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More Things To Do in York and beyond when a circus of dreams and cricket skipper pitch up. List No. 95, courtesy of The Press

Rootsy rockin’ psychedelia: The Slambovian Circus Of Dreams at The Crescent

THIS is the holiday season, but not everyone is away, as Charles Hutchinson keeps one eye on August attractions, the other on autumn additions.

Woodstock vibe of the week: The Slambovian Circus Of Dreams, supported by Stan, The Crescent, York, Wednesday (17/8/2022), doors, 7.15pm

THE Slambovian Circus Of Dreams, purveyors of rootsy rockin’ psychedelia from Sleepy Hollow, New York, stretch the borders of Americana folk rock with their fantastic stories and performances.

Often described as “the Hillbilly Pink Floyd”, they visit The Crescent for the first time in support of their sixth album, A Very Unusual Head, released last January. Elements of Bob Dylan, David Bowie, The Incredible String Band, Syd Barrett and The Waterboys flavour their psychedelic sound. Box office: thecrescentyork.com.

York River Art Market: Arts and crafts by the riverside this weekend

Art event of the weekend: York River Art Market, Dame Judi Dench Walk, by Lendal Bridge, River Ouse, York, today (13/8/2022) and tomorrow (14/8/2022), 10am to 5.30pm

YORK River Art Market’s seventh summer season is heading for a sunny finale by the Ouse as York’s answer to the Parisian Left Bank welcomes up to 30 artists and makers on both days this weekend. This open-air market provides the chance to browse and buy directly from those showcasing their creative wares along the riverside railings; entry is free.

Look out for paintings, prints, jewellery, textiles, glass work and ceramics. Among today’s artists will be regular participant Richard Smith with his Point Paper Art; tomorrow, Here Be Monsteras ceramicist Kayti Peschki and Cuban artist Leo Morey, who moved to York in 2018.

Phil Toms and his band: Performing Tubular Bells note for note at the JoRo

Tribute show of the week: Tubular Bells Live! with Phil Toms, Joseph Rowntree Theatre, York, tonight (13/8/2022), 7.30pm

PHIL Toms and his 12-piece band perform music from Mike Oldfield’s landmark 1973 record Tubular Bells – the one that launched Richard Branson’s Virgin Records label – complemented by highlights from his 50-year career, such as Moonlight Shadow, To France and Guilty.

Enjoy selections from Oldfield’s instrumental albums too, including Ommadawn, Return To Ommadawn, Islands, The Songs Of Distant Earth and Tubular Bells 2 and 3. Ticket update: limited availability on 01904 501935 or at josephrowntreetheatre.co.uk.

The poster for Mychael Barratt’s print exhibition at Pyramid Gallery, York

AS part of Pyramid Gallery’s 40th anniversary celebrations, curator Terry Brett made his regular trip to the Clink Press duo Mychael Barratt and Trevor Price’s studio, near Rotherhithe, London, returning north in a car filled with Barratt’s Beyond Bruegel and Price’s Bottles, Pots, Dots series of original prints. All works are for sale.

Fully Fest: Live music galore at The Fulford Arms

York festival of the week: Fully Fest 2022, The Fulford Arms, Fulford Road, York, August 20, 2pm (doors) to 11pm

THE Fully Fest welcomes Captain Starlet, The Rosemaries, Everything After Midnight, Tommyrot, City Snakes, The Rosettas, The Wreck Liners, Percy, Heartsink and Pat Butcher for a full-on day and night of live music at the Fulford Arms. Box office: thefulfordarms.com.

Derren Brown: “Remembering what’s important” in Showman at Leeds Grand Theatre

Mind games of the month: Derren Brown: Showman, Leeds Grand Theatre, August 23 to 27, 7.30pm and 2.30pm Saturday matinee

DERREN Brown, master of mind control and psychological illusion, is on tour with his first new theatre show in six years, Showman, in the wake of his Broadway debut.

The content remains a closely guarded secret, but Brown says: “The heart of the show is about remembering what’s important. Like how the very things that we find most isolating in life – our fears and difficulties – actually connect us. Framed with what I think will be some extraordinary demonstrations of my voodoo.” Box office: leedsheritagetheatres.com.

Gretchen Peters: Sharing stories and songs at Leeds City Varieties

Americana gig of the month: Gretchen Peters, Leeds City Varieties Music Hall, August 29, 7.30pm

2022 marks the 25th anniversary of Nashville Songwriters Hall of Fame inductee Gretchen Peters first setting foot on a British stage. To honour this landmark, she returns this month with long-time musical partner and special guest Kim Richey in tow. 

Coinciding with the August 19 release of her live album The Show: Live From The UK – recorded in 2019 with a Scottish female string quartet – Peters will be sharing stories and songs from her early touring days in the UK, complemented by favourites from later works. Box office: leedsheritagetheatres.com.

Aggers & Cook: An evening of cricket chat with the correspondent and the captain

Cricketing double act: An Evening With Aggers & Cook, Grand Opera House, York, October 3, 7.30pm

BBC cricket correspondent Jonathan Agnew teams up with former England captain, record run-scorer, Test Match Special summariser and farmer Sir Alastair Cook for a night of willow-on-leather chat in in aid of the Professional Cricketers’ Association.

Aggers, who has partnered Sir Geoffrey Boycott, Phil Tufnell and Michael Vaughan in past chat shows, will encourage Cook to lift the lid on life in the England dressing room. Audience members can tweet the pair with questions for the second half. Box office: 0844 871 7615 or atgtickets.com/York.

Hitting their stride: John Smith and Katherine Priddy will tour together for the first time this autumn

Autumn fruitfulness at the double: John Smith & Katherine Priddy, Selby Town Hall, November 3, 8pm

SONGWRITERS John Smith and Katherine Priddy will hit the road together for the first time in a November collaboration after a fortuitous encounter in a Kansas City hotel lobby earlier this year.

Since then, Devonian Smith and Birmingham-born Priddy have been testing the musical waters together in a galvanising new venture set to bloom on tour, when they will perform a mix of their own original songs. Box office: selbytownhall.co.uk.

