Navigators Art & Performance’s poster for Co-Audenation. W H Auden picture: George Cserna, 1956
YORK collective Navigators Art & Performance presents Co-Audenation: A Creative Exploration of W. H. Auden, a night of spoken word, live music and performance art, at The Basement, City Screen Picturehouse, York, on October 19.
“This is a revised and expanded version of our sold-out summer show for the York Festival of Ideas and York Civic Trust’s York Trailblazers sculpture trail project, for whom we researched and constructed one of the sculptures commemorating York’s unsung heroes,” says Navigators Art co-founder Richard Kitchen. “Our W. H. Auden tansy beetle sculpture can be seen outside City of York Council’s West Offices in Station Rise.”
All works in October 19’s 7pm to 10pm show are written or inspired and influenced by W. H. Auden, the “Picasso of modern poetry” born in Bootham, York, on February 21 1907.
Navigators Art & Performance’s tansy beetle sculpture of W. H. Auden for York Trailblazers at West Offices, Station Rise, York
“A leader of the British avant-garde at a time of cultural upheaval in Europe, Auden experimented ceaselessly with poetic form and subject matter,” says Richard. “Openly gay and defiantly anti-establishment, he was controversial and influential in his views on politics, morals, love, and religion. His poem Funeral Blues was popularly featured in the film Four Weddings And A Funeral.”
Navigators Art’s inspiring line-up features award-winning and published Yorkshire writers and performers in a mixed-media event replete with songs and physical theatre, as well as poetry.
“Expect the unexpected!” says Richard. “An informal discussion will precede the main event from 6pm. All ticket holders are welcome to attend. The performance will begin at 7pm after a short break.”
Carrieanne Vivianette: Leeds performance artist
Taking part will be:
Anthony Vahni Capildeo: poet, professor and writer in residence at the University of York.
Antony Dunn: poet, dramatist and screenwriter.
Carrieanne Vivianette: performance artist and experimentalist from the creative hotlands of Leeds.
Elizabeth Chadwick Pywell: York poet, English/Drama tutor and co-host of Rise Up! at Bluebird Bakery in Acomb.
Ian Parks: Award-winning and widely published poet and translator; editor of Versions Of The North: Contemporary Yorkshire Poetry
Anthony Vahni Capildeo: poet, professor and writer in residence at the University of York
Jane Stockdale: Singer and multi-instrumentalist from beloved York alt. folk legends White Sail.
Janet Dean: Poet and novelist exploring contemporary themes through the prism of history.
JT Welsch: Exploratory musician and poet; lecturer in English and Creative Industries at University of York.
Richard Kitchen: Visual artist, poet and Navigators co-founder.
Plus contributions from York luminaries Alan Gillott, Hugh Bernays and others.
For full details and tickets, go to: https://bit.ly/nav-auden. “Advance booking is advised,” says Richard.
Aein Nasseri (Alland) and the CAPA College Chorus (Vox) in Red Ladder Theatre Company’s Sanctuary. Picture: Robling Photography
RED Ladder Theatre Company’s powerful and moving new musical, Sanctuary, asks “What kind of society do we want to live in?”
Presented in collaboration with the Theatre Royal, Wakefield, and CAPA College, Wakefield, composer-lyricist Boff Whalley and award-winning playwright Sarah Woods’ topical political drama is directed by artistic director Cheryl Martin in her first production since taking over the Leeds company.
Sanctuary opened at the Wakefield theatre on September before setting off on an eight-week tour of theatres, community venues and churches that visits Selby Abbey tonight; Hull Truck Theatre tomorrow and the Welsey Centre, Harrogate, on Saturday.
Red Ladder’s musical premiere charts one man’s plea for help and refuge at a time when not all strangers are welcomed. When young Iranian Alland (Aein Nasseri) begs to be given sanctuary at a church in northern England, sparking a community to react in all the ways each member believes to be right, young church worker Molly (Ingrid Bolton-Gabrielsen) joins forces with vicar Fiona (York actress Emily Chattle) to resist both the angry vigilantes and the hard-hearted authorities beyond the church walls to try to protect him.
Holding a special community service where voices on all sides sing their songs of redemption and condemnation, Fiona asks the question to everyone present: “Do we give Alland over to the State or live up to our well-versed ideals of compassion?”
