Suddenly, Seymour: Mikhail Lim takes on the lead role in York Stage’s Little Shop Of Horrors
MIKHAIL Lim may have a long association with the York stage but he did not envisage being picked to play Seymour, the hapless Skid Row florist shop assistant, in York Stage’s 40th anniversary production of Little Shop Of Horrors.
“Seymour is not typically something I would think of being cast as,” he says, in the foyer of York Theatre Royal, where you will indeed be seeing more of his Seymour from July 14 to 23 in director-producer Nik Briggs’ show.
“A lot of the issues with my confidence comes from being an Asian actor, pitching against established white actors – and everyone thinks of Rick Moranis’s performance in the film, which people are so attracted to.
“But, coming to my take on Seymour, Nik saw something in it, and so did Stephen Hackshaw, the musical director.”
Hence Mikhail will be leading Briggs’s cast of 11 in York Stage’s Theatre Royal debut in Howard Ashman and Alan Menken’s B-movie musical spoof about a bloodthirsty plant.
He cut his York theatrical teeth in John Cooper’s Stagecoach Youth Theatre, the Grand Opera House’s Stage Experience summer school and York Stage Musicals before studying drama at York St John, but his love of performing is rooted in his Filipino homeland in South East Asia.
“I went to train in the Repertory Philippines in Manila, where they put on theatre even though there’s no official arts programme in the Philippines,” he says. “Seeing all the things that’s going on with the arts over here now with funding cuts and school curriculum changes, it’s starting to feel like that again. Though I love the Philippines, but there’s a struggle for the arts there, I’m not going to lie.”
Mikhail was born to his mother’s second marriage with a nine-year gap to his sister and two older brothers (whose father had passed away). “My parents worked really hard for me to get here,” he says.
Plant shop trio: Mikhail Lim’s Seymour with Lauren Sheriston’s Audrey, left, and Emily Ramsden’s Audrey II in Little Shop Of Horrors
“It started with me going to the OB [Operation Brotherhood] Montesorri School in Manila, and then they put me in a private school, the Ateneo de Manila University grade school, where they were really prioritising my education at one of the Philippines’ best schools over feeding the family.
“You can imagine that going into the theatre might not have been their number one career choice for me! It was an all-boys school, with a sister school that we’d meet up with to do shows.
“So, I did Fiddler On The Roof in a Catholic school with lots of Filipinos who knew nothing about Judaism! The only thing I had going for me was that I had a Russian name! My mother named me after Mikhail Gorbachev, who she thought of as a hero.
“I was born in October 1991 in the year after the Cold War stopped and I had a birthmark on my forehead, just like Gorbachev! As a kid, I knew nothing about him, but later I read about him and thought, ‘OK, I’ll take it’!”
Mikhail’s mother wanted a change, a new opportunity for Mikhail, and so he moved to York with his parents at the age of 14. “My siblings were much older than me; they had their own lives by then and they wanted to stay in the Philippines, so it was just me and my mum and dad who came over,” he says. “Mum was a scientist with the Nestle Product Technology Centre and that’s why we came to York.”
Settling into Haxby was not easy. “Not at all,” he recalls. “English is my first language, but even speaking the same language meant nothing culturally, and you can imagine how it was back then, when York was not as welcoming as it is now. It was very jarring, like people assuming I didn’t know what snow was.
“I lasted a very short time at Joseph Rowntree School, then went to All Saints, and on to York College to do my A-levels. Not my first intended route, but I studied English Literature, Ancient History, Maths and Theatre, so at least Theatre was in there.
Moving on: Chef Mikhail Lim, centre, will be leaving Oshibi Korean Bistro, in Franklin’s Yard, on Saturdayafter four years in the kitchen. “It’s been a good run,” he says
“There was always this superiority complex in people who assumed you came from somewhere impoverished by comparison with York, though I was top of the class in Maths, but you just can’t prove anything on paper.”
All the while, his acting and singing talent was nurtured with Stagecoach, Stage Experience and York Stage. “In most places, I definitely feel like theatre is more of a home,” he says. “That said, I’ve always gaslit myself think I was the weird, out-of-place kid, because I was, but then I realised it wasn’t just me who had this problem. Teenagers are vicious.
“But I’ve come to love York and living here. I think you notice it more when you go to other cities and you realise just how beautiful York is and how respectful people are to each other – though I’m aware acting can require you to move around, maybe train in London.”
After completing his York St John theatre studies in 2014, Mikhail trained as a chef, specialising in desserts, latterly working at Oshibi Korean Bistro & BBQ, in Franklin’s Yard, Fossgate, after the unfortunate timing of opening his own specialist café in Franklin’s Yard a month before the first Covid lockdown.
“In a way, lockdown was a blessing, allowing me to think about what I really wanted to do, because I’d been working continually, When Nik [Briggs] messaged me to ask me to do Songs From The Settee online, that opened up things again for me to do theatre again.”
Cue his stage return in Little Shop Of Horrors. “I’m now hoping to save up to do an MA in musical theatre,” he says. “I’ve stopped and started and trained so much already, but getting that piece of paper, an MA, is how to get connections in the theatre world.”
York Stage in Little Shop Of Horrors, York Theatre Royal, 7.30pm, July 14, 16, 18 to 23; 4pm and 8pm, July 15; 2.30pm, July 16 and 23. Box office:01904 623568 or yorktheatreroyal.co.uk.
Christina Bianco: Playing LV at last almost a decade after Jim Cartwright’s vow to “make it happen”
YORK has been on New Yorker Christina Bianco’s bucket list of British cities to visit for “the longest time”.
Glory be for the American actress, supreme impressionist and YouTube sensation, she will be at York Theatre Royal all this week, playing reclusive songbird LV in Jim Cartwright’s deeply dark comedy-drama The Rise And Fall Of Little Voice.
“I’m going to be all over that city, taking a million photos,” she vows. “Apologies to the locals of York for my camera being out and my blocking traffic in the streets! It’s one of those places, which, coming from America, you don’t believe is real. It looks like something out of Harry Potter! So yes, to finally be in York is truly amazing.”
Ahead of this week’s run, Christina already had a sneak preview of York in the company of co-star Ian Kelsey, who took her on a guided tour of his home city last month, taking in York Minster, the Whip-Ma-Whop-Ma-Gate street sign, a pub and the Theatre Royal stage.