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York musical comedy duo Fladam head to Edinburgh Festival Fringe for first time

“It’s been a long time coming,” say Fladam, as York musical comedy act make their Edinburgh Festival Fringe debut this summer

FLADAM, the York musical comedy duo of Florence Poskitt and Adam Sowter, are making their Edinburgh Festival Fringe debut all this month.

At 4pm each day until August 29 – except August 16 – they will be performing A Musical Comedy Hootenanny! at The Pleasance at The EICC [Edinburgh International Conference Centre].

Followers of York’s musical theatre and theatre scene will be familiar with Florence, wide-eyed northern character actress, comic performer, singer, dancer and multi-instrumentalist, and Adam, face-pulling character actor, comic performer, pianist, harmonica and ukulele player, singer, composer, comedy songwriter and cartoonist.

A couple both on and off stage, they have branched out into presenting their own heartfelt, humorous songs and sketches, tackling the topical with witty wordplay, uplifting melodies, a dash of the Carry On! comic spirit, admiration for the craft of Morecambe & Wise, Bernard Cribbins and Victoria Wood, and an old-school sense of charity-shop comedic fashion.

You may have heard them in their regular slot on Harry Whittaker’s Saturday show on BBC Radio York; or seen an early taster of A Musical Comedy Hootenanny! in Fladam & Friends at Theatre@41, Monkgate, last November, or spotted them among the five-minute showcases at York Theatre Royal’s Love Bites in May 2021 and Green Shoots in June this year.

Topical yet nostalgic: York musical comedy duo Florence Poskitt and Adam Sowter. Picture: Charlie Kirkpatrick

Now comes the giant leap: heading to the Scottish capital to be among more than 3,000 shows at the 75th anniversary Fringe on its return from Covid hibernation.

“It’s been a long time coming,” says Adam. “We’d planned to perform there in 2020, before Covid struck. We were going to do a small-scale show at a venue we knew, Greenside, but now we’ve ended up at one of the Pleasance venues this year: a cabaret spot they’ve opened at the EICC called the Lammermuir Theatre.”

The two-year delay has worked out well. “Our plan was to go back to Greenside, but then we saw that a bursary scheme was available through York Theatre Royal in association with the Pleasance,” says Adam.

“We had an interview with Juliet [Theatre Royal creative director Juliet Forster], and though we weren’t selected, they said, ‘we really like you’, and the Pleasance offered us a slot.”

Better still, York Theatre Royal paid for Fladam’s Fringe registration and the Pleasance waivered a deposit. “We’ve been extremely lucky because from the first ticket onwards that we sell, we take 50 per cent,” says Florence.

Fladam’s official poster for the 2022 Edinburgh Fringe Festival. Artwork design: Steph Pyne

“We’ve also had support from friends in York and we’ve received £400 from the Pleasance Debut Fund scheme to support debutant performers playing for more than a week in venues with fewer than 150 seats.”

Fladam’s Edinburgh bow is an introductory show that captures the spirit of their topical yet somehow nostalgic songs. “Our humour isn’t racy, but there’s a little hint of Carry On to it,” says Adam. “Well, there’s a dabbling of ‘racy’ in there,” interjects Florence.

“It’s sort of ‘Greatest Hits of Fladam’,” continues Adam. “We’re exploring different styles of performance, making sure it’s a varied hour, where we play lots of different characters, present familiar things in a new way and add new things.

“Like how we’ve re-written a country song that didn’t work as a country song. It now has new lyrics, which we’ll have to remember for a new version for the finale!

“I’m sure that the show we finish with on August 29 will be completely different from the first one as we’re still an evolving act and we’ll continue to evolve.”

Expect puppetry: Fladam add another dimension to their musical comedy act. Picture: Charlie Kirkpatrick

Fladam have progressed from bedroom beginnings to the stage. “We’ve gone from recording videos of songs on phones from the corner of our bedroom in lockdown to doing it live, first with one number at Love Bites and then last November’s show with friends, when we had to rehearse in the kitchen,” says Adam. “Now we’re developing again.

“Having a long run at the Fringe, we can try things out, playing to totally different audiences over so many performances – and with our shows being topical we may well have to update and re-write things. We’ve already adjusted our Boris Johnson song after what’s happened to him.”

Florence is relishing the Fringe experience. “What’s great is that so many people want to see musical comedy shows,” she says. “One of the joys of being here is that you never know who you might meet for future collaborations, which was one of the lovely things about doing Love Bites and Green Shoots at the Theatre Royal.”

Fladam will benefit from spreading their wings from York. “This is our first time playing to a ‘cold audience’ after playing mainly to our friends in York,” says Florence. “The advice from [York theatre director and actor] Maggie Smales was to talk to the audience to establish a connection with them, and I’ll be handing out biscuits and Adam will be playing the piano before we start.”

Spending a month in Edinburgh will be a learning curve for Adam and Florence. “We’re not producers, so we have to do our own publicity, organise the posters, build our props, do everything ourselves, and that’s where the Theatre Royal and the Pleasance have been really supportive when we’ve dropped them an email asking for their advice,” says Adam.

Whisking up gentle comedy: the comic craft of Florence Poskitt and Adam Sowter

“That’s all helped us to mount an Edinburgh show for the first time, when you know you’re going to make mistakes and it’s not just an easy home run.”

What definitely has worked is their Fringe poster with its combination of photography by Charlie Kirkpatrick and a design by Steph Pyne. “It’s a bit retro, a bit Morecambe & Wise,” says Adam. “The first design played too much on being like a Seventies’ tribute, so we’ve dialled that down to still be a little nostalgic but above all quirky and colourful.”

Florence is chuffed. “We’ve had do many people tell us, ‘that really captures you and what you’re all about’,” she says. “Our style of humour is gentle, like Morecambe & Wise’s humour was so warm and lovely. We like to do songs that are clever and make you smile at the same time.”

Fladam: A Musical Comedy Hootenanny, Lammermuir Theatre, The Pleasance at Edinburgh International Conference Centre (EIFF),Venue 150, 4pm daily, until August 29, except August 16. Box office: 0113 556 6550 or pleasanceco.uk.

Fladam also will do six 20-minute street-busking spots at St Andrew’s Square and Cathedral Square from August 19.

