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REVIEW: Jekyll & Hyde The Musical, York Musical Theatre Company

Steven Jobson’s Edward Hyde and Nicola Holliday’s Lucy Harris

York Musical Theatre Company in Jekyll & Hyde The Musical, York Musical Theatre Company, Joseph Rowntree Theatre, York, 7.30pm tonight; 2.30pm and 7.30pm tomorrow. Box office: 01904 501935 or at josephrowntreetheatre.co.uk.

ON the only previous time CharlesHutchPress encountered Leslie Bricusse and Frank Wildhorn’s Broadway musical, at Leeds Grand Theatre in July 2011, this was his verdict.

“In a nutshell, it is a very good performance of a not particularly good musical adaptation of Robert Louis Stevenson’s novella that has but one memorable song, This Is The Moment,” he wrote, before concluding: “A deliciously wicked way to spend tonight or tomorrow awaits you”.

Eleven years on, This Is The Moment continues to stand out, but once more, Jekyll & Hyde The Musical’s story of love, betrayal and murder hits the mark in performance, this time under the gothic-inspired direction of Matthew Clare.

The aforementioned 2011 touring production relied on the handsome pop star chops of Marti Pellow in the dual role of upstanding, if obsessive Dr Henry Jekyll and his vengeful, sadistic, chemically altered alter ego, Mr Edward Hyde.  

Director Matthew Clare

Clare goes with freelance actor, singer and voice actor Steven Jobson, whose love of performing was triggered by witnessing The Phantom Of The Opera at the age of 14, another show that ventures deep into the dark side.

Jobson can certainly act; he sings Jekyll & Hyde’s difficult, impassioned, narrative-driven songs adroitly too, and you can hear why he is a voice actor as he switches between the urbane, educated, tenor airs of the romantic scientist Jekyll and the guttural bass growl of Hyde, ably retaining the distinction in song.

In one early moment, his agitated singing voice for Hyde becomes muffled in the sound mix, but let’s put that down to this being the first night.

Jobson is equally convincing in his physical transformations, never straying into Hammer Horror melodrama. His monstrous madman always lurks within, those inner demons brought to the surface by reckless scientific brio as much as by his experiments.

Alexandra Mather vowed to make Jekyll’s trusting, unknowing fiancée, Emma Carew, more three-dimensional than on the page, and she delivers on that promise in her characterisation, while her pure, operatic voice wholly suits the score.

Nick Sephton’s Sir Danvers Carew

Director Clare has decided to split the role of love-struck but fearful prostitute Lucy Harris between York musical theatre regular and radio presenter Claire Pulpher (next performance, Saturday matinee) and Scarborough professional Nicola Holliday in her YMTC debut. Holliday was on duty on Wednesday, growing into her performance the more she sang, conveying both Lucy’s untrusting, self-protective nature and quest for love.

Strong support comes from Anthon Gardner’s lawyer John Utterson and Nick Sephton’s Sir Danvers Carew, and the ensemble relishes Bring On The Men, choreographed sassily by Hannah Wakelam.

John Atkin’s band is in good order throughout, steering the path between big balladry in the Lloyd Webber mode and a sly wickedness more in keeping with Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street.

Costumes and wigs serve the primary role in evoking the Victorian era; the plain set design, by comparison, is a modern construction of metal stairways and a mezzanine level, more in keeping with a pop concert, but the use of blue lighting to denote Jekyll and red for Hyde is effective.  Everyone stands, no-one sits, such is the restless, unrelenting, unnerving progression from Jekyll to hellish Hyde.

Director Clare had called Jekyll & Hyde a “niche musical”, but he has successfully brought it out of the shadows, and in Steven Jobson he has found just the man for the job.

Review by Charles Hutchinson

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REVIEW: Martin Dreyer’s verdict on Ryedale Festival premiere of Seven Mercies, Church of St Peter & St Paul, Pickering, May 21

Kathryn Rudge: “Inspired soloist”

RYEDALE Festival floated a powerful reminder of its status in the community with this world premiere of a new song-cycle written by a Pickering-born composer and largely performed by inhabitants of Ryedale.