From bucket list to wish list as Christina realises a long-held ambition to play LV. “When I was young growing up in New York, I always did impressions and loved singing many genres of music,” she says. “My parents tell me I had a natural instinct for mimicry, especially when it came to Judy Garland in The Wizard Of Oz.
Christina Bianco acquainting herself with York. Picture: Ant Robling
“For some reason, I always gravitated toward British culture, television, films and comedy, watching the video of Four Weddings And A Funeral when I was little, and later Monty Python, and there was something about the British sensibility that I just loved.
“One of my favourite things in the world to watch was Absolutely Fabulous. I especially loved Jane Horrocks in it, and I love how your comedies have such broad characters but deal with serious subjects. Something hit me about the difference with American comedies.”
Later, Christina’s father saw a review of York director Mark Hearld’s 1998 film adaptation of Cartwright’s play, Little Voice, starring the aforementioned Horrocks. “Given LV’s love for Judy and all the diva impressions, he said we had to see it. I was blown away by Jane Horrocks’ performance and, of course, by the story itself. I became a little obsessed with it!” she says.
First, Christina brought her talent for mimicry to the fore in Forbidden Broadway off-Broadway in 2008. “I was doing impressions in public for the first time and gratefully being well reviewed for doing so,” she recalls.
“It put me on the map as an impressionist, and over the next few years I pushed myself to try more and more impressions and to eventually build my own show – both because I was enjoying it and because I realised there was an audience for this sort of act. It was around this time I posted some impressions videos on YouTube and they started racking up some views.”
Ian Kelsey introduces Christina Bianco to York Theatre Royal on his guided tour of his home city. Picture: Ant Robling
Move the story forward to the summer of 2012, when Christina saw a notice that Little Voice was to go on a British tour, directed by Cartwright himself. “I’d never seen the show on stage before, so my husband and I planned a six-day trip to London…with my ulterior motive being to take a train to Guildford to see the show!” she says.
“My managers at the time suggested ‘Why don’t you write to Jim, introduce yourself and tell him how much you love the show?’.”
Cartwright duly wrote back to say “I’ve just watched your stuff online. You’re fabulous! Come to the stage door and we’ll chat”. “I ended up sitting down with Jim and talking about the show for quite some time,” says Christina.
“We stayed in touch and soon after, when some of my YouTube videos went viral and I had a run of sold-out shows at the Hippodrome, Jim came and said ‘we have to make LV happen for you’! That was in 2013. So, as you can see, doing this show has been a very long journey! Now, to finally get to do it, on this grand scale, with this incredible cast, is just thrilling.”
How come it still took so long to “make LV happen” after Cartwright’s vow? “We definitely have to rule out two years of Covid, of course, but the first reason was that I met him just as he was directing a big production of his play, so I knew I’d have to wait four or five years for another big production,” says Christina.
Christina Bianco’s LV performing her repertoire of diva impersonations at Mr Boo’s Club. Picture: Pamela Raith
“Then I was attached to a production that Jim gave his blessing to that was supposed to go to Broadway, but that didn’t happen after going through three different directors – but that’s the story of showbiz.
“Then, the really tricky thing is that in the UK ‘Little Voice’ is so loved and some people say it’s overdone, being done by regional theatres and colleges as well, so the wait went on.”
Nevertheless, Christina was undaunted in her pursuit of adding LV to her CV, and once producer Katy Lipson attained the rights to the play, she promptly contacted the American actress, having seen her vocal impressions in concert. “She said, ‘I want to work with you; what would you like to do? Come up with a couple of ideas’. I said I’d love to do LV before I can’t do it.”
Sure enough, despite a further delay, Christina’s LV has arrived “when I’m still not too long in the tooth” at 40. “When Jane Horrocks first did it, she was in her late-20s, and in the movie, she was in her 30s. LV is not in her teens; she’s emotionally regressed, staying in the emotional state of a child.”
Christina’s diva impersonations on LV’s bedroom floor and the northern club stage are drawn specifically from the vinyl record collection of LV’s late father. “Everyone probably expects me to come out and do Celine Dion but it’s not the right time period,” she says.
“I don’t like confrontation,” says Christina Bianco, who shares that characteristic with the reclusive LV in The Rise And Fall Of Little Voice. Here Bianco’s LV keeps her distance from Ian Kelsey’s Ray Say and Shobna Gulati’s Mari Hoff. Picture: Pamela Raith
“What I will be doing, though, is attempting Cilla Black for the first time in my life. Everybody I impersonate in the show will be of the classic musical era LV’s father loved: Judy Garland, Edith Piaf, Shirley Bassey…”.
When adding a new diva to her repertoire, how does she master the voice? “It depends on the particular vocalist but typically I immerse myself with them for a couple of days. I listen to lots of their music before I watch any video footage of them.
“I like to get the essence of their voice first. Then I study their physicality in more detail. I try to take on as many mannerisms, characteristics and facial expressions as I can. Thank goodness everyone’s liking my Cilla; everyone’s clapping; no-one’s booing! I did have the fear of God put into me about singing You’re My World just right, but I made a point of knowing that she’d been told to sing it with a mid-Atlantic accent, which I’m doing.”
Christina’s biggest challenge is playing an introvert. “It’s very funny timing for me, with my last part being Fanny Brice in Funny Girl, who’s the polar opposite of LV. Fanny couldn’t help attracting attention, whereas LV is happy to fade into the background,” she says.
“Everyone says Fanny Brice is one of the most challenging roles of all time, and I don’t disagree. You never leave the stage except to change costume; you sing 12 songs, laugh, cry, dance and do physical comedy – the list goes on!
Pyjama drama: Christina Bianco’s LV singing in her bedroom. Picture: Pamela Raith
“But I can safely say I’m more nervous about doing Little Voice because I’m not an introvert. There’s the part of me that needs the platform to perform, though [away from the stage] I can be quite shy and I don’t like to stand out, so I’ve channelled that side of me. I don’t like confrontation too, and that part of me hasn’t changed with age.
“What many people wouldn’t know about me is that I’m an only child who’s happy to be alone, and if there’s no ideal platform for me to be on stage, if someone asks me to stand in front of a microphone I’ll shrink.”
Christina fully memorised the script before entering the rehearsal room. “I wanted to be as comfortable with the text as possible, in order to be fully comfortable performing it in a Northern accent,” she reasons.