Fladam: Making their Edinburgh Festival Fringe debut with backing from York Theatre Royal and the Pleasance
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Review: Martin Dreyer’s verdict on Royal Northern Sinfonia at Ryedale Festival

Lucienne Renaudin Vary: “Brought the house down”

Ryedale Festival: Royal Northern Sinfonia, Hovingham Hall, July 31

WE were powerfully reminded, with this now traditional festival finale at Hovingham, how fortunate we are to have this country’s only full-time chamber orchestra within such easy reach.

A slightly scaled-down orchestra, directed from the violin by co-leader Kyra Humphreys, played a concerto and a symphony by Haydn, one at the end of each half, leavened by three more recent pieces by English composers. It made a heady mix.

Malcolm Arnold’s troubled life is sometimes reflected in his music, but thankfully not too often. His Second Sinfonietta, Op 65 – he wrote three, in addition to nine numbered symphonies – has a dark threnody at its centre, but both the winding Andante at the start and the boisterous finale were positive, nicely coloured by pairs of flutes and horns.

Finzi’s Romance for strings, Op 11 was beautifully controlled, with a post-Elgarian sweep that was intoxicating.

Errollyn Wallen’s Photography is a 2007 piece in three movements that uses techniques from three centuries earlier. There was a catchy momentum in the idiomatically fugal opening and a strong bass line à la Baroque, quoting Bach indeed, in the more acerbic central movement.

An intriguingly slow pulse in the finale, over a drone bass, picked up pace thanks to the solo double bass – strongly delivered here – before a stirringly rhythmic finish.

But Haydn dominated the evening. It is doubtful that anyone in the audience had ever encountered a concerto soloist playing barefoot. Until now. Lucienne Renaudin Vary skipped onto the platform like a sprite and conducted the concerto herself.

But her demeanour belied the seriousness she gave to the score. Her tone, for example, in the opening Allegro was bright and brittle, similar to a high Bach trumpet, with tight trills and immaculate chromatics. In the slow movement, it was as if she had changed instrument: her tone was now velvety and mellow, allied to long-breathed lines and ultra-smooth control.

The finale used a combination of the two colours. At considerable speed it buzzed with energy, which the orchestra was only too happy to complement. She threw in a bluesy encore for good measure. It all but brought the house down.

Symphony No 93 in D was the first of Haydn’s 12 ‘London’ symphonies, all of them premiered there in the first half of the 1790s. With Humphreys back at the helm, there was a polished clarity in the opening fanfares. But it was the slow movement, introduced gently by a solo quartet, which brought Haydn’s humour to the fore, with a rude bassoon solo poking fun at prim flutes and violins.

After a far from polite minuet, the closing rondo was frankly scintillating. The festival could hardly have ended more brilliantly.

Review by Martin Dreyer 

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What is the future of local journalism? Here comes the Sheffield Tribune’s new age

Sheffield Tribune’s logo

IN Episode 99, Two Big Egos In A Small Car culture podcasters Graham Chalmers and Charles Hutchinson ponder the way forward for news delivery with Sheffield Tribune arts writer Liz Ryan at the dawn of the substack.

Under discussion too are the community play 122 Love Stories at a ghostly Harrogate Theatre; Irish comedian Jason Byrne’s upcoming Unblocked tour show and Bob Dylan’s auction value as a one-off recording is sold as a “work of art”.

To listen, head to: https://www.buzzsprout.com/1187561/11013649

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REVIEW: Martin Dreyer’s verdict on Siân Dicker/Krystal Tunnicliffe, Ryedale Festival

Soprano soloist Sian Dicker

Ryedale Festival: Siân Dicker/Krystal Tunnicliffe, Looking West, All Saints’ Church, Hovingham, and Church of St Peter & St Paul, Pickering, July 30

THE penultimate day of Ryedale Festival was mainly concerned with voices.

The mid-morning song recital in Hovingham by the soprano Siân Dicker and the pianist Krystal Tunnicliffe was A Tale Of Two Cities, while the evening in Pickering featured the world premiere of a “concert-theatre” work, Looking West, with music by Julian Philips to a libretto by Rebecca Hurst.

The recital flitted back and forth between London and Paris, cities that clearly excited both performers as they explained early on. Dicker sang in both English and French, clearly enunciating and distinguishing her tone between the two, and Tunnicliffe stayed with her every step of the way. We relished their relish.

Poulenc’s enthusiasm verged on the frenetic, but had its moments of thoughtfulness, and he was touching too about the lovers carrying on while the preachers in Hyde Park were on their soap boxes.

We dipped into Butterworth’s song cycle, Love Blows As The Wind Blows, as we imagined the lover travelling up to Kew from Richmond, and enjoyed Madeleine Dring’s evocation, via Betjeman, of business girls enjoying a hot soak in Camden Town, one of five settings she made of the poet in the year before her death (1977).

We had Debussy evoking beautiful Parisiennes, balanced by Weill’s lament over the hidden depths of the Seine. Walton’s pomp and circumstance at the Lord Mayor’s table was countered by Errolyn Wallen’s pensive London’s Burning.

Mezzo soprano soloist Rebecca Afonwy-Jones. Picture: Robert Workman

Finzi’s jovial setting of Hardy’s Rollicum-Rorum, plus an encore of Richard Rodney Bennett’s Let’s Go And Live In The Country (where the grass is not necessarily greener), rounded off a happy divertissement that was enhanced by four poems, well projected, including James Fenton’s In Paris With You. Dicker has a versatile charisma that should take her a very long way.

The 150th anniversary of the birth of Vaughan Williams was celebrated with the commission of Looking West by the Nova Music Trust and the Presteigne Festival. The latter will show the Welsh premiere but the world premiere was Ryedale’s honour.

The story exists on three historical levels, primarily the life of Saint Bega, an Irish princess who escaped marriage by crossing to St Bees and eventually settling in Northumbria as an anchorite, probably in the mid-9th century. Interest in her was revived by Melvyn Bragg’s novel Credo (1996), based on her life.