Joseph Howard’s Seven Mercies was inspired by mediaeval murals in Pickering Church, which have only recently been brought back to life and decoded from beneath the whitewash of centuries.

They refer to specific acts of kindness – properly titled Seven Acts of Corporal Mercy – mentioned by Jesus in his Sermon on the Mount and illustrated here by stories from the Bible.

Howard’s music is built around Emma Harding’s poetic libretto, which at its core delivers a song-cycle for mezzo-soprano and piano. Its sections use different female characters whose hardships have been alleviated by someone else’s generosity, often put into a modern context: a refugee, for example, or a hospital patient prevented by Covid regulations from receiving visitors.

That is the backbone of the work and no doubt it could stand alone. But it is immensely coloured and given depth by several choral and brass interludes, as well as introduction, prologue and finale.

Joseph Howard: Pickering-born composer of Seven Mercies

Much of the text here has been devised by choir members themselves. Ryedale Festival Community Choir, under Em Whitfield Brooks, and Ryedale Primary Schools Choir (taken from Pickering Community Junior School and Gillamoor C of E and St Joseph’s RC Primary Schools), conducted by Holly Greenwood-Rogers, were joined by a brass quintet of junior members from Kirkbymoorside Town Band and bell ringer Pam Robb.

Kathryn Rudge was the inspired soloist. Her clean, clear, beautifully projected mezzo was exactly suited to evoking the plight of the desperate and the downtrodden, and Christopher Glynn’s fluently controlled piano gave her superb underpinning. When she took to the pulpit for the finale, she soared angelically above and through the combined forces below, as if offering divine support.

Both choirs had evidently been keenly trained. They represented the voices of the community coming to the aid of the needy. Where the adults were sympathetic and affectionate, the children were infectiously enthusiastic, an apt balance. The young brass were impressive too, in an early fanfare, a lament and a smooth duet for cornets.

Howard’s music, which was always attuned to the text, divided into two styles: a thoughtful, modal English for the soloist that was reminiscent of Vaughan Williams and a much more universal, generally major-key and strongly rhythmic approach for the ensembles. This made sense with such a wide range of talents on hand: all were shown to best effect.

We may thank the Richard Shephard Music Foundation for its association with an occasion that both highlighted an important piece of local history and underlines what a force for good the Ryedale Festival continues to be. The festival itself will run from July 15 to 31 with full details at ryedalefestival.com.

Review by Martin Dreyer

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Marc Almond’s icing on autumn tour cake is to add York Barbican gig on October 21

“I can’t wait to get back on stage,” says Marc Almond

TORCH singer Marc Almond is adding an October 21 concert at York Barbican to his rearranged autumn tour.

“The fans have been so understanding and patient through the endless rescheduling due to the pandemic but now we have confirmed these dates I can’t wait to get back on stage,” says Almond, 64, who made his name with Leeds synth-pop duo Soft Cell in the 1980s.

Tickets go on sale tomorrow (27/5/2022) at 10am at yorkbarbican.co.uk for Almond’s first solo appearance there since his Hits And Pieces 60th birthday tour in March 2017. He last sang at York Barbican as a special guest at Jools Holland and His Rhythm & Blues Orchestra’s November 2018 show.

The poster artwork for Marc Almond In Concert, his autumn tour

For the first time, Almond will perform songs from his March 2020 top 20 album Chaos And A Dancing Star, complemented by favourites from his extensive catalogue and his biggest hits, such as Tainted Love and Say Hello, Wave Goodbye. He is sure to have surprises up his sleeve too.

Meanwhile, Soft Cell are enjoying top ten success with their first studio album in 20 years, Happiness Not Included, featuring their Pet Shop Boys collaboration, Purple Zone.

Almond’s career spans more than four decades, bringing him 35 million record sales, a BRIT Award, an Ivor Novello Inspiration Award in 2013 and an OBE in the 2018 New Year Honours for his services to arts and culture.