“Sure, I’m good at accents but it’s a very different thing when you’re doing an accent in the place where that accent actually comes from. I’m not doing this show in New York. I’m doing a Lancashire accent for people in the north. That’s very intimidating!”
For that reason, she did consult a voice coach. “People have this assumption that if you’re good at vocal impressions, you’ll be good at accents too, but it’s so important that you’re comfortable in the accent. It’s either right or wrong, an accent, whereas an impression is an interpretation, and that’s different.
Christina Bianco and Ian Kelsey set out from York Theatre Royal on Ian’s guided tour. Picture: Ant Robling
“I worked with a voice coach on Zoom over lockdown to get the Oldham/Manchester accent, and as Katy Lipson is from Manchester, she’d let me know if I was getting it wrong!”
Christina notes how American and British audiences differ. “I think Americans kind of watch you, leaning back, giving off an ‘entertain me’ vibe. I feel a British audience leans forward a bit more. They come into you and your world. Both are great and I’m not trying to insult my home country but I do feel British audiences are a little more appreciative.
“On the other side of that, Americans are much more likely to leap to their feet at the end of the show! Over here you can give the best performance of your life and the audience cheers like crazy but they don’t always leap to their feet.
“It’ll be interesting to see the reaction to this play. It won the Olivier Award for Best Comedy but I personally don’t see it as a traditional comedy. I see it as a true drama that happens to have a lot of comedic moments – and I know Jim and our director, Bronagh Lagan, are really looking to bring out the heart at the centre of it. How people are imperfect, make mistakes and have rises and falls – but they persevere.
“Fear of ‘starting over’ is a big theme in the show and I think we can say we’re all having to start over now in many ways. On both sides of the pond, and all over the world. It’s very timely.”
“York is one of those places, which, coming from America, you don’t believe is real,” says Christina Bianco, here standing outside York Art Gallery. Picture: Ant Robling
Summing up why Cartwright’s play has resonated with audiences through 30 years, Christina says: “First of all, I think this play is a true love letter to the UK. It celebrates so many great British artists and their music.
“But the story itself is something everybody can relate to, regardless of whether or not they know the music in the play. The idea that no matter how difficult things get, you can still persevere and rise from the ashes. And I think that’s exactly the message we need after the last two years.
“It’s a story about not being afraid to try something different and starting again. We’ve all been through something together that has changed us, just as the characters in the play do.”
Christina hopes audiences will embrace her as an American performer, taking on such an iconic British character. “I’d like to think that I’ve earned some stripes working in the UK quite a bit already, so maybe that will help,” she says. “And I’ve actually just become a resident, along with my husband and our dog Jeff Vader. We all live here now [on a three-year visa in London], so you’re stuck with me!”
Jeff Vader, Christina? “I named the dog after an Eddie Izzard joke,” she reveals of a surrealist shaggy- dog story that took in the Death Star, a cafeteria, Lego, and yes, Jeff Vader.
The Rise And Fall Of Little Voice, starring Christina Bianco, Shobna Gulati and Ian Kelsey, runs at York Theatre Royal until July 9, 7.30pm, plus 2pm, Thursday and 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Shobna Gulati, Christina Bianco and Ian Kelsey in the tour poster for the Glass Half Full Productions tour of The Rise And Fall Of Little Voice
Lauren Sheriston’s Audrey, left, Mikhail Lim’s Seymour and Emily Ramsden’s Audrey II in York Stage’s Little Shop Of Horrors at York Theatre Royal
YORK Stage will mark the 40th anniversary of Howard Ashman and Alan Menken’s B-movie musical spoof Little Shop of Horrors with Nik Briggs’s summer production.
The July 14 to 23 run will mark the York company’s debut at York Theatre Royal in a show with musical direction by Stephen Hackshaw (Sister Act, Shrek, Rock of Ages, Ghost, 9-5 The Musical) and choreography by York pantomime favourite Danielle Mullan-Hill.
From the duo behind Disney’s The Little Mermaid, Beauty And The Beast and Aladdin, lyricist Ashman and composer Menken’s horror comedy rock musical is based on a Roger Corman thriller from the 1960s that featured a young Jack Nicholson.
From off-Broadway beginnings in 1982, it was turned into a film in 1986 starring Rick Moranis, Ellen Greene, Steve Martin and Bill Murray with its story of hapless Skid Row florist shop worker Seymour, who raises a plant that feeds on human blood and flesh.
Going green…and blue: Lauren Sheriston’s Audrey
Mikhail Lim will play Seymour, having performed in many York shows, latterly starring as Sweaty Eddie in Sister Actand Dennie in Rock Of Agesat the Grand Opera House.
Lauren Sheriston, who made her York debut in the same year as Mikhail, will play Audrey after multiple appearances in York Stage shows as Molly in Ghost; a Diva in Priscilla Queen Of The Desert; Sherrie in Rock Of Ages and Rizzo in Grease at the Grand Opera House. She has made TV appearances in Emmerdale and Eternal Law too.
Emily Ramsden will be voicing Audrey II, the blood-thirsty plant, in a break with the ever-expanding role usually being voiced by a man. Emily has played Dragon in Shrek The Musical and Nancy inOliver! for York Stage and has performed across the world on cruise ships and maintained a busy career as a vocalist for function bands in the UK.
Hannah Shaw will make her York Stage debut as Crystal, joined in the trio of Urchins by Lucy Churchill as Chiffon and Cyanne Unamba-Oparah as Ronette. Cyanne has just returned home from various engagements in Europe and previously played Mama Bear in York Stage’s Shrek The Musical.
Emily Ramsden’s Audrey II settles in among the plants in Little Shop Of Horrors
Darren Lumby’s York Stage debut as the Orin follows performances as Gomez in The Addams Family Musical and as the Prince in Into the Woods at the Grand Opera House. James Robert Ball returns to the stage after various contracts as a musical director to make his York Stage bow as Mr Mushnik.
York Stage favourites Jack Hooper, Katie Melia and Danny Western will make up the ensemble as well as controlling the puppetry for Audrey II.
After directing such shows as Calendar Girls The Musical, Elf, Steel Magnolias, Rock Of Ages, Ghost and Sister Act for York Stage, Nik says: “I’m so thrilled to be directing and producing Little Shop Of Horrors at the fabulous York Theatre Royal.
“It’s the first time York Stage has brought a show to this beautiful theatre and we can’t wait to share what we’ve been creating with our audiences. We have a tremendously talented cast who have been creating stunning work; I’m really excited to be bringing another brilliant show to the city for all to enjoy.
