“To say I was enthusiastic is an understatement,” says Marti Pellow as he returns to the concert platform
PULL on your dancing shoes, it’s time to party with Marti, says that Scottish fellow Pellow ahead of his Greatest Hits Tour gig at York Barbican on Tuesday night.
York is one of five additions to the second leg of a post-lockdown itinerary that opened at Scarborough Spa Theatre on November 11 when the former Wet Wet Wet frontman, soulful solo singer and musical theatre star could not wait to re-connect with his devotees.
“Throughout lockdown, I was inundated by beautiful messages from fans, asking me to please organise a tour once we come out of these terrible times,” said the Clydebank singer at the time.
“Twelve million people tuned in for the Lockdown Sessions I did and each one of you has inspired me to make this tour happen this year.”
How did those autumn shows go? “Great! To say I was enthusiastic is an understatement and the audiences were so up for it because concert venues were the first places to close for Covid and the last to reopen,” says Marti, whose tour mission statement is to celebrate love, life and those we lost along the way.
The cover artwork for Marti Pellow’s Stargazer album, his homage to his heroes
“Calling it the Greatest Hits Tour was perfect too. As much as I did want to play songs from Stargazer [his March 2021 album written in homage to his heroes], and I did do that, most of the night hangs on being a celebration of getting back together.
“They were all shouting back at me, ‘No Marti, no party!’, as I did all those songs from multiple decades. After we’d navigated that year and a half we’d all been through, the set picked itself, whether I wrote the song, co-wrote it, sang it solo or with Wet Wet Wet, or it was a song I’d covered.”
On the tour’s second leg, that format remains the same; “In the more intimate parts of the show, I like to sit down and reflect, and I have a sophisticated audience so they’ll let me do that, dangling my feet off the edge of the stage and shooting the breeze,” says Marti, now 57.
“I’m forever mixing it up or changing the running order. I like people to be surprised! Maybe in the first song, I’ll look at them, and they’ll be turning their heads to the right thinking, ‘where’s he going here?!’
“It’s purely about reacting on the spot each evening. You’re thinking to yourself, ‘what’s going on with this audience?’. If it’s an attentive, ‘listening’ audience, I’ll squeeze in a few more ballads. Or maybe I’ll do songs that reflect on topics.
“It’s all about escapism,” says Marti Pellow of the joy of performing for musician and audience alike
“It’s about how you set it up, like maybe pulling out a James Taylor Jackson Browne cover, or sharing a thought with them that they’ll relate to as audiences are storytellers themselves, remembering when they first heard a song or how their daughter always sang this song at the top of her voice in the back of the car.”
Marti has been delighted to find himself playing to such diverse crowds, whether they know him from Wet Wet Wet, his musical theatre performances or those Lockdown Sessions that went viral.
“What I find fascinating is the age range. At one of the shows I did last year, I met an elderly couple who said they were up having a dance, recalling how they first did that to a Wet Wet Wet song in 1987 when they were in their in their early 50s,” says Marti.
“Then I’ll be standing by a 17-year-old kid who says he’s come to the show because he’s seen me on YouTube and loved it.
“I think that’s got to do with me being a singer-songwriter, a storyteller, first catching an age group in their teens, but then you transcend that by doing half a dozen albums with your old band, 15 solo albums, and by being an eclectic artist, like doing songs from Broadway.
“Having that eclectic skill set transcends to the audience, who switch on to me through different media, including doing Kander and Ebb [Chicago] or being in Willy Russell’s Blood Brothers.”
The poster for Marti Pellow’s first gig at York Barbican since his Private Collection Tour in May 2018
Marti does not rest on his laurels. “I like spending some time in Ronnie Scott’s jazz club, where it’s about educating myself, and then applying that to what I do. That might switch on certain parts of the audience that will go on a journey with you,” he says.
“I know my audience through engaging with them, listening to what they say on social media. Like for the Greatest Hits Tour, I listened to them when I asked, ‘what kind of show do you want?’.
“Every day is a school day when I’m performing, and when I look at my audience, what I get back from them far outweighs what I give them.”
Describing the concert experience, Marti says: “It’s monumental, in the way that when you go to church, the power of the music will physically move people. Like with a ballad, where people remember how they fell in love to that song; there’s a shared experience when you’re in the moment and you’re engaging in your stagecraft.
“It’s all about escapism. That’s what it’s about. Whether it’s a three-minute pop song by The Beatles or a beautiful piece by Rachmaninov, it has a beauty to behold.
“If you’re the catalyst for that, seeing all those smiles makes it so worthwhile.”
Marti Pellow: Greatest Hits Tour, York Barbican, May 3, 7.30pm; doors 7pm. Box office: yorkbarbican.co.uk.
TAKE That legend, singer, songwriter, composer, producer, talent show judge and author Gary Barlow will present his theatrical one-man show A Different Stage at the Grand Opera House, York, on June 10 and 11 .
“Now I’ve done shows where it has just been me and a keyboard,” says Barlow, “I’ve done shows where I sit and talk to people. I’ve done shows where I’ve performed as part of a group.
“But this one, well, it’s like all of those, but none of them. When I walk out this time, well, it’s going to be a very different stage altogether.”
Tickets for the York shows, part of an itinerary of 24 dates in seven cities, go on sale on Friday at 9.30am at atgtickets.com/York or on 0844 871 7615.
Telling his life story, in his words, in a “dramatised theatre setting”, A Different Stage premiered at The Brindley, in Runcorn, Cheshire, in February, since when Barlow has played to sell-out audiences in Salford, Liverpool and Edinburgh and has announced his West End debut at London’s Duke of York’s Theatre from August 30 to September 25.
Created by Barlow and his long-time friend, fellow son of the Wirral and collaborator Tim Firth, A Different Stage finds Barlow narrating the journey of his life alongside the music from his discography in a 32-year career spanning Take That, solo projects and his musicals Finding Neverland and Calendar Girls The Musical.
