall, in York, is celebrating its first woman governor with a specially commissioned photo portrait of Dr Delma Tomlin MBE.

She was appointed to the role in 2022, becoming the first female incumbent since the hall’s foundation in 1357.

Dr Tomlin is the founder and long-standing artistic director of the National Centre for Early Music, at St Margaret’s Church, Walmgate, York, and the director of York Early Music Festival, York Early Music Christmas Festival and Beverley & East Riding Early Music Festival.

Oil paintings of past governors are on display around the hall, in Fossgate, and from this Easter they will be joined by the new digital portrait by Ashley Karrell in the Great Hall.

In a move away from traditional oil painting to the 21st century digital age, the Merchant Adventurers’ Hall commissioned Karrell, an award-winning director, producer, photographer and artist, to create the highly original work.

Already he had made his mark in Yorkshire as the first black portrait photographer to be commissioned for the permanent collection at the stately home of Harewood House, working on the Missing Portraits series that features Leeds West Indian Carnival founder Arthur France MBE and actor David Harewood OBE.

Karrell also made the hybrid film #BlackBoyJoyGone, nominated at the 2023 Grierson Awards, and the multi-award-winning dance theatre film Displaced.

Dr Tomlin said: “It was such an honour to take up the role of the first female governor of this venerable organisation, which has a 660-year history. To reflect this new direction, we decided to take a different approach to commemorate the occasion and commissioned the award-winning Ashley Karrell to work with us. We hope that visitors will be as excited as we are by this historic photo portrait.”

Ashley Kerrall’s digital photographic portrait of Dr Delma Tomlin. Copyright: Ashley Karrell

Karrell said: “I’m truly grateful to Dr Delma Tomlin and the Merchant Adventurers’ Hall for the opportunity of creating this significant portrait. My art is captivated by stories about human experiences, the exploration of community and social engagement.

“This image is one of one; what we created speaks of history, representation, celebration and triumph. To be a small part of the 660-year history of this institution gives me joy and I hope the audience will feel strength and humility within the eyes of our first female governor. Thank you for allowing me to be a part of your story.”

The Merchant Adventurers’ Hall, York’s oldest medieval building, continues to engage audiences with an innovative approach, attracting visitors from all over the world. The hall is home to many collections, including silver, furniture and paintings, which provide a glimpse into its rich history. It also remains the everyday base for the 160 members of the Company of Merchant Adventurers of the City of York.

This Easter’s unveiling of the photo portrait coincides with the launch of a free digital museum guide through the arts and culture app Bloomberg Connects. The app gives access to expertly curated content and guides to more than 350 museums, galleries, sculpture parks, gardens, and other cultural spaces.

Over the past few years, the Merchant Adventurers’ Hall has reached wider audiences with exhibitions and has increased its digital offer. Visitor numbers continue to go from strength to strength, as illustrated by the Two Rivers interactive exhibition attracting a big audience with its revelations of the fascinating history and importance of the city’s rivers.

Lauren Marshall, the hall’s museum director, said: “We’re very excited about our new digital guide, which we hope will make the visitor experience at the Merchant Adventurers’ Hall even more enjoyable.

“We’ve been delighted by the ever-increasing interest in this amazing medieval building, one of the most stunning in the UK, and we’re looking forward to welcoming visitors from York and beyond in the months to come.”

Dr Delma Tomlin, DUniv, MBE: the back story

Delma Tomlin

FOUNDER and artistic director of the National Centre for Early Music, at St Margaret’s Church, Walmgate, York, promoting music from the 13th to the 18th centuries.

Director of York Early Music Festival, York Early Music Christmas Festival and Beverley & East Riding Early Music Festival.

Acknowledged expert in the promotion of the medieval York Mystery Plays.

In 2000, she was awarded an honorary doctorate by the University of York for her work in the city. In 2008, she received an MBE for Services to the Arts in Yorkshire & Humberside. In 2018, she was appointed Cultural Champion for York. In 2020, she was elected an Honorary Freeman of the City of York.

Ashley Karrell: the back story

AWARD-WINNING director, producer, photographer and artist with more than two decades of experience. His work includes films, television, visual art, theatre productions and commercial and experimental video across the UK and beyond.

Captivated by stories of human experiences, the exploration of community and social engagement.