“We have a tremendously talented cast who have been creating stunning work,” says York Stage director and producer Nik Briggs
“Exploring this piece in the rehearsal room with the creative team and cast has been a thrilling task. Being 40 years old, the world in which we present the show has changed drastically to the one in which it was originally created, so we’ve been making sure we create a bold new production that honours the original while keeping it fresh for a new audience. It’s been a lot of fun! We aim to give audiences a night to remember.”
Joining Briggs, Hackshaw and Mullan-Hill in the production team are lighting designer Adam Moore, sound designer Joel Suter and hair & make-up specialist Phoebe Kilvington.
Performance times will be 7.30pm on July 14, 16 and 18 to 23; 2.30pm, July 16 and 23; 4pm and 8pm, July 15. Tickets cost £15 upwards on 01904 623568 or at yorktheatreroyal.co.uk.
Cyanne Unamba-Oparah as Ronette, one of the Urchins in Little Shop Of Horrors
York Light Opera Company’s performers and production team for A Night With The Light
FROM open-air films to the Proms, Early Music festival connections to Nordic sunshine, Charles Hutchinson’s summer season is in full bloom.
York Light Opera Company in A Night With The Light, Friargate Theatre, Friargate, York, today at 2.30pm and 7.30pm
UNDER the direction of Jonny Holbek and musical direction of Martin Lay, York Light presents a feel-good programme of powerful, funny, emotive and irreverent numbers from favourite musicals and new ones too.
Look forward to songs from Hamilton, Waitress, Wicked, Chicago, Chess, Avenue Q, The Phantom Of The Opera, Les Misérables, The Sound Of Music and plenty more. “Come join us as we have Magic To Do!” say Jonny and Martin. Box office: 01904 655317 or ridinglights.org/a-night-with-the-light/.
West Side Story: One of the films to be shown at Picturehouse Outdoor Cinema in York Museum Gardens
Films under the stars: Picturehouse Outdoor Cinema, York Museum Gardens, York, tonight and tomorrow; August 5 to 7, 7.30pm
PICTUREHOUSE, owners of City Screen, York, present two weekends of open-air cinema with a summer vibe.
Tonight’s Grease (Sing-A-Long) (PG) will be followed by tomorrow’s 70th anniversary celebration of Singin’ In The Rain (U).
Next month’s trio of films opens with a 40th anniversary screening of Blade Runner (15) on August 5; next comes Steven Spielberg’s 2021 re-make of West Side Story (12A) on August 6; last up, Disney’s Encanto (Sing-A-Long) (U) on August 7. Box office: picturehouses.com/outdoor-cinema/venue/york-museum-gardens.
Off to the coast: a-ha head for Scarborough Open Air Theatre tomorrow
The sun always shines on…a-ha, Scarborough Open Air Theatre, tomorrow, gates, 6pm
NORWEGIAN synth-pop trio a-ha head to the Yorkshire coast on their 2022 World Tour of Europe, the United States and South America, 40 years since forming in Oslo.
Vocalist Morten Harket, guitarist Pal Waaktaar-Savoy and keyboardist Magne Furuholmen will be releasing a new album in October, True North, their first collection of new songs since 2015’s I, recorded in two days 25km inside the Arctic Circle.
Will they preview new songs alongside the familiar Take On Me, The Sun Always Shines On TV, Hunting High And Low and Stay On These Roads? Find out on Sunday. Box office: scarboroughopenairtheatre.com.
Christina Bianco’s LV and Ian Kelsey’s Ray Say in The Rise And Fall Of Little Voice at York Theatre Royal
Play of the week: Glass Half Full Productions in The Rise And Fall Of Little Voice, Monday to Saturday, 7.30pm; 2pm, Thursday; 2.30pm, Saturday
YORK actor Ian Kelsey returns to his home city to play viperous talent-spotting agent Ray Say in his Theatre Royal debut in a new tour of Jim Cartwright’s bittersweet comedy-drama, directed by Bronagh Lagan.
Coronation Street star Shobna Gulati plays louche, greedy, loud mother Mari Hoff and American actress and YouTube sensation Christina Bianco, her daughter LV, the recluse with the hidden singing talent for impersonating Judy Garland, Shirley Bassey et al. Can Ray draw her out of her shell and with what consequences? Box office: 01904 623568 or yorktheatreroyal.co.uk.
The Sixteen: Returning to York Minster for York Early Music Festival2022
Festival of the week: York Early Music Festival 2022, July 8 to 16
YORK Early Music Festival returns to a full-scale live programme for the first time since 2019 under the theme of connections.
“Concerts are linked together through a maze of interconnecting composers,” says festival administrative director Delma Tomlin. “We’re delighted to be able to shine a light on the many connections that hold us together in the past and into the future.”
At the heart of the 2022 festival will be three 7.30pm concerts in York Minster by The Sixteen (July 9, the Nave); The Tallis Scholars (July 11, Chapter House) and the Gabrieli Consort & Players (July 13, the Nave). For the full programme and tickets, head to: ncem.co.uk.
Skylights: Playing their biggest gig yet at Leeds O2 Academy
York gig of the week in Leeds: Skylights, Leeds O2 Academy, July 9, doors, 7pm
YORK indie-rockers Skylights play “the biggest gig of our lives” next weekend up the road in Leeds, where previously they have sold out Leeds University and The Wardrobe and performed at Leeds United’s centenary celebrations in Millennium Square in October 2019.
Four Acomb lads in the 30s, singer Rob Scarisbrick, guitarist Turnbull Smith, drummer Myles Soley and bassist Jonny Scarisbrick, will perform to 2,300 fans in celebration of their debut album, What You Are, reaching number 34 in the charts in May. Box office: academymusicgroup.com.
Natasha Agarwal: Soprano soloist at York Proms
Picnic party of the week: York Proms, York Museum Gardens, York, July 10, gates, 4pm
MUSICAL director Ben Crick conducts the 22-piece Yorkshire Festival Orchestra in next weekend’s performance of classical and film pieces, a special Platinum Jubilee section in the second half and a rousing Proms finale.
Soloists will be soprano and dancer Natasha Agarwal, who performed in Opera North’s Carmen, and bass-baritone John Anthony Cunningham, who has chalked up principal roles with English National Opera, Opera North and the Royal Opera House.