The show’s publicity describes A Different Stage as “a project unlike anything he’s ever done before, where Gary will take the audience behind the curtain, with nothing off limits in this special performance”.
Gary Barlow: On the road to the Grand Opera House, York, with his autobiographical one-man show A Different Stage in June
As part of Take That, Barlow has won eight BRIT Awards and sold over 45 million records, and among his stellar collaborations he has co-written and produced songs for Dame Shirley Bassey, Sir Elton John and Robbie Williams.
Since turning his attention to the world of theatre, he has composed the score for Finding Neverland, worked alongside Tim Firth on Calendar Girls The Musical and collaborating with his Take That bandmates and Firth on The Band’, a record-breaking stage musical now being adapted into a feature film.
Coming next will be Barlow’s autobiography, also entitled A Different Stage. Published by Penguin Books on September 1, it “documents the people, places, music and cultural phenomena that have had an impact on him both as a musician and a human being” in a warm-hearted, humorous and unexpectedly intimate memoir.
“Sometimes you are forced to take stock and wonder what your life’s all been about, and where it is going,” says Barlow. “Ever since I was a boy, I’ve thought that music makes things better. A Different Stage is my love letter to music, a celebration of the songs and sounds that have inspired me and meant something in my life.’
From the working men’s club where it all began through to the stadium tours, the book’s story of Barlow’s life, told through music, is complemented by photography from his one-man show and previously unseen personal photos and notebooks.
“I just wanted to share my personal journey through the last five decades – the highs and lows, the ups and downs. So, in A Different Stage, this is me opening the curtains and sharing moments nobody has heard or seen before,” says Barlow.
This week, York Stage’s York premiere of Barlow and Firth’s Calendar Girls The Musical is running at the Grand Opera House with performances at 7.30pm tonight and tomorrow, 4pm and 8pm on Saturday and 2.30pm and 7.30pm on Saturday. Tickets are still available.
York Stage’s poster for the York premiere of Calendar Girls The Musical, at the Grand Opera House, York, until Saturday
“A bonkers triumph”: Sarah-Louise Young in An Evening Without Kate Bush
KATE Bush has never played York but here comes An Evening Without Kate Bush, Sarah- Louise Young’s show for uber-fans and newcomers alike, at Theatre@41, Monkgate, on Thursday night.
Made by actress, writer, director and international cabaret performer Young with theatre-maker Russell Lucas, this “chaotic cabaret cult” is as much about fandom and mythology as a celebration of Bush’s five decades of ground-breaking music, from the chart-topping Wuthering Heights at the age of 19 in 1978 to the 22-night run of her three-act Before The Dawn show at Hammersmith Apollo in 2014.
“My big brother’s first cerebral and physical crush was Kate Bush, and I do remember dancing madly to Wuthering Heights when I was four and a half, with four older brothers around me,” says Sarah-Louise.
“Hounds Of Love was my Kate Bush album, and I was a big fan of her videos; their theatricality was part of my genesis as a performer.”
Young and Lucas had first made a show together ten years ago, Julie Madly Deeply, in celebration of stage and screen actress Julie Andrews. “We wanted to make another show because we’d started to explore fans and fandom in the Julie show, and with Kate not performing for more than 30 years, we started thinking about doing a show focusing on Kate and her fans,” recalls Sarah Louise.
“Then suddenly she announced the Before The Dawn concerts, so we put it on ice. We both had tickets but had to give them away as we’d been invited to perform a three-week run of Julie Madly Deeply at the Panasonic Theatre in Toronto.
“But the idea was still very hot and we thought, ‘let’s just make it’, coming up with the idea of wanting to make a piece of fan art about how Kate Bush might make a piece about her fans, with us creating a show we could perform out of suitcases.”
The resulting show is in the spirit of Kate Bush “but never trying to imitate her”, one where people often come out afterwards with their mouths open, saying “it’s not what I expected at all”…or asking Sarah-Louise if she does yoga exercises. The answer is No.
Kate Bush once said, “it’s not important to me that people understand me”. Indeed Sarah-Louise quotes a line from Graeme Thomson’s 2010 biography, Under The Ivy , that says “some people have found her easier to parody than to understand”, but An Evening Without Kate Bush is definitely not in that camp.
Rather than a parody, it is a deep dive seeking a deeper understanding of her music and mythology. “We nod to tribute shows, but then take a journey down the worm hole to show the flip side, the B-side, of Kate, where she keeps evolving and regenerating,” says Sarah-Louise.
What emerges is a “Chaotic Cabaret Cult”, as Young and Lucas define the show. “We came up with that phrase after we spent a lot of time at the start thinking about the audience experience, what they’ll get out of the show, and will it be fun for us?” says Sarah-Louise.
“I want chaos! ‘Cult’ was an ambitious idea, but it has turned into that, and cabaret, for me, encompasses all theatre genres, especially after the two years we’ve just had. The show is never the same twice.”
Each night is a transformative experience for Sarah-Louise. “I get spat out at the other end of the show,” she says,
Choosing songs was “immensely difficulty”, so much so that “we put it out on social media, asking people to tell us what songs they wouldn’t forgive us for not including”. “But we also didn’t want to make a show where they were all from the early era,” says Sarah-Louise. “And we had to look at what backing tracks were available, so we’ve done Hammer Horror and James And The Cold Gun afresh.”
She acknowledges that “for some people, Kate’s music is a quasi-religious experience”. “We learned a lot from our Julie Madly Deeply show, where people bring their childhood memories to it; their love of The Sound Of Music and Mary Poppins, and that was very helpful in creating this show,” says Sarah-Louise.
“It was important that I was a fan but also a theatre-maker who could step away from that, so that the show works for both super-fans and those who aren’t.
“It’s a celebration of fans and their experiences, made from a place of respect because I was aware that people wanted their love to be respected and affirmed. They love her epic themes, and that is what art should do: give us a portal to understand ourselves.”
An Evening Without Kate Bush takes on a different life each night: “There’s another show going on that’s not in my control,” says Sarah-Louise. “People bring their history and their love; how lucky I am to have those experiences in the room.”