The creative team has worked closely with people hoping to call the UK home, shaping Alland’s story. Writers Whalley and Woods spent the past six years collaborating on projects for Welsh National Opera, in partnership with the Oasis Centre for refugees and asylum seekers, to co-create original operas for a more diverse audience. Director Martin spent eight years directing women refugees and asylum seekers in shows for Manchester’s Community Arts Northwest.
Earlier this year, Leeds-based Mafwa Theatre ran sessions with the team and CAPA College students, who then created their own workshops for secondary school pupils, supported by asylum seekers, that have helped shape the production.
This unique collaboration between Red Ladder, Theatre Royal Wakefield and CAPA College, featuring a chorus of performing arts students, mixes hard-hitting ideas with memorable melodic tunes and harmonies.
Martin says: “Sanctuary comes at a critical moment in the conversation about immigration, refugees and asylum seekers. I hope this musical helps open up this conversation because it’s one that goes to the heart of who we are and the kind of society we want to live in.”
Co-creator Woods says: “Boff and I have been collaborating for a number of years, including co-creating work with people seeking refuge and asylum, and this is a story that we both feel needed to be told.
“There is a lot of hostility in the media when it comes to immigration, and we want to counter this narrative by offering audiences different viewpoints. I believe the stories we tell can really affect change in the world.
“A lot of people who come to the UK seeking asylum are here because they’ve stood up against oppression, doing things that many of us might not have the strength to do. We can learn a lot from them and the stories they share with us.”
Co-writer Whalley says: “Working with refugees and asylum seekers over the past handful of years has been an education. A steep learning curve in understanding how both Theresa May’s ‘hostile environment’ and the non-stop onslaught of the trash media has impacted Britain.
“We’re a nation in turmoil over immigration. A country at war with itself over small boats – whilst at the heart of it all are desperate people fleeing war and imprisonment, searching for hope and a place to call home.
“And that’s why Sanctuary is important right now. Which all sounds a bit grim, doesn’t it? And grim isn’t a great starting point for good musical theatre! So the idea is to make this big subject entertaining as well as poignant and educational.”
Whalley continues: “It’s my job with the music to use melody and harmony to draw people in, to create shared moments, to give the audience a helping hand into this story of a young asylum-seeker looking for sanctuary.
“Music is such a powerful tool, and it can cross divides, it can patch up differences between people. Which is what Sanctuary will hope to do.”
Sanctuary welcomes everyone in, challenging audiences to consider: “Do we want safety and freedom for only ourselves, or for us all?” “Come on in – the service is about to begin,” reads the invitation.
Did you know?
SANCTUARY is supported by the Mayor of West Yorkshire’s Safer Communities Fund.
Did you know too?
ALL performances will be captioned via The Difference Engine, a tool that enables deaf and hard-of-hearing people to read performance captions on their phone.
Red Ladder Theatre in Sanctuary, Selby Abbey, October 7, 7.30pm; Hull Truck Theatre, Hull, October 8, 7.30pm; Wesley Centre, Harrogate, October 12, 7.30pm. Box office: Selby, 01757 708449 or selbytownhall.co.uk; Hull, 01482 323638 or hulltruck.co.uk; Harrogate, 01423 502116 or harrogatetheatre.co.uk. Age guidance: 13 upwards.
Ryan Adams: “Remains a performer you need to watch, never sure how he’ll react or respond”
IT CAN be hard to read someone in the dark, an audience or a performer for that matter.
After 30 songs (more if you throw in the skits) and more than three hours, the standing ovation was a little unexpected. North Carolina-born Adams obviously has a real affection for York – this was his fourth show here since 2007 – and he talked of moving him and his cats to the UK.
“I love you so very much, York. You have always treated me like one of your own. I love you all so very much,” he wrote later in his Instagram account. It was clear we felt the same way.
With more than 1.2 million followers, he remains a big deal and can certainly command an audience. Adams tours with side lamps, piano and acoustic guitars for company (so presumably lots of space in the large tour bus outside). The same set-up as his April 2023 concert in the same venue, this time ostensibly marking the 20th anniversary of 2004’s Love Is Hell and tenth anniversary of 2014’s self-titled album.
A sufferer from Meniere’s disease, he is particularly susceptible to bright lights, and a red LED light led to an early dressing down for one unthinking audience member. From there it was a mostly digital-free affair, which allowed us to focus on the songs and the voice in the gloaming.
Adams is an expressive, wonderful singer, and a very capable guitarist. With this artist though, the music is not the only show in town. As he matures (50 next year, God willing), he remains a performer you need to watch, never sure how he’ll react or respond.