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Two Big Egos podcasters’ question of the day: How does Belle & Sebastian’s A Bit Of Previous match up to the best of Belle?

AFTER 26 years of “previous”, stalwart Scottish contrarians Belle & Sebastian release A Bit Of Previous. What’s their way ahead, judging by their latest album, recorded back home in Glasgow?

Two Big Egos In A Small Car culture podcasters Graham Chalmers (their fellow Scot) and Charles Hutchinson mull it over in Episode 91.

Plus: Predicting cinema’s dark future and all hail to New York art-rock pioneers The Velvet Underground. To listen, head to: https://www.buzzsprout.com/1187561/10651348

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Aled Jones and Russell Watson team up again for Christmas at York Barbican

Aled Jones and Russell Watson: New album, new tour, with a Christmas theme

ALED Jones and Russell Watson are to reunite for Christmas 2022 with a new album and tour, taking in York Barbican on December 6.

Performing together again after a three-year hiatus, the classical singers will embark on a November and December itinerary to coincide with the November 4 release of Christmas With Aled And Russell. 

Available to pre-order now, the album features new recordings of traditional carols such as O Holy Night, O Little Town Of Bethlehem and In The Bleak Midwinter, alongside festive favourites White Christmas, It’s Beginning To Look A Lot Like Christmas, Little Drummer Boy and Mistletoe And Wine.

In addition, Jones and Watson are recording a duo rendition of Walking In The Air – first sung by boy soprano Aled in 1982 for the animated film The Snowman – specially for the new record.

Bangor-born tenor Jones, 51, says: “After a crazy couple of years for us all, I can’t wait to be reunited with my mate Russell again for our third album together! I’ll always be associated with Christmas, so it’s an honour to be working with him.

“We always have a blast on tour, so getting to sing our favourite Christmas songs together in so many stunning venues later this year will be a real treat! You never know, ‘Traffic Cone’ might even make an appearance…and hopefully Chicago has given Russ the chance to brush up on his dancing skills!”

Salford tenor Watson, 55, who has been playing slick lawyer Billy Flynn in the 2022 tour of Chicago, says: “Aled and I had a great time recording our first two albums, so I’m immensely excited to be back in the studio together working on our third. We had a really tough time choosing from so many magnificent Christmas songs, but we’ve whittled it down to a fabulous selection of tracks which truly mean something to us both.

“And to get to share a stage again during our UK tour later this year will be such a special experience after three years apart. I hope Christmas With Aled And Russell is on all of your Christmas lists, and I can’t wait to see you all on tour throughout November and December!”

Aled & Russell: Third album of duets

Christmas With Aled And Russell will be looking to match the success of 2018’s In Harmony and 2019’s Back In Harmony, after both recordings topped the UK Classical Album Chart and made the top ten of the UK Official Album Chart.

Classical crossover singer Jones has released more than 40 albums and achieved more than 40 silver, gold and platinum discs since his chorister days when Walking In The Air brought him fame at 12.

In November 2020, he released Blessings, a multi-faith album featuring songs from different religions, and in February 2022, he reached the semi-finals of ITV’s The Masked Singer in the guise of Traffic Cone.  

He has pursued a career as a television and radio presenter too, at present hosting a weekly show on Classic FM and BBC One’s Sunday staple, Songs Of Praise. 

Watson’s debut album, 2000’s The Voice, topped both the British and USA classical charts, making him the first British male artist to attain a simultaneous transatlantic number one.

Watson has performed for HM The Queen, the late Pope John Paul II and former USA Presidents Bill Clinton, George W Bush and Barack Obama.

He last played York Barbican in a Sunday matinee in November 2021 on his 20th Anniversary Of The Voice tour.

Tickets for December 6’s 8pm performance of Christmas With Aled & Russell are on sale at yorkbarbican.co.uk.