One review has called it “a bonkers triumph”. “I’m very, very happy with that! Those two words – ‘bonkers triumph’ – work so well together because it is in part a clown show that allows that side of Kate to come through, as well as showing respect.”
An Evening Without Kate Bush, but with Sarah-Louise Young, at Theatre@41, Monkgate, York, Thursday (28/4/2022), 7.30pm. Box office: tickets.41monkgate.co.uk.
Sarah-Louise Young in Kate Bush mode: Note the red shoes
HERE is the official syndicated interview with Sarah-Louise Young for even more insight into An Evening Without Kate Bush, a show heading out on tour after a three-week London season.
What attracted you to Kate Bush as the possible subject for the show?
“I’ve aways loved Kate Bush’s music and as a child of the ’70s and 80s remember that first appearance on Top Of The Pops and all those amazing videos and songs which followed. Plus my brother fancied her a bit, so her music was always floating through the house.
“Kate Bush is a true icon: her music is unique, spanning nearly five decades, winning countless awards and selling millions of records, but the woman herself is something of an enigma.
“Not performing live for over 30 years between her 1979 Tour Of Life and 2014’s Before The Dawn at the Hammersmith Apollo, she spoke to us through her recorded music.
“In her physical absence, her fans created their own community: ‘The Fish People’. They are at the heart of An Evening Without Kate Bush.
“We wanted to celebrate them through her music. That was the starting point of making the show.”
Do you try to impersonate Kate in the show?
“I never set out to impersonate her – I mean who could? – but it’s amazing how many people tell me I sound like her though. A few fans thought I was miming at the start of the show!”
How hard is it to sing in Kate’s extraordinary vocal range?
“It’s definitely a vocally athletic workout! She sang them all live back in 1979, apart from Hammer Horror – a song we do in the two-act touring version of An Evening Without Kate Bush – so there’s no excuse not to do the same.
“What you hear on the albums is months of intricate layering of harmonies and different instruments, so it’s a more raw sound on stage, of course.
“I perform all the songs in their original keys, and I think part of it is that she chose such specific phrasing and wrote such intricate melodies, hearing them instantly hot-wires you back to the original.”
How did you prepare the movement aspect of your show?
“I spent one day working with the amazing Tom Jackson Greaves, who is a director and choreographer. We watched a lot of her videos and noted down some of her choices.
“We explored those in our session; again, never trying to ‘be’ her, more tap into her spirit. Quite by accident, the nicknames we came up with for her moves (‘The Pulse’, ‘The Champagne Whipcrack’, for example) found their way into the show.
“That’s often how it happens with devised work: you become a sponge for every impulse and they jostle around your head during the making process until they either find a home or float off into the ether.
“With the costumes too, my brilliant co-creator, Russell Lucas, and I tried to evoke her, not copy her. We rub shoulders with themes: she uses a lot of nature and bird imagery in her work, hence the feathery headdress.
“The cleaner’s outfit for This Woman’s Work is as much a nod to the cleaner’s story we mention at the start of the show, as it is to her TV special appearance where Kate sang Army Dreamers dressed as a cleaner or archetypal vintage housewife. That’s one for the super-fans.
“We did of course watch a lot of footage, interviews, videos, everything we could find, to get to know her journey as an artist and also how the world around her changed.
“Her early interviews are so uncomfortable. She is often being asked truly banal or overtly sexualised questions. She is so polite and accommodating but it’s great to see her later on in her career take the reins and shut down lines of enquiry that show the interviewers have no idea what they’re talking about.
“I also read the brilliant biography by Graeme Thomson called Under The Ivy. It’s the best music biography I’ve ever read and really lets you into her creative process.”
Do you need to know Kate’s music and be a super-fan to enjoy An Evening Without Kate Bush?
“Absolutely not. It’s one of the biggest compliments the show has received. Of course, if you are a super-fan, you’ll hear lots of the songs you know and love plus some little hidden gems for those in-the-know.
“But none of that is at the expense of the audience members who have perhaps come along with a fan friend or just out of curiosity. We elevate and celebrate everyone and when someone tells me after the show that they didn’t know her work but will be going home to listen to her music, then I’m thrilled.”
Your show encourages interaction. How does that work?
“It’s as interactive as you want it to be. I’ve been working in cabaret for over 20 years and my primary aim is that the audience have a good time. It’s great to be challenged and surprised, but I want them to feel safe. That’s really important to me.
“The invitation to participate starts small, a wave of a hand or a howl in the dark. I’m always really careful with any audience interaction to choose people who want to participate. There’s no enforced joining in; just gentle encouragement.
“I find that people self-select pretty easily. If someone doesn’t want to play, their body language communicates that. So far, I’ve never chosen anyone who didn’t want to be asked and I’ve had people come up to me after the show and fling their arms around me with gratitude.
“There’s a lovely moment where I invite a couple to dance together. During our Edinburgh Fringe run, we had a mum and her son come and dance, which reduced the whole room to tears, and in London, a couple who’d recently broken up but wanted to stay friends joined us on stage: they sought me out afterwards to say thank you. Our audiences have been brilliant. There is always so much love in the room.
“Russell Lucas and I were inspired by Kate Bush flashmobs and events like The Most Wuthering Heights Day Ever, which have sprung up around the world, from Sydney, Australia to Folkestone, Kent. We’ve taken fans’ stories and paid tribute to them on stage. You’ll enjoy the songs you know and love but put through the lens of the fans’ story.
Sarah-Louise Young in her headdress from Denmark, the first costume piece of costume she bought for An Evening Without Kate Bush
After the opening song, And Dream Of Sheep, you say, “She’s not here but you are”! How would you feel if the real Kate Bush were in the audience? Would you want to know in advance?
“We would absolutely LOVE it if she came to see the show, although she’d have to wear a disguise as I think the audience would capsize if they knew she was in.
“When we were making it, we always knew we wanted it to be something she would approve of – so it’s been created with love, respect and a hefty does of joyful eccentricity!