Known for his hybrid film #BlackBoyJoyGone, nominated at 2023 Grierson Awards; multi-award-winning dance theatre film Displaced;  feature film and documentary of Geraldine Connorʼs stage masterpiece Carnival Messiah, winner of Peopleʼs Choice Award for Best Documentary at Trinidad Film Festival.

First black portrait photographer commissioned for permanent collection at Harewood House, near Leeds, photographing Missing Portraits series, featuring Leeds West Indian Carnival founder Arthur France MBE and actor David Harewood OBE

2022-24 marks the release of eight new short films, touring theatre shows and photography projects.

For more information, go to: www.AshleyKarrell.com. Social media links: Instagram – @ashleykarrell; Facebook – @ashleykarrell; X/Twitter – @ashleykarrell

REVIEW: Martin Dreyer’s verdict on Micklegate Singers, St Lawrence Church, York, March 24

Micklegate Singers: “Laying out a typically adventurous menu”

IN a Lent-themed programme entitled Beyond The World, the Micklegate Singers under Nicholas Carter laid out a typically adventurous menu built round the first complete performance of A Quaker Trilogy, featuring three composers responding to a text by William Penn.

Renaissance motets framed mainly living composers reflecting on life and death. At the start, Manuel Cardoso’s setting of a lesson for Maundy Thursday matins showed admirable restraint, well suited to a slow-moving soprano line against more active polyphony in the lower voices. His style typified the mid-17th century Portuguese penchant for colourful harmony, which was conveyed neatly here.

At the end of the evening, dynamic contrasts and smooth metre-changing lent Byrd’s Haec Dies plenty of excitement. Owing more than a little to its style was Howells’ setting of the same text, heard immediately before, with its leaping octaves before the final climax every bit as exultant.

Rhythmic spice was less evident in many of the modern works. The various sections of Matthew Martin’s Missa Brevis (St Dominic), interspersed through the first half, were a welcome exception, with a particularly lively ‘Gloria’ and carefree abandon at the first ‘Hosanna’ in the Sanctus.

On paper, the Penn trilogy looked like an excellent idea. But the chosen passage, doubtless well known to Quakers from its use at memorial meetings, but less so to those of other faiths, was heavily freighted with eschatological philosophy and not an obvious choice for musical setting. For its meaning to remain clear, it required delicate handling and minimal use of polyphony, a severe handicap to the University of York composers concerned.

The poster for the Micklegate Singers’ Beyond The World concert

David McGregor took some time to thin his texture into clarity, before reaching a spacious close evoking eternity. Joe Bates began chordally and was alive to the flow of words, even introducing some humming, before a thoughtful finish. Frederick Viner, the only one to set the entire passage, also took a mainly chordal approach, concluding with a low-lying intimacy that respected the text’s vision.

All three settings had something positive to offer. But it is doubtful whether they should be heard consecutively; they were not on this occasion. Having the same text set by three composers simultaneously is perhaps not such a great idea: who wants to hear the same message three times over? But don’t take my word for it. The three versions will be heard together on June 8 at The Mount School, at 1pm, as part of the York Festival of Ideas (entrance is free).

Other contributions, all tastefully handled, came from Ivo Antognini, whose modal Lux Aeterna benefited from gentle counterpoint and close harmony, and Ben Parry’s thoughtful Lighten Our Darkness.

James Whitbourn, who had died at the age of 60 only 12 days earlier, was represented by He Carried Me Away In The Spirit, a slow-moving meditation from the Book of Revelation memorable for its ecstatic phrase on ‘holy Jerusalem’.

Best of all these, however, was James MacMillan’s Who Shall Separate Us?, which keeps its words from Romans paramount. Its very high forceful Alleluia before an extremely hushed Amen were superbly done.

The Micklegate Singers are Yorkshire’s most adventurous chamber choir. Long may they remain so.

Review by Martin Dreyer

An Officer And A Gentleman The Musical to pay flying visit to York…for five days in June at Grand Opera House. Who’s starring?

The cast for An Officer And A Gentleman The Musical gathering for rehearsals

AN Officer And A Gentleman The Musical will play the Grand Opera House, York, from June 4 to 8 in in the Curve, Leicester touring production.

Directed by North Yorkshire-raised Curve artistic director Nikolai Foster, with choreography by Joanna Goodwin, the show is on tour from February 23 to November 16, visiting the Alhambra, Bradford, from tonight to Saturday.

Based on Taylor Hackford’s 1982 film starring Richard Gere and Debra Winger, An Officer And A Gentleman’s story of love, courage, and redemption follows the emotional journey of fearless young pilot officer candidate Zack Mayo and the captivating Paula Pokrifki, whose fiery spirit matches his own.