York Proms founder Rebecca Newman’s special appearance includes a tribute to her husband and co-founder, Jonathan Fewtrell, who died suddenly in 2020. The Fireworkers provide a firework finishing flourish. Box office: 01904 555670 or yorkproms.com/tickets.
Calling Planet Earth: Elegy to the Eighties at York Barbican
New Romantic nostalgia in the air: Calling Planet Earth, York Barbican, January 21 2023, 8pm
THIS New Romantic Symphony takes a journey through the electrifying Eighties’ songs of Duran Duran, Spandau Ballet, The Human League, Ultravox, Tears For Fears, Depeche Mode, Orchestral Manoeuvres In The Dark, Japan, ABC and Soft Cell.
Calling Planet Earth combines a live band with symphonic arrangements and vocals in a show designed to “simply define a decade”. Box office: yorkbarbican.co.uk or ticketmaster.co.uk.
The Sixteen: Performing Hubert Parry’s Songs Of Farewell in York Minster. Picture: Firedog
THE 2022 York Early Music Festival takes the theme of Connections on its return to a full-scale event after the Covid restrictions of 2020 and 2021.
Taking place in glorious ecclesiastical buildings around the city from July 8 to 16, the festival celebrates the joy of music, fusing musicians and their stories across the ages.
“Concerts are linked together through a maze of interconnecting composers,” says festival administrative director Delma Tomlin. “We’re delighted to be able to shine a light on the many connections that hold us together in the past and into the future.”
At the heart of the 2022 festival will be concerts by three of the best-known Early Music ensembles in the resplendent York Minster, each starting at 7.30pm.
Directed by Harry Christophers, The Sixteen present a sublime programme of choral works focused around Hubert Parry’s Songs Of Farewell, complemented by mediaeval carols, works by poet and lutenist Thomas Campion, Howells and Parry and a new commission by Cecilia McDowall, on July 9 in the Nave.
Profeti Della Quinta: Playing music to connect with the deepest of emotions, from love and delight to loss and despair, in Lamento D’Arianna
Under the title of Choral Connections, Peter Phillips directs The Tallis Scholars in the Chapter House in a sold-out July 11 programme of Josquin des Prez, Palestrina and Byrd works.
In the Nave, on July 13, Paul McCreesh directs the Gabrieli Consort & Players in A Venetian Coronation: a spectacular recreation of the 1595 Coronation Mass of the Venetian Doge Marina Grimani at St Mark’s, Venice.
“The Gabrielis are playing a remarkable piece on a scale that wholly suits York Minster,” says Delma. “It has that feeling of ‘We’re back’ writ large about it.
“This lavish sequence of festive music has become synonymous with these performers through recordings in 1989 and 2012 and combines brilliance and solemnity in a compelling and kaleidoscopic programme of masterpieces for combinations of voices, cornetts and sackbuts.
“A Venetian Coronation has been performed in many of the world’s greatest cathedrals and concert halls and is revived here in celebration of the Gabrielis’ 40th anniversary.”
Gonzaga Band: Making their York Early Music Festival debut
The festival’s opening concert, Heaven’s Joy: The World Of The Virtuoso Viol, will be given by the viola da gamba duo Paolo Pandolfo & Amélie Chemin at the National Centre for Early Music (NCEM), St Margaret’s Church, Walmgate, on July 8 at 7.30pm.
Taking a trip through time and space, they find connections between the late-Elizabethan music of eccentric soldier Tobia Hume and the later improvisatory divisions of Christopher Simpson, through French baroque suites by the mysterious Mr de Ste. Colombe and the “devilish” Forqueray, to reach the classical calm of Christoph Schaffrath in Berlin via JS Bach.
On July 10, at 7.30pm, the Gonzaga Band make their festival debut at the NCEM with works from Venice 1629 by Claudio Monteverdi, Alessandro Grandi, wind player Dario Castello and violinist Biagio Marini, under director and cornett player Jamie Savan. In the ranks too is organist and harpsichord player Steven Devine, in his last year as a festival artistic advisor.
Further festival highlights will be The Rose Consort Of Viols’ Music For Severall Friends (NCEM, July 11, 1pm); festival debutants La Vaghezza – an EEEmerging+ ensemble from Italy – presenting Sculpting The Fabric (St Lawrence’s Church, Hull Road, July 12, 1pm), and another festival newcomer, theorbo specialist Ori Harmelin (Undercroft, Merchant Adventurers’ Hall, Fossgate, July 13, 9.45pm).
Profeti Della Quinta, 2011 winners of the York Early Music International Young Artists Competition, return to the NCEM on July 12 to perform Italian Renaissance music from Rore to Monteverdi at 7.30pm; The University of York Baroque Ensemble focus on Mannheim Travels To Fife (St Lawrence’s Church, July 13, 1pm); Peter Seymour directs festival regulars Yorkshire Baroque Soloists (St Lawrence’s Church, July 14, 7.30pm), and Ensemble Voces Suaves highlight Heinrich Schutz In Italy (St Lawrence’s Church, July 15, 7.30pm).
Ensemble Voces Suaves: Italian madrigal magic at St Lawrence’s Church
Delma is delighted by the resumption of Minster Minstrels, the NCEM’s youth instrumental ensemble, who will be performing late 17th century theatre, court and household music in Fairest Isle at the Unitarian Chapel, St Saviourgate, on July 10 at 4.45pm.
“Given the pressure on young people’s studies over the past two years, director Ailsa Batters has done really well in bringing them back together again,” she says.
The York Early Music International Young Artists Competition 2022 provides the grand festival finale on July 16 from 10am to 5.30pm at the NCEM, preceded by informal NCEM recitals by the ten pan-European ensembles on July 14 and 15 at 10.30am.
The winners will receive a professional CD recording contract from Linn Records, a £1,000 cheque and opportunities to work with BBC Radio 3 and the National Centre for Early Music.
“We’re delighted to be presenting a nine-day festival of music in our beautiful city, after we were caught last year in Boris Johnson’s indecision about whether venues could open or not,” says Delma.
Delighted to be connecting and reconnecting: York Early Music Festival administrative director Delma Tomlin
“We were, however, able to stream the 2021 festival, drawing new audiences online, but it’s lovely to see our patrons return because that’s what festivals are all about: a celebration of being together.