“Friends of hers have seen it and loved it, and in Chichester I had the great privilege of meeting one of her original Tour Of Life backing singers, Glenys Groves.
“She was so enthusiastic about the piece and is still in touch with Kate, so you never know…we might yet have an evening WITH Kate Bush one of these days!”
Your show focuses on Kate’s fans worldwide. Who are the most bizarre you came across?
“Kate Bush’s fans are really friendly and open! People have shared so many incredible and personal stories with me: there’s the man who proposed to his wife to The Kick Inside; the young lad who found the courage to come out to his parents after listening to Wow, and the couple who chose Don’t Give Up as the first dance at their wedding.
“We’ve been touring a two-act version of this show around the country, with even more costume changes, so I’m able to weave some of these new stories into the next night’s performance.
“We’ve also heard from fans who went to see every single Tour Of Life date, have tattoos of her lyrics on their arms, and folk who come to the show dressed as her.
Does the show change each night depending on the audience’s reactions?
“No two shows are the same and I love that. It keeps it fresh and alive.
I ask the audience what their favourite songs are or what’s brought them to the theatre and then weave their stories into the evening’s entertainment.
“We call it a ‘chaotic cabaret cult’ and it really is! It’s playful, anarchic, touching, hot and sweaty and full of music and laughter.
“Imagine if Kate Bush made a tribute show about her fans and you come close to capturing the spirit of An Evening Without Kate Bush. Even if you just howl with the hounds or wave a hand in the air, you are still part of the experience.
“I love hearing people’s stories and I always come out into the foyer afterwards to chat to anyone who wants to stay and talk. The audience really make this show.”
How difficult was it to decide which songs to include?
“It was a massive challenge as there are many across such a huge time span. Inevitably there are lots from her early albums. The Kick Inside and Hounds Of Love are a lot of people’s favourites and first experience of her work.
“When we were making the show, we ran a poll on social media to see what songs people wouldn’t forgive us for not including! But we still had to leave some out. I adore Deeper Understanding and Under The Ivy, for example, but if we put them all in, it would be longer than The Ring Cycle!
“We take well-known songs like This Woman’s Work and Cloudbusting and give them a twist. So, if you come to see An Evening Without Kate Bush, you might find yourself suddenly singing backing vocals or slow dancing with your partner at the school disco.
“If you speak Russian, you might enjoy joining in with my version of Babooshka! The longer touring version allows us to include some surprises like her cover of Sexual Healing and a little slice of Pi.
Do you have a favourite moment in the show?
“I love the moment, usually about half way through Don’t Give Up, when the couple dancing on stage have realised they basically get to hug for six minutes and after some expected clowning about, just start to relax and enjoy the opportunity to be close.
“The audience is often singing with me and it’s a lovely moment of coming together. At the end of the song, I thank them and guide them carefully to their seats and they often say a big thank you or lean in for a hug.
“I guess my favourite parts are when something spontaneous or unexpected happens as a result of some audience interaction. They keep me on my toes and anything unique to that gathering of people reminds them and me that this night, this configuration of people, will never happen again. It’s special. I like theatre which is made with love and danger; that excites me.”
What’s your favourite costume in the show?
“The feathered headdress I’m wearing in the poster is very special. We found that in Denmark and it was the first piece of costume we bought.
“The whole show is made from scratch, so I hand-made my Vileda super-mop costume, and the Snowflake headdress I wear at the top of Act Two took me about two solid days to stitch, so I love to because it was such a triumph of experience over skill in the making.”
Why is Kate so intriguing to so many people after all the decades?
“Her fans have travelled with her and as she has evolved as an artist, she has become the soundtrack to their lives. That’s my oven-ready hypothesis. I also think she influenced so many other artists that the whole music scene is steeped in her musical juices, as it were.
“She was one of the first people to experiment with the Fairlight, she mastered complex sampling of vocals, including the Trio Bulgarka from Hungary, and if you read the list of pop royalty lining up to play a couple of bars on her albums, everyone wants to work with her.
“She never shied away from writing about the largeness of life either, epic themes, the loneliness of love, the wonder of creation, the sensuality of being human.
“Her albums are somewhere you can climb inside and dream in. She’s one of us and yet totally Other. She’s a tea-drinking mum and an Ivy Glad Goddess.”
If you could ask Kater one thing, what would it be?
“‘Please would you come and see our show?’. I feel like she’s said what she needs to say in her music. Perhaps I’d just ask her if she’d like a cup of tea and we’d see what happens next.”
Sarah-Louise Young: actress, writer, director, cabaret performer…and Kate Bush fan
This woman’s work: Who is Sarah-Louise Young?
Actress, writer, director and international cabaret performer. She has appeared in London’s West End with Julie Madly Deeply, Fascinating Aïda, La Soirée and Olivier-winning improvised musical group The Showstoppers.
Named one of Time Out’s Top Ten Cabaret Acts and voted Best Musical Variety Act in the London Cabaret Awards, she has been nominated for an Offie too and awarded The Stage Award for Acting. She is one half of writing and performing duo Roulston & Young, at present creating a new musical, Maxa, The Most Assassinated Woman In The World.
She directed Mark Farrelly in Jarman and Paulus in Looking For Me Friend, The Music Of Victoria Wood and has directed Russell Lucas in his solo show The Bobby Kennedy Experience.
Rosy Rowley’s Cora, centre, preparing to face her camera moment with Jo Theaker’s Annie and Julieann Smith’s Chris in York Stage’s Calendar Girls The Musical. All picture: Charlie Kirkpatrick
Calendar Girls, The Musical, York Stage, Grand Opera House, York, until Saturday. Performances: 7.30pm, tonight to Thursday and Saturday; 4pm and 8pm, Friday; 2.30pm, Saturday. Box office: 0844 871 7615 or atgtickets.com/York
HAVE you been struggling to buy sunflowers in York since Friday?