A second strand deals with the work of the Cumbrian artist Winifred Nicholson (1893-1981), who apparently left some memorable paintings of St Bees Head. The story is given contemporary relevance by a young pilgrim who makes his way across country starting from there, sharing his travails with the audience. “The spiritual enrichment we can find in the natural world” – a theme dear to the heart of Vaughan Williams – lies at the heart of Philips’ work.

In Nova Music Opera Ensemble’s production, directed by Sally Ripley, the actor Alexander Knox stole the show as the traveller, charting his day-to-day progress in various rambling outfits in an engaging, Jack-the-lad manner.

St Bega was cleanly, smoothly and spiritually sung by mezzo Rebecca Afonwy-Jones, clad in a purple habit tied with a rope, while soprano Rebecca Bottone, in a white smock, played the artist, not quite so clearly which was understandable given the high tessitura of many of her lines. Maddie Purefoy had a less clearly defined role speaking from the pulpit.

The orchestra of eight players played their hearts out under George Vass. Cello and double bass had important roles in some darker textures, but the upper strings came into their own near the end in something like folk style when our traveller danced in jubilation at having completed his journey.

At regular intervals we heard a tape of crashing waves streaked with the cries of seabirds. But the most affecting, intimate moment was a mezzo solo over cello and harp, especially when the instruments turned to pizzicato. The dramatic content was not as powerful as it might have been: most of the drama was left to the orchestra. But the influence of Vaughan Williams was undeniable.

Review by Martin Dreyer

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York Barbican confirms five new concerts with Tony Blackburn to host one of them

Tony Blackburn: BBC Radio 2 presenter and host of Sound Of The 60s Live at York Barbican. Copyright: BBC

YORK Barbican has five new concerts in the diary for autumn and early 2023.

York Guildhall Orchestra are booked in for October 15 and February 11; the York Community Carol Concert for December 12; The Classic Rock Show for March 14 and Tony Blackburn: Sound Of The 60s Live for March 23.

The first concert of York Guildhall Orchestra’s 42nd season will welcome back Will Clark, who played with the orchestra as a youngster, to perform as the soloist for the Vaughan Williams centrepiece. Returning too will be old friends Leeds Festival Chorus for works by Lambert and Fauré, and the finale will be Marquez’s Danzón No. 2.

The Guildhall Orchestra’s February concert will feature Leeds Festival Chorus in an all-Beethoven programme comprising a show-stopping symphony, two overtures and a setting of two Goethe poems, Meeresstille und Glückliche Farht (Calm Sea and Prosperous Voyage).

The Leeds choir will join the orchestra for the Hallelujah Chorus from Beethoven’s oratorio, Christ On The Mount Of Olives.

The York Community Carol Concert continues to draw full houses after 64 years. Hosted by the Reverend Andrew Foster and BBC Radio York presenter Adam Tomlinson, the festive event for all ages will bring together York choirs and musicians to perform favourite carols and Christmas songs under the musical direction of Mike Pratt.

Concert proceeds will be shared by the Lord Mayor of York and Sheriff of York’s Christmas Cheer Fund and Martin House Children’s Hospice, The Press’s nominated charity.

The Classic Rock Show vows to be “bigger and even better in 2023” when paying tribute to such favourites as Led Zeppelin, Dire Straits, The Who, Eric Clapton, AC/DC, Queen, The Eagles, Fleetwood Mac and many more.

Performed with note-for-note precision, the show brings era-defining recordings back to life on stage, with a sound and light show to match, culminating in a show-stopping guitar duel.

Next March, veteran BBC Radio 2 presenter Tony Blackburn, 79, will host an evening of 60s’ classics performed live by the Sound Of The 60s All Star Band and singers. Songs by The Everly Brothers, Dusty Springfield, The Kinks, Elvis Presley, Diana Ross and The Supremes, Otis Redding, The Beatles and The Who will be to the fore.

Tickets are on sale at yorkbarbican.co.uk and ticketmaster.co.uk.

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Joseph Rowntree Theatre fills autumn and winter diary with musicals, dance and panto

The Wild Murphys enjoy the pub songs of One Night In Dublin on September 29

TICKETS go on sale today for the Joseph Rowntree Theatre’s autumn and winter season of musicals, dance performances, pantomime and one-night shows.

Theatre trustee and volunteer director Barbara Boyce says: “Everyone loves a musical show and we have a great selection to delight you this season. I’m thrilled to see such incredible talent performing on our beloved stage.

“We’re proud to showcase such a wonderful array of talented performers and to bring joy to theatregoers. We hope the people of York and the surrounding areas will enjoy our new season of shows, with stories of adventure, drama and song.”

After a pandemic-enforced two-year wait, York Light Youth’s production of Fame will go ahead at last from October 26 to 29.  Set in 1980s’ New York, the show follows the highs and lows of High School for the Performing Arts students, sharing their struggles, triumphs and often tempestuous relationships with each other and their teachers.

Complex issues such as prejudice, drug abuse and sexual exploitation are tackled as the young performers experience the realities of striving for a career and chasing fame in showbiz.

York Stage’s York premiere of Broadway hit Bring It On The Musical will invite audiences to channel their inner cheerleader in this highly energetic musical adaptation of Peyton Reed’s 2000 film starring Kirsten Dunst.

Back flipping into York from November 2 to 5, the story of the challenges and surprising bonds forged through the thrill of extreme competition is told by Tony Award winners Lin-Manuel Miranda (Hamilton), Jeff Whitty (Avenue Q) and Tom Kitt (Grease: Live).

York School of Dance and Drama in a double bill of Survivors and Cinderella on October 22

NE Musicals York will follow up their summer show Priscilla Queen Of The Desert The Musical by serving up Oliver! from October 16 to 19 and 22 to 26. Based on Charles Dickens’s story of crime, poverty, friendship and fate, Lionel Bart’s musical is set on the darkest streets of London, where young, orphaned Oliver has to navigate an underworld of theft and violence as he searches for a home, a family, and – most importantly – for love.

Written as ever by Howard Ella, Rowntree Players’ rollicking romp of a pantomime, Babes In The Wood, will enjoy a Christmas run from December 3 to 10 (no show on December 5). Expect the usual festive cocktail of slapstick comedy, drama, adventure, song, dance and cheeky gags aplenty.