A book by screenplay writer Douglas Day Stewart and Sharleen Cooper Cohen will be accompanied by the songs of Madonna, Bon Jovi, Cyndi Lauper and Blondie, topped off by the award-winning (Love Lift Us) Up Where We Belong, the Joe Cocker and Jennifer Warnes hit from the film. 

Georgia Lennon as Marie Osmond in her previous Grand Opera House appearance in The Osmonds: A New Musical in August 2022. Picture: Pamela Raith

Luke Baker leads Foster’s cast as Zack Mayo, joined by Georgia Lennon – last seen on the Grand Opera House stage as Marie Osmond in the world premiere tour of The Osmonds: A New Musical in August 2022 – in the role of Paula Pokrifki.

Further principal roles go to Jamal Crawford as Gunnery Sergeant Emil Foley, Paul French as Sid Worley, Sinead Long as Lynette Pomeroy, Melanie Masson as Esther Pokrifki, Tim Rogers as Byron Mayo, Olivia Foster-Browne as Casey Seegar and Lucas Piquero as Eduardo Cortez.

Set and costume design are by Michael Taylor; musical supervision and orchestration by George Dyer; lighting design by Ben Cracknell; sound design by Tom Marshall; wig, hair and make-up design by Sam Cox and casting by Debbie O’Brien.

Tickets for the 7.30pm evening performances and 2.30pm Wednesday and Saturday matinees in York are on sale at atgtickets.com/york. Also Alhambra Theatre, Bradford, tonight until Saturday, 7.30pm, plus 2pm Wednesday and 2.30pm Saturday matinees; box office, 01274 432000 or bradford-theatres.co.uk

Nikolai Foster’s touring cast for An Officer And A Gentleman

Heads up to who will be appearing in Hairspray on tour at Grand Opera House

Hairspray’s 2024-2025 touring cast: Heading to the Grand Opera House, York, this autumn

BLOSSOMING North Yorkshire talent Alexandra Emerson-Kirby will make her professional stage debut in the lead role of Tracy Turnblad on the 2024/2025 UK and Ireland tour of Hairspray. The Grand Opera House, York, awaits her from October 28 to November 2.

Alexandra’s passion for musical theatre was nurtured at Scarborough’s YMCA Theatre. From there, she trained professionally at the Italia Conti Academy of Theatre Arts, Woking, graduating recently in musical theatre and dance.

Alongside her will be fellow professional theatre debutante Michelle Ndegwa, playing Motormouth Maybelle after her selection from last November’s 3,000 open auditions hopefuls for the tour’s run from July 16 to next April.

Soul and gospel singer Nedgwa is best known for her vocals for the Gorillaz and has recorded with Billy Porter, Gregory Porter, Shapeshifters, Leeds band Yard Act, Becky Hill, Rita Ora, and Deseri too.

She has performed at Coachella, Glastonbury and BBC Radio 1’s Big Weekend and her touring, festival and concert work includes backing vocals for Lizzo, Jorja Smith, Emeli Sande, Becky Hill, Nubya Garcia, Wizkid, TLC, Liam Gallagher, Ray BLK, Nina Nesbit, Shakka, Tom Odell and Trevor Nelson’s Soul Christmas at the Royal Albert Hall.

Brenda Edwards, who played Motormouth Maybelle in three productions under Paul Kerryson’s direction, now joins him to co-direct the latest tour. Choreography will be by Olivier Award winner Drew McOnie, artistic director of Regent’s Park Open Air Theatre, London.

Based on John Waters’ cult 1988 film that starred Divine and Ricki Lake, Hairspray The Musical features music by Marc Shaiman, lyrics by Scott Wittman and Shaiman and book by Mark O’Donnell and Thomas Meehan.

The 2002 Broadway premiere won eight Tony Awards; the 2007 West End premiere at the Shaftesbury Theatre picked up four Olivier Awards including Best New Musical.

Revelling in such songs as Welcome To The 60s, You Can’t Stop The Beat and Good Morning Baltimore, Hairspray traces the progress of ambitious heroine Tracy Turnblad, who has big hair, a big heart and big dreams to dance her way onto national American television and into the heart of teen idol Link Larkin.

When Tracy becomes a local star, she decides to use her newfound fame to fight for liberation, tolerance and interracial unity in Baltimore, but can she win equality – and Link’s heart – without denting her hairdo?