The reason is simple: these sunworshippers have taken up residence at the Grand Opera House, spreading all over a teenage party dress and a gloriously OTT sofa in director-producer Nik Briggs’ scenic and costume design too.
Even in the dark of the orchestra pit, a sunflower can be spotted radiating nocturnal sunshine from musical director Jessica Douglas’s stand.
Touching moment: Jo Theaker’s Annie and Mick Liversidge’s John with their sunflower seeds
Calendar Girls The Musical began life as The Girls when premiered by sons of the Wirral Gary Barlow and Tim Firth at Leeds Grand Theatre in December 2015. Now the Yorkshire sunflower power has been restored for the York premiere by Briggs’s company.
If you missed the Leeds debut, jump at the chance to remedy that error! If you loved the film or the stage play, Barlow and Firth’s musical is even better, the format suiting what is already an opera-scaled human drama of ordinary women at the centre of an extraordinary story.
What’s more, as Briggs says: “Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story. It could work anywhere, but it’s just a bit more special done here as it’s a proper Yorkshire tale.”
You surely know that story, the tragicomic one where gentle gent, National Park wall builder and sunflower grower John Clarke (Mick Liversidge) – spoiler alert – dies from leukaemia .
Julieann Smith’s Chris singing Sunflower in Calendar Girls The Musical
Whereupon his wife, Annie (Jo Theaker), teams up with Knapely Women’s Institute rebel Chris (Julieann Smith) to defy the new but old-school WI chair Marie (Maggie Smales) by posing with fellow members for a fund-raising nude calendar in John’s memory – and in his spirit of being inventive and not following the well-beaten track.
Firth and Barlow open with two big hitters, firstly the scene-setting ensemble anthem Yorkshire, then the character-establishing introduction to The Girls, the diverse members of the WI, in Mrs Conventional.
So, we meet not only Theaker’s grieving but resilient Annie and Smith’s agitated/aggrieved Celia, but also Rosy Rowley’s Cora, the vicar’s no-nonsense daughter; Tracey Rea’s reupholstered, flashy Celia, the former airhostess; Sandy Nicholson’s perma-knitting Jessie, the wise-owl ex-teacher, and Juliet Waters’ reserved dark horse Ruth.
One of the joys of ballad-king Barlow and witty-worded lyricist Firth’s musical structure is how every one of the Girls has a knock-out, character-revealing, storytelling solo number, each drawing cheers and bursts of clapping, especially Rowley’s rousing, big-band blast of Who Wants A Silent Night?, Smith’s assertive Flowers, Rea’s exuberantly humorous So I’ve Had A Little Work Done and Waters’ vodka-guzzling My Russian Friend And I.
Uplifting: Tracey Rea’s Celia revels in So I’ve Had A Little Work Done
Theaker, so consistently excellent in York Stage lead roles, plucks the heartstrings in the stand-out ballad Scarborough and later hits the emotional heights again in Kilimanjaro. Her chemistry with Liversidge is utterly lovely, touching too, making Clarkey’s loss all the harder to take. Likewise, Theaker and the feisty Smith capture the strains and stresses of friendship under the utmost duress.
Calendar Girls is not just about the Girls, but the men too, from Chris’s level-headed husband Rod (Andy Stone) to humorous cameos for the ever-reliable Craig Kirby (Denis) and Graham Smith (Colin), and Finn East’s how-about-we-do-it-this-way photographer, Lawrence, sensitively venturing into new territory as much as his subjects.
Not only does Firth’s script strike the right balance of northern humour, pathos, sadness and bloody-minded defiance, but also he places the stripping-off photoshoot as the climax (mirroring The Full Monty) and brings three teenage children to the fore, both as outlets for awkward, growing-pains humour and to expose their parents in a different light.
Danny Western is lovably cheeky as deluded, cocky workshy Tommo; Izzie Norwood affirms why Mountview Academy of Theatre awaits her in September with an assured, eye-catching York Stage debut as Jenny, the WI chair’s daughter, expelled from her posh school, with her wild, rebellious outsider streak still untamed.
Izzie Norwood’s Jenny leads Sam Roberts’s Danny astray
No wonder Sam Roberts’s clean-cut, gilded path to being head boy takes a wayward turn as too-cool-for-school Jenny initiates his discovery of alcohol. Roberts’s understated performance contrasts joyfully with Western’s ebullience as the young lads eggs each other on.
Briggs’s lucid, fast-moving direction places equal stress on the potency of the dialogue and the emotional heft of the songs, while his stage design combines dry-stone walls and Dales greenery with open-plan interiors for WI meetings, homes and the hospital, thereby evoking the vast expanse of Yorkshire yet suited to intimate conversation too.
Jessica Douglas’s keyboard-led musical forces do Barlow’s compositions proud, with Robert Fisher’s guitar, Georgia Johnson’s double bass, Graeme Osborn’s trumpet and Anna Marshall’s trombone all given room to flourish.
A quick mention for Louie Theaker, who stepped in for the temporarily indisposed Danny Western for Friday’s first performance, rehearsing his part from 5pm to 6pm as he called on his experience of learning TV script re-writes pronto for his regular role as Jake in CBBC’s children’s drama series James Johnson.
Audiences have not been as big as expected, but what folly it would be to miss York Stage in sunflower full bloom in a Yorkshire story of tears and cheers, grief and loss, spirit and renewal, humour and humanity, ace songs and cracking performances.
Sunflower show: The finale to York Stage’s Calendar Girls The Musical
SAXOPHONIST extraordinaire Snake Davis returns to the National Centre for Early Music, Walmgate, York, on Thursday with a new venture.
Once part of the York band Zoot & The Roots, this time Snake will be teaming up with award-winning arranger, composer and pianist Robin A Smith.
“Snake and Robin have been sparring partners for decades,” says NCEM director Delma Tomlin. “Together their recorded work helped spearhead the Classic Chillout movement 20 years ago, but the duo live in concert are something else.”