He can win any shootout with a heckler, but this spikiness is leavened by his quick sense of humour. His (presumably) impromptu songs about the Spin Doctors and a significant part of Lenny Kravitz were hilarious.
Adams is obviously watching the audience closely too, ruefully noting an attractive blue dress heading for the exit. Most of his songs pick up on that theme in some shape or form, and in that sense he is a natural heir to the cry-in-your-beer honky-tonk greats such as Lefty Frizzell and Hank Williams.
Carolina Rain (the highlight from 2005’s 29 album) is a southern gothic short story in song form and Adams inhabited every word before the long guitar outro. It felt more vital, in fact, than his take on Williams’s I’m So Lonesome I Could Cry that came immediately before.
“This music is not healthy for anyone,” he said early in the second set, and while in large doses that may be true, there were many vital, gorgeous moments. His take on Bob Dylan’s Love Sick ached with lyricism, and his Bobnesss’ influence was also writ large on To Be Young – one of the tunes that lit up the second half of the second half.
Adams’s act is a bizarre mix of assertive confrontation and exaggerated solicitousness that sees him stop songs to say “Bless you” to a sneeze.
“Like trying to ride a really elegant bull” was Adams’s typically leftfield way of describing playing in our city. While that line (rightly) fell flat, he does have an unusual view of the world – and it was clear he was among friends.
That said, his diatribes about his divorce and his strident dismissal of the ‘lech’ tag made for more uncomfortable listening. It will probably always be too soon to joke about.
The second set dragged along rather, the chair for John Steinbeck’s ghost remained resolutely empty behind him, and not quite everyone made it to the final curtain. Come Pick Us Up, his final number, he may not have, but as the ovation faded, we left the richer for watching a unique talent share his very soul with us.
THE Academy’s Autumn Concert opened with Gabriel Faure’s Suite: Masques et Bergamasques, Op. 112. Not only have I never heard of this work, but I would never have recognised Faure as the author.
The opening Allegro, brimming with pastoral wit and energy, was delivered with clear relish but I couldn’t get the musical image of the great Arthur Sullivan out of my head. And then to the ball. The performance vividly reimagined the aristocratic formal nonsense in this ritualised Menuet. But goodness me, the signing off was simply divine. The Gavotte was rhythmically tight, the strings holding the melodic line with cute woodwind contributions.
As a stand-alone movement, the closing Pastoral worked just fine, and it was well performed too. But I could not link it whatsoever to the first three movements; not sure if it was a Faure thing or a me thing. Probably the latter.
On the whole, Bruckner’s Adagio (from the String Quintet in F Major) was both committed and persuasive. The contrapuntal dialogue was well expressed – clear and nicely judged. There were, however, some intonation issues but with the strings so exposed, there are no hiding places.
I have waited years to say this: the Beethoven (Rondino in Eb for Wind Octet, WoO – whatever that is, 25) was dreadful. Irredeemably so.
It wasn’t that the horns weren’t quite on top of their game, which they weren’t, but that the music in the contrasting central section was meant to be humorous; alas it wasn’t. Indeed the musical ‘jokes’ made Shakespeare’s gags sound as though they were written by Ben Elton.
OK, there was some excellent woodwind playing, especially Lesley Schatzberger (clarinet) whose playing was simply divine.
The ‘brass fanfare’ ushering us politely back to our seats always works well and the Scottish piper’s piobaireachd [pipe playing] announcing Mendelssohn’s ‘Scottish’ Symphony No. 3 was a delight.
I really enjoyed the Academy’s performance of this remarkable symphony: it was infused with a buoyant energy, lovely phrasing, reliable string playing – the key to success – and top-notch woodwind contributions – for example, Alexandra Nightingale (oboe) in the closing Allegro Guerriero.
What struck me in Alan George’s assured direction was the weighty, solemn sound world of Beethoven or indeed Brahms. Not throughout, which would have been overwhelming, but in the opening Andante con moto and third movement Adagio with its stirring, almost triumphalist, processional music. The touching, lyrical wind and string responses humanised matters. Impressive.
YORK unlocks for the weekend. Charles Hutchinson unlocks the door to multiple other delights too.
Festival of the week: York Unlocked 2024, today and tomorrow from 10am
IN its third year, York Unlocked welcomes residents and visitors to experience York’s architecture and open spaces with the chance to discover, explore and enjoy around 50 sites.