Kerryson and Edwards’s touring cast will include Neil Hurst, who played big lad Dave in The Full Monty on tour at the Grand Opera House last October, now cross-dressing as Tracy’s mum, Edna Turnblad.

Returning to the York stage too will be Joanne Clifton, this time as former beauty queen, TV show producer, devious taskmaster and racist snob Velma Von Tussle.

The 2016 Strictly Come Dancing champion appeared previously at the Grand Opera House as Princess Fiona in Shrek, Janet Weiss in The Rocky Horror Show, welder Alex Owens in Flashdance and Millie Dillmount in Thoroughly Modern Millie.

Further roles will go to Solomon Davy as Link Larkin; Declan Egan as show host Corny Collins, Katlo as Little Inez, Reece Richards as Seaweed and Allana Taylor as Amber Von Tussle.

Tickets are on sale at atgtickets.com/york.

More Things To Do in York and beyond from March 23 onwards. What springs up in Hutch’s List No 13, from The Press?

Adam Kay: If laughter is the best medicine, head to the Grand Opera House

SHORT plays, doctor’s tales, pop memories, life 11,000 years ago, women in word and song, egg hunts and a Sondheim celebration put the spring into Charles Hutchinson’s step as a new season arrives.

Doctor in the House: Adam Kay: Undoctored, Grand Opera House, York, March 23, 7.30pm

BILLING himself as “the nation’s twelfth-favourite doctor”, This Is Going To Hurt author Adam Kay follows a record-breaking Edinburgh Fringe run and West End season with a tour of tales from his life on and off the wards.

Expect Kay’s ‘degloving’ story to feature “because people ask for refunds if they don’t hear it”. Post-show, he will be signing books. Last few tickets: atgtickets.com/york.

Navigators Art & Performance’s poster for GUNA: Views and Voices of Women at The Basement

Navigators Art & Performance presents: GUNA: Live!, Views and Voices of Women, The Basement, City Screen Picturehouse, York, March 23, 7pm

TO complement Navigators Art & Performance’s City Screen exhibition for International Women’s Week, the York arts collective hosts an inspiring evening of music, spoken word and comedy that explores, celebrates and promotes the creativity of women and non-binary artists. 

The line-up of mostly York-based performers features poets Danae, Olivia Mulligan and Rose Drew; performance artist Carrieanne Vivianette; global songs and percussion from Soundsphere; original music from Suzy Bradley; comedy from Aimee Moon and a rousing appearance by multi-faceted York musician and artist Heather Findlay. Box office: bit.ly/nav-guna.

Lush stories: Miki Berenyi’s book, Fingers Crossed, under discussion at York Literature Festival

Book of the week: Miki Berenyi In Conversation: Fingers Crossed, York Literature Festival, The Crescent, York, March 24, 3pm

MIKI Berenyi, former lead singer, rhythm guitarist and founder member of London shoegaze/dream pop band Lush discusses her memoir, Fingers Crossed, and her career, recounting her experiences as a trailblazing woman fronting a seminal late-1980s group. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Livy Potter: Performing in Paul Birch’s Running Up That Hill in Yorkshire Trios at York Theatre Royal

York theatre event of the week: Yorkshire Trios, York Theatre Royal Studio, Tuesday and Wednesday, 7.45pm, both sold out

YORK company Next Door But One brings together York actors, writers and directors to produce original, short pieces of theatre, five to 15 minutes in length, on the theme of Top Of The Hill. Cue tales of motherhood, grief, love, war and even Kate Bush.

Badapple Theatre’s Kate Bramley and Connie Peel direct Nicola Holliday in Sarah Rumfitt’s Toast; Livy Potter performs Paul Birch’s Running Up That Hill under Harri Marshall’s direction; Jacob Ward directs Claire Morley in Yixia Jiang’s Outliving and Bailey Dowler appears in Jules Risingham’s Anorak, directed by Tempest Wisdom. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

Curators Andrew Woods, left, Adam Parker and Emily North with Mesolithic remains of a wooden platform and materials used for fire-making in the Yorkshire Museum’s Star Carr exhibition. Picture: Anthony Chappel-Ross

Exhibition opening of the week: Star Carr: Life After The Ice, Yorkshire Museum, York; open Tuesday to Sunday, 10am to 5pm

EXCAVATED in the Vale of Pickering, the Star Carr archaeological site provides the first evidence in Great Britain of the beginnings of home, a place where people settled and built places to live.