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REVIEW: Martin Dreyer’s verdict on Leeds Lieder Festival: Day 2

Jess Dandy: “That endangered species, a true contralto”

Jess Dandy/Martin Roscoe & Robin Tritschler/Christopher Glynn, Howard Assembly Room, Leeds, April 29

THOSE of us who had not encountered Jess Dandy before, your correspondent included, cannot have avoided reading that she had been likened to Kathleen Ferrier in a national newspaper.

It is an unfortunate comparison and should be dropped before it becomes burdensome. She is indeed that endangered species, a true contralto, which alone entitles her to our attention. She may in time become the one and only Jess Dandy – but she is not Ferrier.

I confess that what initially drew my attention was her accompanist: Martin Roscoe is a supreme musician and a very busy one. Anyone who claims his time deserves our respect, especially since he is most often found as a solo performer.

With that rant out of the way, we may concentrate on Dandy’s lunchtime programme, which opened with Amy Beach and Lili Boulanger before moving onto more familiar territory with Falla, Wolf and Tchaikovsky, each of her five groups therefore in a different language.

Oddly enough, her diction in Beach’s three Robert Browning songs was almost consonant-free, but her tone was richly textured which excited anticipation.

Martin Roscoe: “Supreme musician and a very busy one”

In four unrelated songs by Boulanger, three from her teenage years, she penetrated the surface better. In two Maeterlinck poems, her high ending to ‘Reflets’, finding consolation in the moon, was beautifully controlled and the illusory ‘Attente’ (Waiting) was properly bleak. The prospect of Ulysses’s return to Ithaca brought compensatory joy to her tone.

Falla’s settings of seven traditional Spanish folksongs generally needed a lighter touch to match Roscoe’s impeccable staccatos. These works look easier on paper than they really are.

It was only when Dandy came to Wolf’s Mörike settings (1888) that her diction really began to shine. ‘Er ist’s’ (Spring Is Here) was wonderfully ecstatic, rounded off by the piano’s peerless postlude. She had a real feel for the bitter-sweet ‘Verborgenheit’ (Seclusion) and danced nimbly as the water-sprite Reedfoot alongside the piano’s curlicues. Both performers revelled in the dramatic possibilities of ‘Der Feuerreiter’ (The Fire-rider), while ending peacefully.

Dandy was equally well-suited to four Tchaikovsky songs. Voice and piano neatly intertwined in a Tolstoy poem about spring. There was a wonderfully pained melisma at the end of ‘I was a little blade of grass’ (the girl had been married off against her will). Even if the final climax of ‘Can it be day?’ was not quite full enough, we knew she had these songs in her bloodstream; Roscoe’s postlude was another little masterpiece.

This young lady certainly has talent. She can now afford to be less concerned about delivering perfect tone and concentrate more on acting with her voice.

Robin Tritschler: “Particularly satisfying occasion”

The second evening supplied my fourth recital of the festival. But it was the first in which the singer used no music. Thirty years ago, this would not have been a cause for comment. But times have changed and musicians are no longer routinely learning their scores by heart. One might have thought that during the ‘downtime’ provided by the pandemic, this might have changed. But no.

The hero in question was tenor Robin Tritschler, whose first half – ‘Illuminated Music’ – was English, Britten’s own works framing his realisations of Croft and Purcell. After half-time, we had ‘Illuminating Songs’ from further afield, eight composers stretching from Schubert to Henry Mancini. His admirable partner was Christopher Glynn.

Coloratura flowed easily in ‘Let The Florid Music Praise’ (On This Island) and Croft’s A Hymn To Divine Musick turned the temperature up further. All his Purcell set was characterised by a focus and intensity that was communicated all the more directly by the absence of a music-stand between audience and singer.

‘Music For A While’ enjoyed crispness in both voice and piano, which spilled over strongly into the finish of ‘Sweeter Than Roses’. The darting sections and crazy swings of ‘Mad Bess’ were finely wrought, with Glynn injecting just the right level of fire without dominating.