Snake’s return to York fills him with enthusiasm. “I’m really excited to have a trio of shows booked with Robin,” he says. “We’re really looking forward to our concert at the NCEM. It’s one of our favourite venues as the acoustics and ambience of St Margaret’s Church are so perfect for us. We can’t wait to come back with our new show.”
Snake Davis and Robin A Smith: Sax and piano partnership in concert at NCEM
Saxophonist-to the-stars Snake has contributed soulful solos to Lisa Stansfield’s Change, M People’s hits, Take That’s A Million Love Songs and plenty more besides.
Robin A Smith was musical director for the London 2012 Summer Olympics opening ceremony and his versatility has seen him work with Andrea Bocelli, Luciano Pavarotti, Kanye West, The 2 Cellos, Rod Stewart and Mike Oldfield.
“Thursday’s unmissable, enthralling and highly accessible show will celebrate the joy and power of music across multiple styles and genres, from classical to folk, pop to jazz,” says Delma.
Tickets for the 7.30pm concert are on sale at ncem.co.uk, on 01904 658338 and on the door.
York Musical Theatre Company’s poster for Saturday’s concert
YORK Musical Theatre Company & Friends present A Concert For Ukraine on Saturday at Our Lady’s Church, Cornlands Road, York, at 7pm.
Organiser Sophie Urquhart says: “As we’ve all been so horrified by the tragic images on the news every night from Ukraine, I felt determined to do something, however small to help.
“As a member of York Musical Theatre Company (YMTC), it seemed an ideal solution to put on a concert for people to enjoy and to raise funds at the same time.
“The rest of the company couldn’t have been more enthusiastic, and once our musical director, John Atkin, was on board, the whole plan came together, inviting members from other local theatre companies to join us.
Saturday’s programme features multiple show tunes from West End musicals past and present, ranging from old favourites from Les Miserables, The Phantom Of The Opera and Sweeney Todd: The Demon Barber Of Fleet Street to a couple from YMTC’s next show, Jekyll & Hyde The Musical, now in rehearsal for a May 25 to 28 run at the Joseph Rowntree Theatre.
“We’ll also have a wonderful and inspirational lady called Victoria from the Ukraine opening our concert, reminding us why we are all there,” says Sophie.
Tickets cost a minimum of £5, either on the door or through reservations on 07806 487695, with all proceeds going to the DEC Ukraine Humanitarian Appeal run by Action Aid.
“For those that can’t attend, but would still like to donate, there’s a JustGiving page set up,” says Sophie.
Mind games: Beverley actor Rory Fairbairn as the Mind Mangler in Magic Goes Wrong, on tour at York Theatre Royalfrom Tuesday
MAGIC is on the cards in the week ahead, and you can’t wrong if you follow Charles Hutchinson’s tips for what else to do and see.
Mayhem in April: Mischief in Magic Goes Wrong, York Theatre Royal, Tuesday to Sunday, 7.30pm (except Sunday); 2pm, Thursday and Sunday, 2.30pm, Saturday
MASTERS of catastrophic comedy Mischief team up with deconstructionist American magicians Penn & Teller for Magic Goes Wrong, their most daring calamitous show yet.
When a hapless gang of magicians strive to stage an evening of grand illusion to raise cash for charity, magic turns to mayhem, accidents spiral out of control and so does their fundraising target. Penn & Teller will not be appearing on stage. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Kristin Hersh: Fronting her Electric Trio at The Crescent
Cult gig of the week: Kristin Hersh Electric Trio, The Crescent, York, tomorrow, 7.30pm
BOSTON songwriter, multi-instrumentalist and author Kristin Hersh, leader of indie rock band Throwing Muses and noise rock power trio 50 Foot Wave, is on the road with her hard-hitting super-group.
Joining Hersh, 55, will be 50 Foot Wave drummer Rob Ahlers and Throwing Muses bassist Fred Abong, who opens the night playing solo, promoting his Yellow Throat album. Expect Throwing Muses’s 2020 album, Sun Racket, to feature alongside material spanning Hersh’s 30-year career. Box office: thecrescentyork.com.
Improvising a musical: Showstoppers Ruth Bratt, left, Lauren Shearing and Pippa Evans with Duncan Walsh Atkins, on keys, and Chris Ash on reeds. Picture: Alex Harvey-Brown
Anything could happen: Showstopper! The Improvised Musical, York Theatre Royal, tonight, 7.30pm
OLIVIER Award winners Showstopper! return to York with…well, you decide! At each show, a new musical comedy is created from scratch as audience suggestions are transformed on the spot into an all-singing, all-dancing production.
From Hamilton in a hospital to Sondheim in the Sahara, you suggest it and The Showstoppers will sing it. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Blues power: Guitarist Joanne Shaw Taylor returns to York Barbican
Blues gig of the week: Joanne Shaw Taylor, York Barbican, Sunday, 7.30pm
WEST Midlands blues guitarist and singer-songwriter Joanne Shaw Taylor plays York as one of five British dates this month, performing songs from 2021’s The Blues Album.
That album showcased covers of 11 rare blues classics first recorded by Albert King, Peter Green, Little Richard, Magic Sam, Aretha Franklin and Little Milton. Expect selections from her albums Reckless Heart, Wild, The Dirty Truth, Almost Always Never, Diamonds In The Dirt and White Sugar too. Box office: yorkbarbican.co.uk.
Gabrielle Sargent: Soprano soloist for York Guildhall Orchestra’s St George’s Day concert
Celebration of the week: York Guildhall Orchestra’s St George’s Day Concert, Joseph Rowntree Theatre, York, Sunday, 7.30pm
YORK Guildhall Orchestra make their JoRo debut under the baton of conductor Simon Wright, who turns the spotlight on English composers in an Anglophile programme of light music to mark St George’s Day.
“Come down for a springtime evening of joyful music and not a dragon in sight,” says Wright, who will be combining favourite pieces with lesser-known gems. Sullivan, Elgar and Handel feature; so do Strachy’s Party Mood (from Housewives’ Choice), Wood’s Barwick Green (The Archers) and Coates’s By The Sleepy Lagoon (Desert Island Discs). Box office: 01904 501935 or josephrowntreetheatre.co.uk.