“Some of this year’s artists were meant to be with us two years ago; some of them, last year. The Young Artists should have been with us last year, and it’s wonderful that we’ll have 43 young musicians coming to York for the competition. It’s amazing that these young groups have been able to keep going, to keep their spirits up, and to still be coming to York a year later than first planned.”
Delma concludes: “This year’s theme is Connections, connecting and indeed reconnecting music, artists and, of course, our audiences. As always, we’ll be celebrating the glorious music of the past but also looking forward, as we’re able, at last, to stage the International Young Artists Competition, showcasing and nurturing the performers of the future.
“We’re so pleased to be back at full strength for what promises to be one of the most exciting festivals to date.”
For the full programme, head to: ncem.co.uk/whats-on/york-early-music-festival/. Box office: 01904 658338 or ncem.co.uk.
BBC Radio 3 will be recording the concerts by Paolo Pandolfo & Amélie Chemin, The Sixteen, the Gonzaga Band and Gabrieli Consort & Players for broadcast, along with the York Early Music International Young Artists Competition 2022. The Early Music Show will be broadcast live from the festival on July 10 at 2pm.
NCEM launches ambitious Alignment online festival packed with highlights from 2022
Cantoria: Three concerts from the Spanish ensemble’s York residency will feature in Alignment online
THE National Centre of Early Music, York, is to celebrate the array of music staged in York and Beverley this year by presenting Alignment, its most ambitious online festival yet.
Highlights of the packed NCEM musical calendar will be available to download from August 1 to 30 and are on sale now.
The festival features 14 concerts from the 2022 spring season, recorded by the NCEM’s specialist digital team in glorious historic buildings.
“There’s a chance to enjoy music from the Renaissance through to the Baroque with a nod to the contemporary just to keep us on our toes,” says Delma Tomlin, the NCEM’s director .
The Alignment recordings includes Spanish vocal group Cantoria in a film made during their spring residency at the NCEM. Their vocal and instrumental programme encompasses the lives of Tudor Queens Catherine of Aragon and Mary, married to Philip of Spain, in St Mary’s Church, Bishophill, the NCEM’s home at St Margaret’s Church, Walmgate, and the mediaeval Merchant Adventurers Hall, Fossgate.
Florilegium: JS Bach concert, recorded at Beverley Minster
Further highlights include the music of JS Bach presented by Florilegium, recorded in Beverley Minster; two festival favourites, EEEmerging ensembles Prisma and Sarbacanes, and Ensemble Molière, the first BBC Radio 3 New Generation Baroque Ensemble.
Thefeatured ensembles are:
Cantoría; Prisma; Ensemble Molière; Profeti della Quinta; Florilegium; Rose Consort Of Viols; Gonzaga Band; Sarbacanes; La Vaghezza; University of York Baroque Ensemble; Orí Harmelin; Ensemble Voces Suaves; Paolo Pandolfo & Amélie Chemin and Yorkshire Baroque Soloists.
Four different online packages are available:
Complete Box Set, £70, including all 14 concerts.
Platform Artists, £30, focusing on emerging talent with Cantoría, La Vaghezza, Prisma and Sarbacanes.
Baroque In A Box, £40: Ensemble Molière, Florilegium, Gonzaga Band, Paolo Pandolfo & Amélie Chemin, University of York Baroque Ensemble and Yorkshire Baroque Soloists.
Renaissance Revels, £30: Rose Consort Of Viols, Orí Harmelin, Profeti della Quinta and Ensemble Voces Suaves.
All individual concerts are priced at £10.
Delma says: “it’s been an action-packed year so for the NCEM with the Beverley and East Riding Early Music Festival, an outstanding York residency with young Spanish ensemble Cantoria, and now the upcoming York Early Music Festival.
“We wanted to share this wonderful music far and wide, so we’ve put together a programme of many of this year’s highlights for this online celebration. We hope that those of you who couldn’t attend the concerts, or indeed those of you who did and want to enjoy the concerts again, will join us for some musical magic this summer.”
Full details can be found at: ncem.co.uk/whats-on/alignment/
York Light Opera Company performers and production team for A Night With The Light. From the left, musical director Martin Lay, producer Helen Eckersall and director Jonny Holbek are pictured in the centre
YORK Light Opera Company’s summer show, A Night With The Light, runs at Friargate Theatre, Friargate, York, from tomorrow until Saturday.
In the wake of York Light’s production of Evita, directed by Martyn Knight at York Theatre Royal in February, the amateur company presents a feel-good programme of powerful, funny, emotive and irreverent numbers from favourite musicals and new ones too.
Under the direction of Jonny Holbek and musical direction of Martin Lay, the show features songs from Hamilton, Waitress, Wicked, Chicago, Chess, Avenue Q, The Phantom Of The Opera, Les Misérables, The Sound Of Music and plenty more.
Jonny Holbek: Directing York Light Opera Company in A Night With The Light
Taking part will be: Abby Wild; Alexa Chaplin; Al Elmes; Annabel van Griethuysen; Chloe Chapman; Clare Meadley; Emily Hardy; Emma Louise Dickinson; Grace Harper; Helen Eckersall; Henry Fairnington; Kathryn Tinson; Kirsten Griffiths; Matt Tapp; Pascha Turnbull; Paul Hampshire; Pippa Elmes; Rachael Cawte; Ruth Symington; Ryan Richardson; Tom Menarry and Victoria Rimmington. The producer is Helen Eckersall.
“Come join us as we have Magic To Do!” say Jonny and Martin ahead of this week’s 7.30pm evening shows and 2.30pm Saturday matinee.
Tickets cost £10 upwards on 01904 655317 or at ridinglights.org/a-night-with-the-light/.
In her Dreams: Gabrielle’s 30 Years Of Dreaming Tour heads for York, Hull and Halifax in 2023
SOUL queen Gabrielle will play York Barbican on October 21 next year on her 30 Years Of Dreaming Tour 2023.
Next autumn’s 18-date travels will mark the 30th anniversary of the Hackney singer-songwriter’s “era-defining” chart-topping debut single, Dreams, in a career-spanning set likely to feature Rise, Out Of Reach, Sunshine, Give Me A Little More Time, Going Nowhere, When A Woman and Don’t Need The Sun To Shine (To Make Me Smile).
“Going on tour to celebrate 30 years of Dreams is just amazing,” says Gabrielle (full name Louise Gabrielle Bobb, by the way). “I can’t wait to party with everyone and celebrate the record that launched my career three decades ago! Time sure does fly when you’re having fun.”