This year’s new addition is a children’s trail book; families can pick up a free copy from York Explore Library, All Saints’ Church, North Street, or The Guildhall. Full details of the participating locations, from Spark: York to City Screen Picturehouse, Terry’s Factory Clock Tower to Bishopthorpe Palace, Holgate Windmill to York Railway Station, can be found at york-unlocked.org.uk. Entry is free, including those requiring booking.
Rachel Croft: Heading back to York to play The Crescent
Return of the week: Black Deer Live in association with TalentBanq presents Rachel Croft Live, supported by Tom Sheldon Trio, The Crescent, York, tonight, doors 7.30pm
AFTER relocating to London almost three years ago, thunderous alt-rock singer-songwriter Rachel Croft returns to York for an explosive hometown show, backed by a full band.
Caffe Nero Artist of the Month in February 2024, she has performed at The O2 Arena Blue Room, Bush Hall and Camden Assembly in London, the Bitter End in New York and Bluebird Cafe in Nashville and such festivals as Cambridge Folk Festival, Secret Garden Party and Black Deer. Her cinematic songs have featured on Netflix, the BBC and in rotation in Tesco, Waterstones and Centre Parcs stores. Box office: thecrescentyork.com.
Much more than stripping assets: York’s queen of burlesque, Freida Nipples, hosts The Exhibionists in The Old Paint Shop
Cabaret night of the week: Freida Nipples presents…The Exhibitionists, The Old Paint Shop, York Theatre Royal Studio, tonight, 8pm; Halloween Edition, October 26, 6pm and 9pm
YORK’S award-winning burlesque artiste Freida Nipples launches the Theatre Royal’s new Old Paint Shop cabaret season with some of her favourite fabulous performance artists from across Great Britain.
“From burlesque to drag and beyond, be sure to expect the unexpected,” she says. “Get ready to be dazzled, shocked and in awe. Only a few things are guaranteed: glamour, gags and giggles.” Tickets update: all three shows have sold out. For returns only, call 01904 623568.
Frankenstein (On A Budget): One man, one monster, one glorious dream at Friargate Theatre, York
“Comedy musical Hammer Horror homage you didn’t know you needed”: Frankenstein (On a Budget), Friargate Theatre, York, tonight, 7.30pm
ONE man, one monster, one glorious dream to singlehandedly tell the most famous cult horror story of all time on absolutely no budget whatsoever. What could possibly go wrong? Inspired by Mary Shelley and Boris Karloff, Frankenstein (On a Budget) features one actor, some decidedly dodgy backdrops, new music, weather-based based puns, cardboard props, gore and flashing lights.
Can the ill-fated doctor build his monstrous creation, play 25 characters, sing songs aplenty, attempt accents from across the world, perform a dance routine, and ultimately save the day in only 60 minutes? Find out tonight. Age guidance: 14 upwards. Box office: ridinglights.org/friargatetheatre.
The Shires: Playing York on intimate acoustic tour
Country gig of the week: The Shires: The Two Of Us Tour, Grand Opera House, York, tomorrow, 7.30pm
GREAT Britain’s biggest country music export, The Shires, return to York on their intimate acoustic tour, where Ben Earle and Crissie Rhodes play songs from 2015 debut, 2016’s My Universe, 2018’s Accidentally On Purpose, 2020’s Good Years and 2022’s 10 Year Plan.
The Shires have achieved three consecutive UK Top Three albums, four UK Country album chart toppers, more than 100 million streams, two gold-certified records and two CMA Awards, headlining the Royal Albert Hall too. Box office: atgtickets.com/york.
Aein Nasseri (Alland) and the CAPA College Chorus (Vox) in Red Ladder Theatre Company’s Sanctuary. Picture: Robling Photography
Play of the week: Red Ladder Theatre Company in Sanctuary, Selby Abbey, October 7, 7.30pm; Hull Truck Theatre, Hull, October 8, 7.30pm; Wesley Centre, Harrogate, October 12,7.30pm
DIRECTED by new Red Ladder artistic director Cheryl Martin, this timely premiere by Sarah Woods and musician Boff Whalley tells the vital story of Alland, a young Iranian man who begs to be given sanctuary at St Mary’s Church in a northern town, sparking a community to react in all the ways each member believes to be right.