One giant leap forLee Harris’s Mr Toad during rehearsals for NE Musicals York’s York premiere of The Wind In The Willows The Musical
Family musical of the week: NE Musicals York in The Wind In The Willows The Musical, Joseph Rowntree Theatre, York, April 27 to May 1, 7.30pm; 2.30pm matinees, Saturday, Sunday
NE Musicals York transform the JoRo theatre into a riverbank and wildwood for director and designer Steve Tearle’s York premiere of Julian Fellowes’ stage adaptation of Kenneth Grahame’s story with a score by George Stiles and Anthony Drewe.
Join Ratty (Finlay Butler), Mole (Jack Hambleton), Badger (Tom Henshaw) and the impulsive Mr Toad (Lee Harris), whose insatiable need for speed lands him in serious bother. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Horse Chestnut Leaves, a watercolour by Selby artist Lynda Heaton, from her Village Gallery exhibition in York
Exhibition launch of the week: Lynda Heaton, Expressions In Watercolour, Village Gallery, Colliergate, York, Tuesday to June 4
SINCE retiring, Selby artist Lynda Heaton has spent much of her time painting in her home studio. “I’m passionate about watercolour painting and love the way the colours mingle and move across the paper, sometimes giving surprising effects,” she says.
“My works come from my imagination or from memories of somewhere I’ve been and the mood of that place.” Other pieces are inspired by the natural world, the colours, textures and rhythms found in nature.
Diversity performing Connected in their April 4 performance at York Barbican. Picture: Sarah Hollis
Quick return of the week: Diversity: Connected, York Barbican, Wednesday, 7.45pm
HOT on the heels of their April 4 visit, London street dancers Diversity return to York Barbican due to public demand as part of their 79-show 2022 tour.
In a show created by choreographer Ashley Banjo, the 2009 Britain’s Got Talent winners will be building their routines around the internet, social media, the digital era and how it connects us all. Their Black Lives Matter-inspired dance, premiered on Britain’s Got Talent to a flood of complaints to Ofcom in September 2020, definitely features. Box office: yorkbarbican.co.uk.
This woman’s re-work: Sarah-Louise Young in An Evening Without Kate Bush at Theatre@41
An Evening Without Kate Bush but with Sarah-Louise Young, Theatre@41, Monkgate, York, Thursday, 7.30pm
THE “chaotic cabaret cult”, An Evening Without Kate Bush”, finds Cabaret Whore, The Showstoppers, La Soiree performer Sarah-Louise Young teaming up theatre maker Russell Lucas to explore the music and mythology of one of the most influential voices in British music.
Kate’s not there, but you are, for a show that is as much about fandom as Bush’s songs and wider cultural impact. Box office: tickets.41monkgate.co.uk.
Lee Harris’s Mr Toad leaps in the air during a rehearsal for NE Musicals York’s The Wind In The Willows The Musical
NE Musicals York take over the Joseph Rowntree Theatre from Sunday to transform the theatre into a riverbank and wild wood for the York premiere of The Wind In The Willows The Musical.
Director Steve Tearle has created the design for the April 27 to May 1 run of the hit book adaptation by Julian Fellowes, the Oscar-winning screenwriter and creator of Downton Abbey, with songs by George Stiles and Anthony Drewe, the Olivier award-winning lyricist-and-composer partnership.
Rehearsals are into the final week for Tearle’s staging of Kenneth Grahame’s story of Ratty, Mole, Badger and the impulsive Mr Toad, whose insatiable need for speed lands him in serious bother.
NE Musicals York in an early publicity shot for their York premiere of Wind In The Willows The Musical
When his beloved home comes under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Mr Toad must attempt a daring escape, leading to a series of misadventures and a heroic battle to recapture Toad Hall.
“This family musical packed with thrills, comedy and a massive heart is racing into York for the very first time with exuberant choreography by Ellie Roberts and a beautiful, exciting British score brought to life by musical director Sam Johnson,” says Steve. “Look out for the costumes: they’ve been created by NE Musicals too.”
Tearle’s largest-ever cast is led by Lee Harris as Mr Toad, Finlay Butler as Ratty, Tom Henshaw as Badger and Jack Hambleton as Mole. Sam Richardson plays Chief Weasel; Tearle himself will be Kenneth Grahame and the Magistrate.
Tickets for the 7.30pm evening shows and 2.30pm Saturday and Sunday matinees are on sale on 01904 501935 or at josephrowntreetheatre.co.uk.
Director Steve Tearle (centre, back, by a pillar, in a hat) watches Lee Harris, front, and company members in a rehearsal for NE Musicals’ premiere
“We’re going to need considerably bigger buns”: York Stage’s promotional picture for Bun
THE true story of the Calendar Girls from Rylstone Women’s Institute has transferred from print to stage to screen.
Best of all is its latest conversion to a musical by composer Gary Barlow and writer and lyricist Tim Firth, two sons of a Wirral village who met as teenagers before Take That and Neville’s Island respectively shaped their career paths.
Premiered at Leeds Grand Theatre in December 2015 under the title of The Girls, the show returns to Yorkshire from tomorrow (22/4/2022) for its York premiere, now restored to the Calendar Girls moniker that leaves no room for confusion.
Calendar Girls: The Musical will be staged by York Stage under the direction of company founder, producer and artistic director Nik Briggs. “I don’t honestly remember when we applied, but it must be over a year we’ve had the performing rights, I think,” he says.
Jo Theaker and Mick Liversidge in rehearsal for York Stage’s Calendar Girls The Musical. Picture: Charlie Kirkpatrick
“It’s a very popular show, so companies across the country have been scheduling productions. It’s such a beautiful story that’s based on real life, so it’s a joy to explore and work on.”
That story, should you have been hiding behind sunflowers all these years, revolves around the death of a much-loved husband prompting members of a Yorkshire dales village Women’s Institute “to do things a little differently”, stripping off decoratively for their annual fundraising calendar, blissfully unaware their daring behaviour would trigger such an impact locally, nationally, even internationally.