The Victoria Rooke School of Dance and Drama will present The Nutcracker Story on September 24; Wyrley Music and Promotions will celebrate the hits of Billy Fury and Cliff Richard in Billy Meets Cliff on September 25; Irish band The Wild Murphys will return to the JoRo with One Night In Dublin, revelling in Galway Girl, Tell Me Ma, Dirty Old Town, The Irish Rover, Brown Eyed Girl and Seven Drunken Nights on September 29.

October will open with It’s Dance Time 2022, Barbara Taylor School of Dancing’s festival of song and dance, climaxing with excerpts from Chitty Chitty Bang Bang!, on October 1.

The UK Ultimate Physiques fitness, physique and bodybuilding competition is booked in for October 9, when athletes will seek to qualify for that month’s 2022 UKUP British finals.

Vibe With Perform will showcase versatile dance, acting and singing talent from Emma Bassett’s school on October 15; JoRo regular Steve Cassidy & Friends will return with more rock, country and classic ballads on October 16, and York School of Dance and Drama will present two performances for the price of one in Survivors and Cinderella on October 22.

21st Century Abba: the old hits combined with the latest technology on December 18

Survivors is a new choreodrama designed to help children to overcome major trauma experienced during the pandemic in a story of learning to survive when a boarding school collapses. Innovative dance and American tap will feature. Cinderella will follow with all the fun and pathos of British pantomime. 

Christmas Showtime with Don Pears & Company will feature the vocal talents of Singphonia in a selection of warming seasonal favourites, from solos and duets to trios and ensemble numbers, on December 11.

The Shepherd Group Brass Band’s Christmas Concert on December 16 and 17 will bring together myriad musicians, from their Brass Roots beginners through to their championship section Senior Band, playing Christmas and winter music with plenty of audience participation.

21st Century Abba will re-create the super-Swedes’ greatest hits for a new generation, using the latest technology, combined with that unforgettable sense of Seventies and Eighties’ fashion, in this Wyrley Music & Promotions tribute show on December 18.

Confirmed for 2023 already is A Gala Night Of Musical Theatre to blow away the post-Christmas blues, hosted by White Rose Theatre on January 14 with contributions from the Katie Ventress School of Dance, York Musical Theatre Company and guest soloists.

Under the musical direction of John Atkin, songs from Les Miserables, Jesus Christ Superstar, Anything Goes and plenty more favourite shows will feature in this fundraiser for the JoRo’s Raise the Roof campaign. 

For full show details, performance times and tickets, including special offers, head to josephrowntreetheatre.co.uk/whats-on. Tickets can be booked on 01904 501935 too.

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Stored away for 30 years, Alison O’Neill’s unseen 1980s’ rock concert photographs go on show for first time at City Screen

Robert Smith of The Cure at Edinburgh Playhouse in 1985. Copyright: Alison O’Neill

ALISON O’Neill has never exhibited her photographs of 1980s’ rock musicians until now.

What took her so long? “Shyness,” says the North Yorkshire photographer and language services translator, whose Trapped In The Light exhibition of Robert Smith, Ian McCulloch et al is running in the Sky Lounge – the upstairs corridor – at City Screen Picturehouse, York, until September 10.

“Being in the right place at the right time takes luck and a bit of determination, and in the ’80s I had both, when I got to know The Cure and Echo & The Bunnymen,” she says. “The opportunity this gave me yielded photos that show a fan’s eye view of bands both on and off stage.”

After studying Film & Literature at Warwick University, Alison moved to Berlin for a few years and then back to Yorkshire, where she became a freelance translator of German and Dutch into English.

Her black-and-white photographs remained filed away since those Eighties’ days, most seen only by Alison’s friends, until the drive to exhibit them was finally sparked by attending exhibitions by a friend in Berlin and rock photographer Richard Bellia in London.

On show at last – the exhibition was delayed by the pandemic – are photos taken between early 1982 and 1989 at locations from London to Edinburgh, featuring The Cure, Echo & The Bunnymen, The Jesus & Mary Chain, The Cramps, Wilko Johnson, Alan Vega and local bands.

“If you want a link between them, I think all the acts bar the Hastings band – seen on a weekend away – featured on John Peel’s Radio One show. But that’s as strong a link as it gets,” says Alison.

In the frame now: North Yorkshire photographer Alison O’Neill

Here CharlesHutchPress puts photographer Alison O’Neill in focus in a question-and-answer session about Trapped In The Light.

What is your connection with Yorkshire? Were you born here? 

“I can’t claim to be a Yorkshire native, because I was born down south (oh, the shame!).

 “But I was brought up in Yorkshire from an early age, Hull, then Pickering, so I have many friends here and my mother was still in the region, so I came back here after years away in the Midlands and Germany.”

How come the exhibition is at City Screen?

“When I asked around, City Screen were the first people to say yes to an exhibition – and it’s a brilliant space. Originally it was due to happen in May 2020 [before Covid intervened], and so the last two years’ wait has been worse than the 30-plus before.”

Alison O’Neill, pictured in 1984. “I was a Cure fan, not a Goth,” she says. Copyright: Alison O’Neill

When did you start taking photographs and what was your first camera?

“I got an Instamatic when I was eight. By the time I was 19, I seriously needed a better one, because the old camera wasn’t up to it.”

Why rock photography?

“I fell in love with music in my teens. And when I started photographing musicians, I realised that as they were engrossed in what they were doing, they aren’t (usually) self-conscious about photos being taken.”

Were you subjected to the long-standing “First three numbers and No flash” rule for concert photographers?

“Not in relation to the pictures in this exhibition. I was an amateur photographer, so often I couldn’t get my camera in at all, but in some cases the bands gave me passes, other times the venue wasn’t as strict. I didn’t use flash much anyway.”

Echo & The Bunnymen at Lancaster University in 1984. Copyright: Alison O’Neill

How did you get to know The Cure and Echo & The Bunnymen? 

“Long stories! But I will say it was a lot easier to meet bands in those days. And they were very friendly and open and generous with passes. The Cure, in particular, often hung around after the show to sign stuff for anyone who wanted, so you could get to talk to them then.”