Christopher Glynn: “Injecting just the right level of fire without dominating “. Picture: Gerard Collett

Britten’s Canticle I: My Beloved Is Mine was hugely convincing, a tenderly felt duet that did full justice to Quarles’s spiritual paraphrase from the Song Of Solomon. Glynn’s flowing piano alongside Tritchler’s vocal freedom came to a close of the utmost serenity.

Moonlight suffused virtually all the second half. The atmosphere was movingly set by Schubert’s incomparable setting of Leitner’s ‘Der Winterabend’: the piano’s seamless line matched the tenor’s legato.

Fauré’s ‘Clair de Lune’ conjured intimacy while Hahn’s ‘L’heure Exquise’ delivered perfumed scents. Mancini’s nostalgic ‘Moon River’, with its Beethovenian opening was nicely balanced by Howells’s setting of De la Mare’s ‘Full Moon’, which disappeared into a niente finish.

Tritschler really opened out in the climactic moments of Liza Lehmann’s ‘Ah, Moon Of My Delight’ (In A Persian Garden), after which Coleridge-Taylor’s ‘Big Lady Moon’ made the perfect encore. This was a particularly satisfying occasion, with both musicians on excellent form.

Review by Martin Dreyer

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REVIEW: Martin Dreyer’s verdict on Leeds Lieder Festival 2022: Day 1

Dorothea Röschmann: German soprano, making her north of England debut

Dorothea Röschmann and Joseph Middleton; Wallis Giunta, Sean Shibe and Adam Walker, Howard Assembly Room, Leeds, April 28

LEEDS Lieder was back in its usual springtime slot and all the better for that. More to the point, the line-up was as star-studded as ever.

On the first evening of this 11th festival, German soprano Dorothea Röschmann made her north of England debut in tandem with festival supremo Joseph Middleton as her piano-partner in a programme of Schumann, Mahler, Wolf and Wagner.

There is something reassuring about hearing native Germans in lieder: whatever else, they have this repertory in their bloodstream.

Schumann’s settings of five letters and poems attributed to Mary, Queen of Scots delve into the heart of Mary’s isolation after imprisonment by her sister, Queen Elizabeth I.

They are an unusual starter for a programme, but Röschmann handled them with considerable refinement, capturing the happy reminiscences of France – Schumann’s major-minor alternations – and prayerful after the birth of Mary’s son.

There was no escaping Mary’s desolation at 19 years’ imprisonment and her final prayer before death was poignant indeed in Roschmann’s account.

Six of Mahler’s settings from Des Knaben Wunderhorn made a welcome contrast, none more so than the opening ‘Rheinlegendchen’ (Little Rhine Legend), which was turned into a cutesy dance, full of sparkle.

There was a relentless piano momentum in the tale of the starving child, ‘Das Irdische Leben’ (Life On Earth), representing the mill-stream. She cleverly juxtaposed two duets featuring young girls disappointed in love, the one flirting in vain, the other – touchingly here – discovering that her soldier sweetheart is just a mirage: he is already dead.

Wolf’s four Mignon songs, sung by the teenager abducted from Italy by Goethe’s Wilhelm Meister, are the epitome of yearning, as she longs to return home. I

n the opening one, Kennst du as Land? – which she actually sang last – there was a lovely moment where she switched mid-phrase from a fortissimo at the plunging torrent to pose the title question much more quietly, rounding off the song with a delightful portamento in the final phrase. It was typical of her attention to detail. Middleton shadowed her closely throughout.

Written in the run-up to Tristan und Isolde, Wagner’s five settings of poems by Mathilde Wesendonck, the wife of a well-heeled silk merchant (and patron of the composer), developed out of his infatuation for her.

They are essentially love-songs, whose voluptuous harmonies – twice directly prefiguring Tristan – were mirrored in Roschmann’s lush treatment. Her gear-changing into chest tone was not always entirely smooth, but she and Middleton captured their heady atmosphere to a tee, notably in the “stop the world, I want to get off” implications of ‘Stehe Still!’ (Stand Still). This was a most satisfying opening recital, if not quite a memorable one.