“The story of the ‘Calendar Girls’ has always inspired me,” says Nik. “Being the only boy on my mum’s side of the family, I’ve grown up surrounded by strong women and have always enjoyed being in the rehearsal room with actresses, creating work that celebrates them and puts their stories front centre.”
For Calendar Girls, he is doing so with a cast fronted by Jo Theaker (as Annie); Julieann Smith (Chris); Rosy Rowley (Cora); Tracey Rea (Celia), Sandy Nicholson (Jessie) and Juliet Waters (Ruth), alongside Mick Liversidge (John) and Andy Stone (Rod).
Here come the Girls: York Stage’s ‘Calendar Girls’ pose for a snap in the rehearsal room as Rosy Rowley points the phone camera. Picture: Charlie Kirkpatrick
Nik did not make it to the Leeds Grand premiere. “I actually missed it in Leeds and the West End, so I’ve not seen it before,” he says. “I was especially gutted to miss it as the original cast included York Stage’s very own Josh Benson, but work and travel commitments just kept getting in the way when it was on! That’s the one bad thing about working in theatre; you miss a lot of shows!”
Nevertheless, Nik’s York Stage work since 2014 has given York debuts to West End and Broadway hits aplenty, and he is delighted to be adding Calendar Girls to that list. “Gary Barlow and Tim Firth have created a stunning score,” he says.
“It’s filled with pop ballads as you’d expect, but they’ve also created rousing Yorkshire anthems and jazzy big band show pieces too. Their ability to tell a story through song is really beautiful. They keep things simple and allow the emotion and acting to speak volumes.
“They’ve made a show with storytelling at its heart: there’s no big choreography or special effects, just an extraordinary story about a group of ordinary women that goes from heart-warming to heart-wrenching in an instant.”
“Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story,” says York Stage producer and director Nik Briggs
Calendar Girls wholly suits the musical format, Nik asserts. “It’s famously said, in musical theatre, ‘when it’s not enough to say it, you sing it’! The loss of a loved one creates some of the biggest emotions in a person, so it’s an ideal story to tell through the medium of musical theatre.
“The story is timeless too. Loss, grief and what huge life experiences like that can do to a person never changes, so audiences of all generations can relate to it.”
Nik, who is joined in the production team by musical director Jessica Douglas, has designed the set too. “It’s really evocative of Yorkshire and allows the production to move quickly and with pace, as intended,” he says.
The obligatory sunflowers will be omnipresent, but does Nik like this over-the-top flower? “I do. Who can say they don’t smile when they see one?! There must be close to 500 in this production, so it’s a good job I like them,” he says.
“The colour scheme of the marketing and the sunflowers connection to the story unintentionally now also evokes strong emotions, with the awful conflict we’re seeing in Ukraine, as the colours and flower are both national symbols of the country.”
Sandy Nicholson, left, Tracey Rea and Jo Theaker rehearsing Calendar Girls The Musical. Picture: Charlie Kirkpatrick
Staging a Yorkshire story on home soil definitely has an impact on its telling, posits Nik. “Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story. It could work anywhere, but it’s just a bit more special done here as it’s a proper Yorkshire tale,” he says.
“As a native Geordie, who has now lived ‘down south’ here in Yorkshire for nearly half of my life, I still find myself blown away by the beauty of the region. Whether I’m out in the Yorkshire countryside with the green hills and dry-stone walls, in the middle of a quaint village with babbling streams and chocolate-box houses, or in the beautiful towns and cities with their impressive, intricate architecture, I can’t help but be awestruck by the charm that surrounds me.”
Coming next for York Stage will be their York Theatre Royal debut in Little Shop Of Horrors from July 14 to 23, followed by Kinky Boots at the Grand Opera House from September 16 to 24.
“We’ll end the year with our annual youth show at the Joseph Rowntree Theatre,” says Nik. “This year it’ll be Bring It On by Lin Manuel Miranda, so that’ll be very popular with the teens who all love Encanto and Hamilton!”
York Stage in Calendar Girls: The Musical, Grand Opera House, York, April 22 to 30. Box office: 0844 871 7615 or at atgtickets.com/York.
Sam Carter: Performing solo at Black Swan Folk Club tonight
BBC Folk Award winner Sam Carter plays the Black Swan Folk Club, Peasholme Green, York, tonight on his Home Waters spring tour.
Rutland-born, narrative-driven songwriter Carter has been called the “finest English-style fingerpicking guitarist of his generation” by fellow folkie Jon Boden.
Over 15 years, he has toured the world, appeared on Later…with Jools Holland in 2012 and recorded and performed with folk luminaries Richard Thompson, Eliza Carthy, Martin Simpson and Nancy Kerr.
Now based in Sheffield, Carter released Home Waters on his own Captain Records label in May 2020, having earlier made the albums How The City Sings (2016), The No Testament (2012) and Keepsakes (2009) and two EPs, Live At The Union Chapel and his 2008 debut, Here In The Ground.
Sam Carter with the album artwork for Home Waters
When Carter envisioned Home Waters as “a search for a sense of belonging and stability in unfamiliar territory”, he could not have known how prescient that would turn out to be.
Recorded pre-pandemic in a converted church in rural Northumberland by producer and multi-instrumentalist Ian Stephenson, Carter’s live acoustic guitar and vocals sit at the heart of the recordings.
Many of his performances were left unadorned, while Stephenson’s cinematic string arrangements created rich emotional landscapes on other numbers.
Carter embarked on the first leg of the Home Waters tour last autumn, accompanied by the specially assembled Home Waters String Quartet. The tour coincided with the release of the album Home Waters Live and the premiere of Carter’s accompanying lockdown concert film, Home Waters In Concert. For the tour’s spring second leg, he is in solo mode.
Doors open tonight (21/4/2022) at 7.45pm; tickets cost £12.10 on 01904 658338 or on the door.