What drew you to those bands: the hair, the coats, the lips, the lipstick, the darkness…the music?!

“The emotion. The passion.”

Were you ever a Goth?

“No, I was a Cure fan!  But there was a time when the way The Cure fans dressed was like a prototype for Goths.”

Audience at hardcore gig, 1986. Copyright: Alison O’Neill

Which is your favourite 1980s’ album by The Cure and why? Likewise, Echo & The Bunnymen?

“I can’t do these! Years ago, I decided that I’d have to have Desert Island Bands, because I can’t choose between their albums.”

How did you gain access to photograph bands, both on stage and particularly off-stage?

“I’d ask, if I caught them going in. And once they knew me – and presumably I didn’t upset anyone – they were willing to let me hang around.”

Was your rock photography a hobby or were your works printed at the time in publications/magazines/fanzines?

“It was a hobby, although I would have liked to have worked professionally, but I lacked the confidence to sell my work. A few of my pictures have been used in the local press (Leamington), fanzines and once in a CD booklet for Nikki Sudden’s Groove (not one that’s in this exhibition).”

Thee Wylde Things at Hastings, 1987. Copyright: Alison O’Neill

You say: “Being in the right place at the right time takes luck and a bit of determination”. Discuss…

“Well, I’ve sneaked in back doors at venues in my time, and bluffed security guards. At a venue in Prague where I expected to be on the guest list (but wasn’t, at least they didn’t find my name), I talked to a doorman in English – which he clearly didn’t understand – for so long that he just took my arm and pulled me inside.”

Was it more difficult, being a female photographer?

“It certainly was to be taken seriously. I imagine it still is. I could dine well on the number of people, including friends, who, learning about my music fandom go ‘oh, so you’re a groupie’. Cue Paddington death stare.”

Did you photograph any bands in York in the 1980s?  If so, who, where and when?

“I did get to see TX82 – the last embodiment of Teardrop Explodes – at York Uni, but it was seated and I was near the back so I didn’t get anything good.”

Echo & The Bunnymen guitarist Will Sergeant backstage. Copyright: Alison O’Neill

Do you have a favourite among your photos?

“It’s a close thing between Robert Smith in profile seated backstage and Will Sergeant having just drawn a cartoon on a blackboard backstage.”

Why focus on black-and-white photography in this exhibition?

“Simply to give coherence to the selection. Likewise keeping it to a set period.”

When you look back at your work from the 1980s with a 2020s’ eye, what strikes you about your work?

“How lucky I was with the timing. So many exciting artists working in wildly differing styles, and the openness to outsiders (such as me) coming along.”

Wilko Johnson at Warwick University Students’ Union, 1985. Copyright: Alison O’Neill

What makes a good rock photographer and who is your favourite?

“I think you need a lot of patience. Anton Corbijn is my absolute favourite, but I’m lucky to have a print by Richard Bellia. I was a real photographer nerd back in the glory days of the NME and Melody Make, so I could list several more…”

Might you look to produce an accompanying book?

“I have put together a small photo book as a memento under the same title, Trapped In The Light. It’s my first try, so I’ve been waiting with bated breath to see how it’s worked out.

“My copy has arrived in time for the exhibition opening, which is rather impressive, given I only ordered it last Sunday.

“I can see a few things that need tweaking if I were to offer it for sale. The printer has a sale on, so for orders placed by August 14,I’ll be asking £34.95 plus postage and packaging. After that, the price would depend on what offers are available.”

The Cramps at Warwick Arts Centre, 1986. Copyright: Alison O’Neill

Final question, Alison. Do you still take photographs? If so, what do you now photograph and with what camera?

“I still have a film camera, but I don’t take it out that often. I did photograph The Murder Capital when they played The Crescent, but that was in 2019. And like everyone I use my mobile for shots of varying quality.”

Trapped In The Light, 1980s Music Photos by Alison O’Neill, runs at Sky Lounge, City Screen Picturehouse, Coney Street, York, August 7 to September 10. Admission is free, open daily. Limited-edition framed prints can be ordered at £195 to £395, depending on size.

Check out Alison’s website at www.ahoneill.net

Did you know?

THE exhibition title Trapped In The Light – an apt description of the photographer’s art – is taken from the lyrics to The Cure’s song M.

The poster for Alison O’Neill’s exhibition at City Screen Picturehouse, Trapped In The Light
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More Things To Do in and around York on walls, in parks, by water, on stage and in future. List No. 94, courtesy of The Press

The Cure’s Robert Smith backstage, by Alison O’Neill, from her debut exhibition of 1980s’ music photos at City Screen, York. Copyright: Alison O’Neill

FROM The Cure’s Eighties’ photos to Ayckbourn’s lies, folk, riverside and walls festivals to folk’s future, Charles Hutchinson picks his highlights of the week ahead and beyond.

Exhibition launch of the week: Trapped In The Light, 1980s Music Photos by Alison O’Neill, Sky Lounge, City Screen Picturehouse, York, Sunday to September 10

ALISON O’Neill loved photographing The Cure, Echo & The Bunnymen, The Jesus & Mary Chain and The Cramps in the 1980s, but those black-and-white concert and backstage images have been in hibernation for more than three decades, never exhibited until now.

Why? “Shyness,” she says, but with the encouragement of a photographer friend in Berlin, she is letting those nocturnal photographic encounters see the light of day at last at City Screen.

Play of the week: Alan Ayckbourn’s All Lies, Esk Valley Theatre, Robinson Institute, Glaisdale, near Whitby, until August 27

When the little white lies start: Luke Dayhill and Saskia Strallen as the young couple in Alan Ayckbourn’s All Lies at Esk Valley Theatre. Picture: Steven Barber

FOLLOWING its initial run at the Old Laundry Theatre, Bowness-on-Windermere, in May, Esk Valley Theatre presents the world premiere production of writer-director Alan Ayckbourn’s 86th full-length play.

The setting is 1957/1958, when a  when a chance meeting elicits love at first sight! The person of your dreams! But will they feel the same? Once you tell the truth about yourself, will you even be worthy of them? Do you take the plunge and reveal all? Or choose the dangerous alternative and tell them…All Lies?!