Mezzo-soprano Wallis Giunta’s late-night recital, given with guitarist Sean Shibe and flautist Adam Walker, was a mixed bag. She is an engaging personality, whose prowess as an actress she has already proved here, and there was no doubting the skills of her two partners – especially Shibe, in a wide variety of styles – but their protest songs from the Americas were too diffuse to make a coherent whole.

Taking their title from one of the songs, ‘The Revolution Smells Of Jasmine’, they encompassed racism, revolution, female emancipation and “patriarchal oppression”: art as politics, in other words, but this scattergun approach missed too many targets.

Nevertheless, the programme had its moments. Four songs by the Argentinian composer Ariel Ramirez had the unmistakeable tang of Portuguese fado about them, as if their essence had spilled over from neighbouring Brazil: Alfonsina’s heartache was palpable and Gringa Chaqueña evoked a smoky underworld. Juana Azurduy, the song which included the evening’s title, was more upbeat, even triumphal.

No South American set would have been complete without Astor Piazzolla. Sure enough, the instruments dipped into L’Histoire du Tango, before Giunta conjured a vivid ‘Café’ and a frisky ‘Bordel 1900’, where the syncopation was succulent.

North America was not forgotten. Giunta gave her fellow Canadian Joni Mitchell’s ‘Woodstock’ and a couple of Joan Baez numbers. All were cleanly done in good folk-style, but lacked a certain earthiness.

The most harrowing moment came in Abel Meeropol’s ‘Strange Fruit’, written in 1937 and made famous in song by Billie Holiday two years later: the ‘fruit’ was the bodies of black victims of lynching, swinging in the breeze. Not at all comfortable.

At her best, Giunta has a witty, wacky side that she kept under wraps here, in the name of protest of course, although almost as if she were under some restraint. But she is a total professional and had also chosen her accompanists wisely. They responded with lively duets as well as unfailing support.

Review by Martin Dreyer

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Adam Possener and Christopher Churcher win 2022 NCEM Young Composers Awards

Winners Adam Possener, left, and Christopher Churcher at the National Centre for Early Music

ADAM Possener and Christopher Churcher have won the 2022 National Centre for Early Music Composers Awards.

Possener was victorious in the age 19 to 25 category with his composition 52°N 20.5° E; Churcher, the 18-and-under age group with Arborescent.

The final of the 15th annual competition, presented in partnership with BBC Radio 3, was live-streamed last Thursday (19/5/2022) from the NCEM, at St Margaret’s Church, Walmgate, York.

Compositions by the eight finalists were played for the first time by former BBC Radio 3 New Generation artists Consone Quartet, who specialise in performances with period instruments using gut strings. Their concert programme also included Franz Josef Haydn’s String Quartet in D, Opus 71 No. 2.

Dr Christopher Fox: Leading the workshop with young composers at the NCEM

The event followed a day-long workshop with the young composers at the NCEM, led by Dr Christopher Fox, Emeritus Professor of Music at Brunel University, and Consone Quartet, where the finalists – all based in the UK – were invited to enter into the musical sound world of one of the quartet’s favourite composers, Fanny Mendelssohn.

The 2022 panel of judges were: BBC Radio 3 producer Les Pratt, NCEM director Dr Delma Tomlin and Consone Quartet.

Churcher’s Arborescent and Possener’s 52°N 20.5° E will be premiered by Consone Quartet at Stour Music Festival on June 24, when it will be recorded for broadcast later in the year on BBC Radio 3’s Early Music Show, the weekly programme that airs every Sunday from 2pm to 3pm and on BBC Sounds.

Consone Quartet with winners Adam Possener, third from left, and Christopher Churcher

Delma Tomlin says: “Once again, we enjoyed an array of outstanding music at the NCEM, and I’d like to congratulate all our composers for their outstanding work. It was an absolute joy to welcome them to our home at St Margaret’s Church for an incredible day of exploring the world of composition. 

“I’d also like to say a massive thank-you to my fellow judges and to BBC Radio 3; their continued support is invaluable and enables us to continue to stage this major annual award.”