The Yorkshire Museum’s interactive exhibition brings together artefacts from “the Mesolithic equivalent of Stonehenge” to give an insight into human life 11,000 years ago, a few hundred years after the last Ice Age, such as how they made fires. On display are objects from the Yorkshire Museum Collection, from antler headdresses and a decorated stone pendant to the world’s oldest complete hunting bow and the earliest evidence of carpentry from Europe. To book tickets, go to: yorkshiremuseum.org.uk.

Sam Hird: Singing Sondheim with Pick Me Up Theatre

Musical revue of the week: Pick Me Up Theatre in Sondheim We Remember, Theatre@41, Monkgate, York, March 27 to 30, 7.30pm plus 2.30pm Saturday matinee

ROYAL College of Music student Sam Hird returns home to York to join his father Mark Hird in the Pick Me Up Theatre company for Sondheim We Remember’s selection of music from Stephen Sondheim’s Broadway shows, film scores and television specials.

Taking part too in this celebration of the New York composer and lyricist will be show director Helen ‘Bells’ Spencer, Susannah Baines, Emma Louise Dickinson, Alexandra Mather, Florence Poskitt, Andrew Roberts, Nick Sephton, Catherine Foster and Matthew Warry. Box office: tickets.41monkgate.co.uk.

The National Trust’s guide to Easter activties, egg hunts et al, at Nunnington Hall

Easter Egg Hunt of the fortnight: Nunnington Hall, Nunnington, near Helmsley, today until April 7, 10.30am to 5pm; last entry, 4.15pm.

FAMILIES can enjoy a fun-packed visit to the National Trust property of Nunnington Hall throughout the Easter school holiday, when children can take part in an Easter egg hunt trail around the freshly mown garden, with activities to be completed such as an egg and spoon race, archery and boules, before receiving their egg.

Children can enjoy drawing and painting in the creative hub; take part in seed planting in the cutting garden; explore the Lion’s Den play area, with its obstacle course, rope bridge and climbing frame; learn about composting and spend time in the bird-watching area. On March 31 and April 1, additional garden activities include races on the main lawn and bird-feeder making. Tickets: nationaltrust.org.uk/nunnington-hall.

Wet Wet Wet and special guest Heather Small: Teaming up at York Barbican in 2025

York gig announcement of the week: Wet Wet Wet & Heather Small, York Barbican, October 13 2025

WHEN Wet Wet Wet headlined a festival in Dubai, who should they bump into but Heather Small, the big voice of M People. She duly accepted their invitation to be the special guest at all dates on their 2025 tour.

Wet Wet Wet will be returning to York Barbican after their January 31 2024 double bill with Go West on the Best Of Both Worlds Tour. In the line-up will be founding member and bassist Graeme Clark, long-standing guitarist Graeme Duffin and singer Kevin Simm, The Voice UK winner and former Liberty X member, who joined the Scottish group in 2018. Tickets: axs.com.york.

In Focus: Children’s show, Millennium Entertainment International in There’s A Monster In Your Show, York Theatre Royal, March 26 to 28, 1.30pm and 4pm

There’s A Monster In Your Show composer Tom Fletcher with his children, Buzz, Buddy and Max, and a monster puppet

THE Easter holiday festivities at York Theatre Royal kick off with Tom Fletcher’s new family musical There’s A Monster In Your Show.

Based on Fletcher and Greg Abbot’s Who’s In Your Book? picture-book series for Puffin, the 50-minute performance for three-year-olds and upwards is billed as an “interactive, high-energy adventure for big imaginations” that leaps from page to stage with the aid of lively original music

Adapted for the stage by Zoe Bourn and directed by Miranda Larson, the show features new music by McFly band member Fletcher and Barry Bignold. Expect playful fun aplenty for your littlest ones as their favourite characters come to life in a performance packed with interactive moments to enjoy together.

In the story, performers are preparing to start their show but quickly discover they are not alone on stage. Little Monster wants to be part of the fun too, promptly extending an invitation to his friends Dragon, Alien and Unicorn to join him. Cue comedy and chaos as they help to create a magical show, learning about the joy of books and friendship along the way.

Fletcher says: “I’m so excited to see There’s A Monster In Your Book come to life on stage. The whole journey is incredibly exciting. Theatre is such an important way to introduce children to the arts and There’s A Monster In Your Show is the perfect first theatre trip for pre-schoolers and their families. I’m so looking forward to seeing their reactions first hand.”