Questions, questions, so many Ayckbourn questions, in a play where it may be all lies but the truth is in there somewhere. Box office: 01947 897587.

Inside a tipi at the Boatyard York Festival

New festival of the week: The Boatyard York Summer Festival, Ferry Lane, Bishopthorpe, York, today, 11am to 7pm

THE Boatyard plays host to its first summer riverside festival this weekend, featuring live music from York bands and musicians, such as Up In Smoke, and an array of street food to suit meat eaters and vegetarians alike.

Organised by Eva Brindley, this family-orientated day promises a Punch & Judy show, face-painting, fare stalls and games, ping pong and volleyball, plus canoe, kayak and day boat hire. Look out for the Bosun’s Oven café, wood-fired pizzas and summery drinks from the horsebox bar. Dogs are welcome; entry is free.

Lewis Capaldi: First visit to Scarborough Open Air Theatre since 2019

Outdoor gig of the week; Lewis Capaldi, supported by Wild Youth and Aine Deane, Scarborough Open Air Theatre, Thursday, gates 6pm. CANCELLED

UPDATE: 10/8/2022

LEWIS Capaldi has pulled out of his August 11 gig at Scarborough Open Air Theatre. The reason? Illness.

Ticket holders will be reimbursed fully.

SCOTTISH singer-songwriter Lewis Capaldi spent ten weeks at the top of the charts with his May 2019 debut album, Divinely Inspired To A Hellish Extent. Alas, the wait goes on for the follow-up, and all the while you will find such questions as “Is Lewis Capaldi quitting?” and “What has happened to Lewis Capaldi” on the internet.

In July, the 25-year-old Glaswegian told his Latitude festival audience “I have no new music to play you”, calling himself “horribly lazy” when faced with “needing to finish my new album”. Looks like you will have to make do with Before You Go, Grace, Hollywood, Bruises et al once more on Thursday; the heartbeat of his first visit to Scarborough OAT in 2019 . Box office: scarboroughopenairtheatre.com.

Much ado about Nothing & Everything Else…and Z Is For Zelda at Theatre@41

Double bill of the week: Black Sheep Theatre in Nothing & Everything Else/Z Is For Zelda, Theatre@41, Monkgate, York, August 10 to 13, 7.30pm plus 2.30pm Saturday matinee

SHOWCASING the work of playwright and director Bethany Shilling, the first play is an offbeat comedy about a young woman performing at her very first stand-up comedy open-mic night where she uses the time to check in with herself mentally. 

The second is an attempt by Zelda Fitzgerald to share her life story. In doing so, she flits between her polished, performed self and the obscure ramblings that consume her mind. Is she mad or is this the final act of Zelda’s undeniable character? Box office: tickets.41monkgate.co.uk.

Seth Lakeman: Next Saturday’s main-stage headliner at The Magpies Festival. Picture: Tom Griffiths

Folk festival of the week: The Magpies Festival, Sutton Park, Sutton-on-the-Forest, near York, August 12, music from 6pm; August 13, music from 12.30pm

THE Magpies Festival has expanded from one day at last summer’s inaugural event to two in 2022, hosted again by The Magpies’ transatlantic folk trio of Bella Gaffney, Kate Griffin and Holly Brandon, ahead of this autumn’s release of their new album, Undertow.

Next Friday’s line-up will be: Jaywalkers; Elanor Moss; John Smith; Chris Elliott & Caitlin Jones and headliners Rob Heron & The Tea Pad Orchestra. Next Saturday presents Honey & The Bear; Dan Webster Band; Katie Spencer; The People Versus; David Ward Maclean; The Jellyman’s Daughter; Rory Butler; The Magpies plus guests; The 309s; The Drystones and main-stage headliner Seth Lakeman. Look out too for the food market and craft fair. Box office: themagpiesfestival.co.uk/tickets

The poster for York Walls Festival 2022

Heritage event of the week: York Walls Festival 2022 Summer Weekend, August 13 and 14

THE Friends of York Walls will be partnering with York organisations and community groups to tell stories and promote “our shared community, history and heritage” next weekend.

The Friends look after the 500-year-old Fishergate Postern Tower on behalf of City of York Council and it is sure to feature in the festival, along with the Bar walls and Red Tower. For festival updates, head to: yorkwallsfestival.org.

Joshua Burnell & Band: Autumn tour takes in The Crescent in his home city of York. Picture: Elly Lucas

The future of folk: Joshua Burnell & Band, The Crescent, York, October 16, 8pm

JOSHUA Burnell & Band will play a home-city gig at The Crescent on his nine-date folk-fused baroque’n’roll autumn tour.

Multi-instrumentalist singer Burnell will be joined by globe-trotting violinist Frances Archer, guitarist Nathan Greaves, multi-instrumentalist Oliver Whitehouse, drummer Ed Simpson and vocalist Frances Sladen. “Think The War On Drugs meets Seth Lakeman on Ziggy Stardust’s spaceship,” he suggests. Tickets: joshuaburnell.co.uk/tour or ticketweb.co.uk.

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Theatre@41 combines the new and familiar in autumn and winter of theatre, music, comedy, cinema and pantomime rehearsals

Burning Duck Comedy Club presents Helen Bauer in Madam Good Tit at Theatre@41 in October

NEW partnerships, returning performers, comedy acts aplenty and community theatre regulars make up the autumn and winter season at Theatre@41, Monkgate, York.

One year on from throwing open its doors post-pandemic, the black-box studio will play host to Yorkshire and national companies and artists alike.

“We’re doing all right, whether by chance or design!” says chair Alan Park.  “In the year since we took over the programming, there’s been a nice balance between comedy, music and theatre, with a focus on new writing, as well as continuing our relationships with York Stage, Pick Me Up Theatre, White Rose Theatre, York Settlement Community Players and York Musical Theatre Company.

“The mailing list has gone up from 40 to 2,000 and we feel that people are invested in the building, our charity status, the work we present, and want us to do well. There are plenty of people who run theatres, but we want to run a ‘movement’ and we think we’re getting there.”