Alan Davey says: “Music will only exist as long as young people keep putting their minds and spirits to it and feel compelled to keep creating it – breathing new life into the art form and bringing their own personal insights and approaches.

NCEM Composers Awards finalists with Dr Christopher Fox and Consone Quartet

“That’s why supporting young composers is one of Radio 3’s main missions, and we can’t wait to share these wonderful new compositions with our listeners on the Early Music Show and on BBC Sounds.”

The live streamed performance is available on Facebook.com/yorkearlymusic @yorkearlymusic.

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More Things To Do in York and beyond when not only the Mouse will play in all weathers. List No. 83, courtesy of The Press

Behind you! Behind you: Will The Gruffalo pounce on Mouse in Tall Stories’ The Gruffalo?

POLITICS, the weather, monsters, Sixties and Eighties’ favourites, comedy songs and a north eastern tornado all are talking points for Charles Hutchinson for the week ahead.

Children’s show of the week: Tall Stories in The Gruffalo, Grand Opera House, York, today, 1pm and 3pm; tomorrow, 11am and 2pm

JOIN Mouse on a daring adventure through the deep, dark wood in Tall Stories’ magical, musical, monstrous adaptation of Julia Donaldson and Axel Scheffler’s picture book, suitable for children aged three upwards.

Searching for hazelnuts, Mouse meets cunning Fox, eccentric old Owl and high-spirited Snake. Will the story of the terrifying Gruffalo save Mouse from becoming dinner for these hungry woodland creatures? After all, there is no such thing as a Gruffalo – or is there? Box office: 0844 871 7615 or atgtickets.com/York.

True or false: Is Tony Hadley playing York Barbican on Sunday? True!

Eighties’ nostalgia of the week: Tony Hadley, York Barbican, Sunday, 7.30pm

I KNOW this much is true: smooth London crooner Tony Hadley is celebrating 40 years in the music business with a 2022 tour that focuses on both his Spandau Ballet and solo years.

Once at the forefront of the New Romantic pop movement, Islington-born Hadley, 61, is the velvet voice of hits such as True, Gold, Chant No. 1, Instinction and Paint Me Down and solo numbers Lost In Your Love and Tonight Belongs To Us. Box office: yorkbarbican.co.uk.

Up and at’em, Fladam: York musical comedy duo Florence Poskitt and Adam Sowter

Comedy songs of the week: Fladam & Friends, Let’s Do It Again!, Theatre@41, Monkgate, York, today at 2.30pm and 7.30pm

YORK musical comedy duo Fladam, alias Florence Poskitt and piano-playing partner Adam Sowter, vowed to return after last year’s Hootenanny, and return they will this weekend. But can they really “do it again?”, they ask. Is a sequel ever as good?

Mixing comic classics from Victoria Wood with fabulous Fladam originals, plus a sneak peak of this summer’s Edinburgh Fringe debut, this new show will “either be the Empire Strikes Back of musical comedy sequels or another case of Grease 2”. Tickets to find out which one: tickets.41monkgate.co.uk.

Always take a brolly with you just in case: Mikron Theatre Company’s James Mclean, left, Hannah Bainbridge, Alice McKenna and Thomas Cotran on tour in Lindsay Rodden’s all-weathers play, Red Sky At Night. Picture: Liz Baker

Whatever the weather, nothing stops Mikron Theatre Company in Red Sky At Night, Scarcroft Allotments, York, Sunday, 2pm

HAYLEY’S sunny, beloved dad was the nation’s favourite weatherman. Now, she is following in his footsteps, joining the ranks of the forecasting fraternity, or at least local shoestring teatime telly.

When the pressure drops and dark clouds gather, Hayley melts faster than a lonely snowflake. She may be the future’s forecast, but will anyone listen in Lindsay Rodden’s premiere, toured by Marsden company Mikron’s 50th anniversary troupe of James Mclean, Hannah Bainbridge, Alice McKenna and Thomas Cotran. No tickets are required; a Pay What You Feel collection will be taken after the show.