Gabrielle, who will turn 53 on July 19, last performed at York Barbican on November 10 2021 on her rearranged Rise Again Tour after releasing her seventh studio album, the covers’ set Do It Again, in March last year. She will return to York on September 24 to play the main stage at the Yorkshire Balloon Fiesta 2022 on Knavesmire, next to York Racecourse.
Running from September 23 to 25, the festival will feature more than 50 hot air balloons, including a ship balloon from Europe and new character balloons; live music by Scouting For Girls, Andy And The Odd Socks, fronted by CBeebies’ Andy Day, and York party band Huge, and a Friday night funk and soul DJ set by Craig Charles.
Look out too for a daredevil stunt show; birds of prey displays, the world’s largest inflatable assault course; York’s largest funfair and a Sunday evening firework display finale.
Meanwhile, back to Gabrielle, who will be Adele’s special guest at her sold-out BST Hyde Park concerts in London on July 1 and 2. Adele personally chose Gabrielle for both shows, having revealed on BBC1’s The Graham Norton Show in February that her debut live public performance was a rendition of Gabrielle’s 1999 number one, Rise.
“I’m so thrilled and proud to be part of what will be an incredible day, headlined by an artist I love and adore.,” says Gabrielle. “Adele is a phenomenal singer-songwriter and it is an honour to be asked to join her at British Summer Time”. In turn, Adele has called Gabrielle “one of my favourite artists of all time, who I’ve loved since I was four!”
Tickets for Gabrielle’s 30 Years Of Dreaming Tour 2023 date at York Barbican will go on general sale from 10am on July 8 at yorkbarbican.co.uk, gigsandtours.com,ticketmaster.co.uk and gabrielle.co.uk. Two further Yorkshire dates to note are: Hull City Hall on October 12 and Halifax Victoria Theatre on October 14.
The poster for Gabrielle’s 30 Years Of Dreaming 2023 Tour
Dionne Warwick: Nothing stopped her at York Barbican
FIND out in Episode 95 of Graham Chalmers and Charles Hutchinson’s culture podcast Two Big Egos In A Small Car.
Under discussion too are: Temple Newsam’s concert revival in Leeds; Graham and something rotten in Denmark…or not; This Is A René Magritte book update; DJ Charm at Knaresborough BedRock and the media on Johnny Depp & Jeff Beck Watch in York.
Flashback: Yorchestra holiday orchestra members at rehearsals at the Sir Jack Lyon Concert Hall, University of York, in August 2014
YORCHESTRA will celebrate its 30th anniversary of running holiday orchestras for young musicians in and around York in late-August and September.
Yorchestra was founded in 1992 by the late Lizzy Edmondson, otherwise known as author Elizabeth Pewsey. On a visit to Cambridge, she had encountered one such holiday orchestra that had been running since coronation year, 1953.
On the train back north, it suddenly dawned on her that York would benefit from something similar. Gathering friends and fellow parents at the Minster School, they organised the first session there for 27 players.
Lizzy’s vision went much wider, however. She wanted all schoolchildren in the area to benefit, with courses every school holiday that included music for smaller groups – chamber music – not covered by other children’s orchestras.
Within five years, the senior orchestra had won a first prize at the European Festival of Music for Young People in Belgium, a feat repeated two years later.
Since then, Yorchestra has gone from strength to strength, proving that Lizzy’s vision was no mere flash in the pan. It has expanded its activities to include five orchestras at different levels of achievement.
All five will be celebrating Yorchestra’s 30th anniversary at the course from August 30 to September 2, in the well-appointed facilities at the Sir Jack Lyons Concert Hall, University of York, or the lovely setting of Heslington Church.
Maestro, the senior orchestra, includes players who are Grade 6 to 8 level and above, and suits budding musicians and experienced players alike, who benefit from working with seasoned professional tutors.
The maestro course will run for the full four days, culminating in a concert on the final evening, September 2. Past repertory has included the Symphonic Dances from West Side Story and Shostakovich’s Festive Overture.
Mezzo, the second orchestra, covers Grade 3 to 5 students, who play arrangements of music from assorted periods in a variety of styles, such as Vaughan Williams’s Fantasia on Greensleeves and Dukas’s The Sorcerer’s Apprentice. Members enjoy quality time in the company of top-notch tutors and the upcoming course will run for three days from August 31, leading to involvement in the September 2 concert.
The junior of the main orchestras, Primo, is for students aged eight or older of Grade 1 or 2 standard with at least six months’ playing experience. Its role is to give first timers the chance to discover the joy of playing in groups; recorder players are welcome too.
This summer’s Primo course will be for one day only, August 30, and will end with a concert for family and friends later in the afternoon. As with Mezzo, the course will take place in Heslington Church.
Two starter groups complement the main orchestras, one for string players, Young Strings, known colloquially as “YoYo”; the other for wind and brass, Young Winds, alias “YoBlow”. These are ideal for youngsters beginning to find their way around their instruments, keen to benefit from small private and group sessions.
Each course will be held over two mornings, YoYo on August 30 and 31; YoBlow on September 1 and 2, both at the Lyons. Informal concerts will follow the second sessions.
Applications are open for all courses. The deadline is August 6, but if payment is received by July 22, an “early bird” discount will apply and first-time applicant will be given an even larger discount. Please note, no-one should be put off on grounds of cost; Yorchestra has a bursary fund to help anyone otherwise unable to take part.
“Any musical children should be encouraged to join, have a lot of fun and meet new musical friends,” says Martin Dreyer, Yorchestra’s chairman of trustees. “The anniversary celebrations promise something extra-special.”
For more information on applications, head to: yorchestra.org.
Algorithm & blues: Coder and post-classical pianist Larkhall at Micklegate Social. Picture: Samuel White
GLASTONBURY? Out of sight, out of mind, out of pocket, Charles Hutchinson prefers to stay up north for arts and crafts aplenty.
Curioso gigs of the week: Larkhall, Micklegate Social, Micklegate, York, tonight, 8pm; Brudenell Piano Sessions, Howard Assembly Room, Leeds Grand Theatre, tomorrow, 4pm
RECOMMENDED to Nils Frahm and Max Richter neo-classical devotees, Larkhall combines creative coding with beautiful post-classical piano pieces and makes algorithmically created visuals as he plays.