Colin Hoult in The Death Of Anna Mann. Picture: Linda Blacker

Looking ahead to the new season, one new partnership finds Theatre@41 linking up with York promoter Al Greaves’s well-established Burning Duck Comedy Club, complementing his programme at The Crescent (and previously at The Basement at City Screen Picturehouse).

“Maggie Smales, one of our trustees, reached out to Al,” says Alan.  “Initially, comedy promoters were contacting us directly, and we were doing maybe two comedy shows a season, but we got in touch with Al to say ‘we don’t want to tread on your toes, but we’d love to work with you’, and so now we have six shows this autumn through linking up with Al.”

Among those shows will be Lauren Pattinson’s It Is What It Is on September 16; Colin Hoult, from the Netflix series After Life, presenting The Death Of Anna Mann  on October 8; the returning Olga Koch, star of her own BBC Radio 4 series, in Just Friends on October 15 and fellow Edinburgh Festival Fringe Best Newcomer nominee Helen Bauer’s Madam Good Tit, on October 22. Look out too for Taskmaster winner Sophie Duker next April.

Returning to Theatre@41 will be Dyad Productions, following up the sold-out I, Elizabeth with Christmas Gothic, adapted and performed by Rebecca Vaughan, on November 26 and 27, and  Sarah-Louise Young, building on the sold-out success of Alan’s favourite show so far, An Evening Without Kate Bush, by presenting her charming yet cheeky West End and Off-Broadway cabaret hit Julie Madly Deeply, a tribute to Julie Andrews.

Sarah-Louise Young in her Julie Andrews tribute, Julie Madly Deeply. Picture: Steve Ullathorne

Further returnees will be East Riding company Other Lives Theatre Productions in Landmarks, Nick Darke’s environmentally topical story of a farming family feud, and Nunkie Theatre’s Robert Lloyd Parry with two more gripping MR James ghost stories by candlelight in Oh, Whistle on November 25.

“We’ve had a lot of good feedback from artists, such as Olga Koch’s agent,” says Alan. “We know there’s paint peeling off walls, the roof is leaking, but we believe in making the artists welcome, like giving them a little York Gin pack on arrival. We try to be a friendly venue where everyone will want to come back.”

Endorsements for Theatre@41 are spreading, leading to debut visits by Mark Farrelly in his Quentin Crisp show, Naked Hope, on September 7 and Olivier Award-winning actor and director Guy Masterson, staging his one-man adaptation of Charles Dickens’s A Christmas Carol on November 24.

Seven York companies and performers are booked in. Robert Readman’s Pick Me Up Theatre will stage Roald Dahl’s Matilda The Musical Jr from September 23 to October 2 and The Sound Of Music from December 16 to 30 in the Christmas slot. York Settlement Community Players will perform Christopher Durang’s Tony Award-winning Broadway comedy Vanya And Sonia And Masha And Spike from November 3 to 5.

Rebecca Vaughan in Dyad Productions’ Christmas Gothic. Picture: Ben Guest

White Rose Theatre will deliver The Last Five Years, an emotionally charged musical full of upbeat numbers and beautiful ballads by Jason Robert Brown that tells the story of two lovers over the course of five years, with Cathy starting her tale at the end of the relationship and Jamie telling his story from the beginning. Directed by Claire Pulpher, it will run from November 9 to 12.

Barnstorming country-rock band The Rusty Pegs will play Rumours (Again!) in a 45th anniversary celebration of the Fleetwood Mac nugget on October 9, after giving Theatre@41’s re-launch gig post-Covid; Jessa Liversidge will sing Some Enchanted Sondheim on October 9, and York Musical Theatre Company will mark their 120th anniversary with A Musical Celebration on October 13 and 14.

Spookologist and ghost-botherer Doctor Dorian Deathly, a winner in the 2022 Visit York Tourism Awards, will make his Theatre@41 debut with his Halloween show, A Night Of Face Melting Horror!, from October 26 to 31.

“Each night, Dorian will be hot-footing over here after doing his Deathly Dark ghost tour for a cabaret evening with a bar of the dead and cocktails,” says Alan. “He came to us with the idea, and we thought, ‘yeah, let’s do it’. He has a huge following, so we’re delighted he wanted to come here.”

The horror! The horror” The poster for Doctor Dorian Deathly’s Halloween show, A Night Of Face Melting Horror!

Paul Birch, one of the stand-outs in York Theatre Royal’s Green Shoots showcase for new work in June, will bring his improv group, Foolish, to Theatre@41 for the third time. On September 15, he will host a night of ad-hoc comedy improvised from suggestions written in chalk on the stage floor under the title of Cobbled Together.

Seeking to foster a growing relationship with The Groves community, Theatre@41 will play host to the inaugural Groves Community Cinema: a weekend of classic films old and new right on residents’ doorsteps when visitors will be invited to “pay what you feel”, with support from an ARG Events and Festivals Grant in partnership with Make It York and City of York Council.

“Historically, we’re on the edge of The Groves, and maybe The Groves has never quite felt this is The Groves’ theatre, but we hope that putting on a community cinema weekend will make it feel more like it’s part of their community, rather than people just walking past our doors,” says Alan.

Olga Koch: Returning to Theatre@41 to present Just Friends

September 10 will offer Encanto Singalong at 2.30pm and Close Encounters Of The Third Kind at 6pm; September 11, Kes at 2.30pm and Nomadland at 6.30pm.

Three more new additions add to the sense of momentum at Theatre@41. Firstly, £5,000 funding from City of York Council and the Liz and Terry Bramall Foundation will ensure the lighting rig “no longer wobbles”; secondly, the theatre will resume being a polling station for elections.

Last, but not least, the Monkgate building will be turned into the rehearsal rooms for veteran dame Berwick Kaler’s Grand Opera House pantomime, Old Granny Goose. “We’re giving them multiple rooms, including the dance studio,” says Alan. “They’ll have the run of the building basically.”

For performance times and to book tickets for the new season, head to: tickets.41monkgate.co.uk.

Copyright of The Press, York

Pantomime dame Berwick Kaler and daft-lad sidekick Martin Barrass will be rehearsing Old Granny Goose at Theatre@41 ahead of its run at the Grand Opera House, York