Featuring a chorus of Wakefield’s CAPA College students, Sanctuary mixes hard-hitting ideas with melodic tunes and harmonies, asking the question: do we want safety and freedom for only ourselves, or for us all? Box office: Selby, 01757 708449 or selbytownhall.co.uk; Hull, 01482 323638 or hulltruck.co.uk; Harrogate, 01423 502116 or harrogatetheatre.co.uk.
Carrie Hope Fletcher: Love Letters in song form at York Barbican
Musical theatre revue of the week: Carrie Hope Fletcher, Love Letters, York Barbican, October 8, doors 7pm
WEST End musical theatre actress, author and vlogger Carrie Hope Fletcher explores all forms of love, from romantic to maternal, unrequited to obsessive, all told through a concert of musical theatre favourites, accompanied by specially written letters about each song by Carrie.
She is best known for playing Éponine and Fantine in Les Misérables, Veronica in Heathers, Wednesday in The Addams Family, Cinderella in Andrew Lloyd Webber’s Cinderella on the London stage. Her special guest will be Bradley Jaden, her West End co-star in Les Miserables. Box office: yorkbarbican.co.uk.
Ed Gamble: Not discussing hot dogs in Hot Diggity Dog at the Grand Opera House. Picture: Matt Crockett
Comedy gig of the week: Ed Gamble, Hot Diggity Dog, Grand Opera House, York, October 9, 7.30pm
ED Gamble is promising “all your classicGamble ranting, raving and spluttering, but he’s doing fine mentally. Promise”. After all, he co-hosts the award-winning podcast Off Menuwith James Acaster, is a judge on Great British Menu and Taskmaster champion, hosts Taskmaster The Podcast and The Traitors: Uncloaked and has his own special, Blood Sugar, available on Amazon Prime. Box office: atgtickets.com/york.
Not Gonna Lie: Fool(ish) Improv use audience true stories to improvise “unbelievable comedy”
Improv gig of the week: Fool(ish) Improv present Not Gonna Lie, The Old Paint Shop, York Theatre Royal Studio, October 10, 8pm
PAUL Birch and co will take the truth to task by using real stories from the audience to improvise “unbelievable comedy”. Not so much Who’s Line Is It Anyway but more Who’s Lie Is It Anyway, Fool(ish) welcome you to a playful night of joy, nonsense and completely making things up.
“Come confess and unburden yourselves of some silly secrets, tales of the office and childhood memories and we will shape them into surreal sketches and sensational scenes,” say the Yorkshire improvisers trained by the best in Chicago Long-Form improv. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Sharleen Spiteri: Leading Texas at Scarborough Open Air Theatre next summer
Gig announcement of the week: Texas, Scarborough Open Air Theatre, July 26 2025
SCOTTISH band Texas, fronted as ever by Sharleen Spiteri, will return to Scarborough Open Air Theatre for the first time since July 2018 to showcase five decades of songs, from I Don’t Want A Lover, Say What You Want and Summer Son to Inner Smile, Mr Haze and Keep On Talking next summer. Irish rock band The Script are confirmed already for July 5. Box office: scarboroughopenairtheatre.co.uk and ticketmaster.co.uk.
Carrie Hope Fletcher on stage in Love Letters, on tour at York Barbican
WEST End musical theatre star, author and vlogger Carrie Hope Fletcher will explore all forms of love, from romantic to maternal, unrequited to obsessive, in Love Letters at York Barbican on Tuesday.
Joining her for this concert of musical theatre favourites will be West End leading man Bradley Jaden, her Les Miserables co-star, one of three special guests on her 14-date autumn tour.
Best known for playing Éponine and Fantine in Les Misérables, Veronica in Heathers, Wednesday in The Addams Family, Cinderella in Andrew Lloyd Webber’s Cinderella and Beth in the arena tour of The War Of The Worlds alongside Jason Donovan, Carrie’s tour marks her return to the stage after time away since giving birth to daughter Mabel, now seven months old.
“My last job finished on New Year’s Eve: panto in Crawley. I was Carabosse in Sleeping Beauty, the villain. It’s the best role – Sleeping Beauty is asleep for half the show!” says Carrie, 31.
“That was my second panto, and again I did it with Evolution Productions [co-producers of the York Theatre Royal pantomime] after Canterbury in the first year, both written and directed by Paul Hendy, who’s so much fun and just knows the essence of what makes a good panto.
“Last year I also did my first tour, called An Open Book, where I told stories from throughout my career that I hadn’t told before and paired them with songs, and we had such a great time, I wanted to do another show like that.”