Larkhall is the performance alias of Minnesota mining town-born, Cambridge University-educated, Bath-based composer, coder and new-media artist Charlie Williams, whose intimate York show coincides with this week’s release of his third album, Say You’re With Me, with its theme of men’s mental health.
Can algorithms be art? Charlie reckons so. “My shows are an experience of algorithms creating beauty instead of, like, getting us to buy more stuff,” he says. Box office: larkhall.org.
Frankie Valli: Fronting The Four Seasons in one day at Scarborough Open Air Theatre
Nostalgia of the week: Frankie Valli & The Four Seasons, Scarborough Open Air Theatre, tonight, gates, 6pm
THE Tony Award-winning musical Jersey Boys, chronicling the life and times of Frankie Valli and his New Jersey group, has brought so many songs to a new generation.
Cue Rock and Roll Hall of Fame inductee Frankie playing Scarborough at 88 with The Four Seasons, performing Sherry, Big Girls Don’t Cry, Walk Like A Man, Rag Doll, Let’s Hang On, My Eyes Adored You, Who Loves You, December, 1963 (Oh What A Night), Grease et al. Box office: scarboroughopenairtheatre.com.
Leg up for comic effect: Thom Tuck and Dennis Herdman’s double act in The Play What I Wrote at York Theatre Royal. Picture: Manuel Harlan
Play of the week: Birmingham Rep in The Play What I Wrote, York Theatre Royal, Monday to Saturday, 7.30pm; Thursday, 2pm; Saturday, 2.30pm
WRITTEN by The Right Size comic coupling of Sean Foley and Hamish McColl in tandem with Eddie Braben, the chap what wrote little Ern’s plays, The Play What I Wrote is both a dissection of double acts and a celebration of Morecambe and Wise.
Thom Wall insists on performing yet another of his hapless plays, an epic set in the French Revolution. Partner Dennis Hayward prefers to continue with their failing comedy duo instead, believing a tribute to Morecambe & Wise will restore Wall’s confidence. First, he needs to persuade a mystery guest to appear in the play what Thom wrote, with a different star for each show. Box office: 01904 623658 or yorktheatreroyal.co.uk.
Snake Davis: Saxophonist plays Cop’ Carnival’s debut jazz nighton Tuesday
Community event of the week: Cop’ Carnival Day, Copmanthorpe Recreation Centre, Barons Crescent, York, July 2, 11.30am to 6pm
NOW in its 51st year, Cop’ Carnival Day retains its familiar format of dance troops, bands, traditional games and attractions next weekend. Tickets cost £5 in advance or £8 on the day.
In addition, Cop’ Carnival’s first jazz night, hosted with York Gin, presents An Evening With Snake Davis, saxophonist to the stars, on Tuesday at 7pm. Two nights later, the carnival’s comedy bill features Steve Royle, Tom Wrigglesworth, David Eagle and compere Alex Boardman from 8pm.
Throughout the festival, 30 artists are exhibiting at Copmanthorpe Methodist Church nightly from 7pm, admission free. Box office: copmanthorpecarnival.org.uk.
Strictly between them: Anton du Beke and Giovanni Pernice team up for Him & Me
Dance moves of the week: Anton & Giovanni, Him & Me, Grand Opera House, York, Tuesday, 7.30pm
STRICTLY Come Dancing judge Anton du Beke and 2021 champion professional Giovanni Pernice are joined by dancers and singers for Him & Me, a night when the Ballroom King meets the Jive Master. Expect dance, song, light-hearted fun and banter.
Both Strictly stars will be making their second York appearance of 2022; Anton & Erin’s Showtime played York Barbican in February; Giovanni’s This Is Me followed suit in March. Box office: atgtickets.com/York.
Fran, frankly: Fran Lebowitz’s evening of acerbic New York wit and astute observation at Grand Opera House
Social commentator of the week: An Evening With Fran Lebowitz, Grand Opera House, York, Wednesday, 7.30pm
FRAN Lebowitz, New York purveyor of urban cool, cultural satirist and author, will be typically forthright and unapologetically opinionated in her dry-humoured social commentary on anything and everything, with a Q&A to boot.
After Pretend It’s A City, Lebowitz’s Netflix documentary series directed by filmmaker and friend Martin Scorsese, here comes her acerbic insights on gender, race, gay rights and the media, plus her pet peeves of celebrity culture, tourists, and baby strollers. Box office: atgtickets.com/York.
Who’d be a teacher? Sam Jackson’s Nick struggles with more than the paperwork in Foxglove Theatre’s The Brink
Shock of the new: Foxglove Theatre in The Brink, Theatre@41, Monkgate, York, Thursday to Saturday, 7.30pm
IN Brad Birch’s darkly comic, explosive psychological thriller, history teacher Nick is a normal person, working a normal job, who lives a normal life, but he suffers a downward spiral fuelled by dreams and whispers of a bomb buried under the school.
“Thrilling, turbulent, unconventional, The Brink is an unwavering dive into dark and prominent subject matter, alien to the established York stage,” says Nathan Butler, director of new York company Foxglove Theatre. Box office: tickets.41monkgate.co.uk.
Velma Celli’s poster artwork for A Brief History Of Drag
Spectacle of the week: Velma Celli in A Brief History Of Drag, Pocklington Arts Centre, Thursday, 8pm
YORK drag diva Velma Celli makes her Pocklington debut with A Brief History Of Drag, brandishing a triple threat of heavenly vocals, theatrical swagger and razor-sharp wit.
The creation of West End musical actor Ian Stroughair, Velma “celebrates the most iconic drag moments in film, stage and popular culture in the company of her voluptuous backing singers and breath-taking band”.
This electrifying cabaret embraces the songs and style of Queen, David Bowie, Boy George, Lady Gaga, Tina Turner and many more with panache and flamboyance. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Suzanne Vega: Booked into York Barbican for February 2023 concert
Big signings of the week for 2023: Suzanne Vega, York Barbican, February 22; Mike + The Mechanics, York Barbican, April 12
GLASTONBURY acoustic stage headliner Suzanne Vega will play York Barbican as the only Yorkshire show of the New York folk singer-songwriter’s 14-date tour next year, with Luka, Marlene On The Wall and Tom’s Diner to the fore.
Mike + The Mechanics will return to York Barbican next spring on their Refueled! 2023 Tour, promising “all the hits and a drop of Genesis” – Mike Rutherford’s other band – plus songs from latest album Out Of The Blue. Box office: yorkbarbican.co.uk.