The 1.30pm show on March 28 will be a Relaxed Performance that aims to reduce anxiety around theatre visits to help everyone have an enjoyable time. All are welcome, but especially people with sensory or communication difficulties or a learning disability. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Ben Murrell and Gil Sidaway in There’s A Monster In Your Show. Picture: Pamela Raith

Sam Lee connects with nature against the tide on songdreaming album and tour, playing The Old Woollen tonight

Sam Lee at Stonehenge. Picture: Andre Pattenden

FOLK renovator and innovator Sam Lee showcases his fourth studio album, songdreaming, at The Old Woollen, Farsley, Leeds, tonight, on his 17-date tour.

Released on March 15 on Cooking Vinyl, songdreaming represents the latest stage in the development of Londoner Lee’s music, from its roots in curating ancient song to a new way of imagining and performing reworked old songs, making them relevant anew.

The follow-up to 2020’s Old Wow was recorded throughout 2023, when Sam continued his work with producer Bernard Butler and long-term collaborator, arranger, and composer James Keay in creating an album rich in musicality and invention.

In taking songs directly related to the nature of the British Isles, he reinvents and contemporises a tradition of communion with the land through song. “songdreaming is a mosaic of the emotions felt in my time outdoors, that artistically emerge in reflective moments when I’m permitted to recount and articulate the complexity of all I witness and thus feel responsible for,” he says.

Explaining the album title, Sam says: “’songdreaming is a neogilism [a newly coined word or expression], that came out of the work that I do rooted in nature, through the idea of how we can connect with the land, and our relationship with nature through music. It goes back to the Aboriginal idea of songlines…”

…Songlines, Sam? “The short answer is I will never truly understand it, as you have to live in that culture, but from my time spent with Aborogines and from reading [English travel writer] Bruce Chatin’s book [Songlines], it’s to do with map orientation to our sense of not just place but ancestry, identity, sovereignty, all wrapped in feelings of adoration and commitment,” he says.

“That’s something we’ve had in this country, working with the landscape to chart who we are, but our experiences have severed that relationship. The concept of this album is to reinvigorate that idea, hence I’ve borrowed old folk songs, our ancient narratives, reworking them to tell of our beautiful relationship, our enchantment, our illicit joy, in nature.”

Illicit joy, Sam? “I’m so involved with the Right To Roam movement, but I didn’t want to make a protest album. I wanted to create a vision,” he says.

“Music can be such a bridge builder into a new sense of possibilities. I don’t think what we have in this age, unlike what we had for thousands of years, is an adoration of nature. Music was inspired by nature for so many years, and yet we’ve now become like a barren land in our attitude.

“How have we ended up with poisoned rivers, barren lands that are so depleted? Most important to that is the severance of connection to nature in our children, who find it more difficult to make that connection because of the urban lives we live.”

Sam regrets the loss of stewardship, grandparents no longer passing on knowledge of nature to grandchildren. “We don’t know the names of our rivers, our fungi, our flowers, anymore,” he says. “Nature has become an exiled realm. What we see is a war of attrition and nature is not winning that war.”

What role can music play to change that? “Where we are completely cut off, music can conjure the emotion of what it’s like to walk in a field, to be in a canoe, and that’s always been the purpose of music: to connect with the visceral sense of place. In my case, to distil all my work in nature to be something that is shared.”

Across songdreaming’s ten tracks, Sam delivers an album that ranges from acoustic songs to drone soundscapes through to the electric guitar and gospel choir-propelled lead single Meeting Is A Pleasant Place, featuring the recording debut of transgender London choir Trans Voices.

songdreaming incorporates the balladry of Sweet Girl McRee alongside the gospel tinges of Leaves Of Life, while also housing the whiteout noise of Bushes And Briars, a song that details Sam’s rage at the treatment and condition of the natural world.

Summing up his bond with nature in song, Sam says: “Those people who are and were singing the old songs here at home were also looking after the land. When we stop singing to the land, the land stops singing back.”

Sam Lee’s songdreaming tour visits  plays The Old Woollen, Sunny Bank Mills, Town Street, Farsley, Leeds, tonight (24/3/2024), 8pm; doors, 7pm. Box office: samleesong.co.uk or oldwoollen.co.uk. songdreaming is available on Cooking Vinyl on  vinyl, CD and digital download.