Stop Stop Start: The Hollies’ rearranged 60th anniversary tour will arrive at York Barbican on Monday

Sixties’ nostalgia of the week: The Hollies, 60th Anniversary Tour, York Barbican, Monday, 7.30pm

MOVED from September 2021, with tickets still valid, this 60th anniversary celebration of the Manchester band features a line-up of two original members, drummer Bobby Elliott and lead guitarist Tony Hicks, joined by lead singer Peter Howarth, bassist Ray Stiles, keyboardist Ian Parker and rhythm guitarist Steve Lauri.

Expect He Ain’t Heavy, He’s My Brother, I Can’t Let Go, Just One Look, Bus Stop, I’m Alive, Carrie Anne, On A Carousel, Jennifer Eccles, Sorry Suzanne, The Air That I Breathe and more besides. Box office: yorkbarbican.co.uk.

Giving an earful: Bettrys Jones’s Ellen Wilkinson MP, left, has a word with Laura Evelyn’s British Communist activist Isabel Brown in Red Ellen

A bit of politics of the week: Northern Stage in Red Ellen, York Theatre Royal, Tuesday to Saturday, 7.30pm; 2pm, Thursday; 2.30pm, Saturday

CAROLINE Bird’s new play turns the overdue spotlight on “Mighty Atom” Ellen Wilkinson, the crusading Labour MP cast forever on the right side of history, but the wrong side of life.

Caught between revolutionary and parliamentary politics, Ellen fights with an unstoppable, reckless energy for a better world, whether battling to save Jewish refugees in Nazi Germany; leading 200 workers on the Jarrow Crusade; serving in Churchill’s war cabinet or becoming the first female Minister for Education. Yet somehow she still finds herself on the outside looking in.​ Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Steven Jobson, as Jekyll/Hyde, and Nicola Holliday, as Lucy Harris, in York Musical Theatre Company’s photocall for Jekyll & Hyde The Musical at York Castle Museum

Musical of the week: York Musical Theatre Company in Jekyll & Hyde The Musical, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm; 2.30pm, Saturday matinee

BE immersed in the myth and mystery of London’s fog-bound streets where love, betrayal and murder lurk at every chilling twist and turn in Matthew Clare’s production of Frank Wildhorn and Leslie Bricusse’s musical adaptation of Robert Louis Stevenson’s epic struggle between good and evil.

Steven Jobson plays the dual role of Dr Henry Jekyll and Mr Edward Hyde in the evocative tale of two men – one, a doctor, passionate and romantic; the other, a terrifying madman – and two women – one, beautiful and trusting; the other, beautiful and trusting only herself– both women in love with the same man and both unaware of his dark secret. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Coastal call: Sam Fender kicks off the 2022 season at Scarborough Open Air Theatre

Award winner of the week: Sam Fender, Scarborough Open Air Theatre, May 27, gates open at 6pm

WINNER earlier this week of the Ivor Novello Award for Best Song Musically and Lyrically for his Seventeen Going Under single, North Shields singer-songwriter Sam Fender opens the 2022 Scarborough Open Air Theatre summer season next Friday.

Already Fender, 28, has the 2022 Brit Award for Best British Alternative/Rock Act in his bag as he heads down the coast to perform his frank, intensely personal, high-octane songs from 2019’s Hypersonic Missiles and 2021’s Seventeen Going Under. Box office: scarboroughopenairtheatre.com. 

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Podcasters’ question of the day: Just how pretentiously French is The Velvet Queen?

IS the French snow leopard documentary La Panthere Des Neiges (The Velvet Queen) the moist pretentious nature film of all time?

Two Big Egos In A Small Car culture podcasters Graham Chalmers and Charles Hutchinson pass judgement in Episode 90.

What else is on their mind? Bono and The Edge go underground in Ukraine. What happens when critics change their mind on second acquaintance? Messums Gallery closes in Harrogate. Charm’s homecoming Karl Culley gig for the Harrogate Theatre restoration appeal.

To listen, head to: https://www.buzzsprout.com/1187561/10615841