Here comes Love Letters. “The fun thing is that it will be a different set list every night,” says South Harrow-born Carrie. “There are six songs that will be sung every night, at the beginning, in the middle and at the end of each act, with ten in between that will be completely different at each show.
“A list of songs will go live on social media before each concert, where fans can pick out their venue and make their choices from 25/26 songs per show.”
At first Carrie said that the six songs sure to feature each night were a secret but then she revealed: “There are three I can confirm: Journey To The Past, from Anastasia; Home, from Beetlejuice The Musical and Someone’s Waiting For You from The Rescuers.”
Carrie Hope Fletcher in her dressing room
Explaining the theme behind Love Letters, Carrie says: “I just felt that because the world is so fast paced, especially with social media, that I miss the slow-paced art of writing a letter, when you know that the writer has taken time to prepare before writing the words. It’s not just about people we love, but things we love as well: musical theatre, books, Disney.
“I’ve written a love letter to go with every song, dedicated to a person or a thing. Audience members for each show can send in a love letter and I’ll choose one and read it out. We’ve been going through the letters that have come in over the past few weeks and a lot of them are dedicated to someone who’s coming to the show with them.”
Assessing why love is the subject of so many songs, Carrie says: “It’s the thing that unites us all. We all feel love for someone or something one way or another, and we feel it deep down, whether it’s for a person, a pet or a favourite film.”
Carrie’s career has required her to sing some of the greatest songs in musical theatre. “There’s a responsibility singing those songs, especially when playing roles that people hold great affection for. Like singing I Dreamed A Dream in Les Miserables, where it’s become bigger than the musical.
“People attach it to their own lives, so I do feel that sense of responsibility when the opening chords are played and you know you have to deliver.
“It put things in perspective when people say, ‘you’re not a doctor, or a lawyer defending someone, you’re just putting on a wig and singing’, but for people who come to the theatre, it’s a chance to escape and that one night could have a life-changing effect on someone. You have to remind yourself that what you’re doing is important to people.”
Carrie finds joy in singing, joy that transfers to the audience too. “It’s a joy I feel just to sing and that’s what people latch on to. Maybe the joy I get from it separates me from others. That’s what people connect to,” she says.
“ I do think that musical theatre is based in expressing emotion, and if you’re not feeling it one night, then it won’t transmit to the audience.”
Carrie Hope Fletcher with special guest Bradley Jaden, Love Letters, York Barbican, October 8, doors, 7pm. Box office: yorkbarbian.co.uk. Carrie will play the lead role in Nikolai Foster’s production of Calamity Jane, on tour at Grand Opera House, York, from April 29 to May 3 2025. Box office: atgtickets.com/york.
The poster for the 2025 tour of Calamity Jane starring Carrie Hope Fletcher
CARRIE Hope Fletcher will lead the cast in the 2025 tour of Jamie Wilson Productions’ revival of the Watermill Theatre’s whip-crackin’ production of Calamity Jane prior to a West End run. The Grand Opera House, York, awaits from April 29 to May 3.
“Calamity Jane is one of those roles that doesn’t come around all too often,” says Carrie. “She’s action, romance and comedy all packed into one character, and I can’t wait to take on the challenge of filling her shoes.”
Marking the tenth anniversary since the Watermill show hit the road, next year’s production reunites the creative team with direction by Curve artistic director Nikolai Foster, co-direction and choreography by Nick Winston, orchestration and music supervision by Catherine Jayes and set and costume design by Matthew Wright. Lighting design will be by Tim Mitchell and sound design by Ben Harrison.
Producer Jamie Wilson says: “With this new version of Calamity Jane first opening at The Watermill Theatre in 2014, I am delighted to be collaborating with them again to finally bring this wonderful production back to theatres all over the country after a ten-year absence.
“We have been waiting for the right moment and artist to step into Calamity’s boots and bring this hilarious and joyful musical back to the nation, and we are thrilled that Carrie Hope Fletcher will be leading the company as the iconic Calamity Jane. Carrie is one of the UK’s most talented artists whose broad fan base will introduce this much beloved musical to audiences across the country.”
Based on the cherished 1954 Doris Day movie, this foot-stomping new production features such songs as The Deadwood Stage (Whip-Crack-Away), The Black Hills Of Dakota, Just Blew In From the Windy City and the Oscar-winning Secret Love.
The tour publicity invites you to “meet the fearless, gun-slinging Calamity Jane, the biggest mouth in Dakota territory and always up for a fight. She’ll charm you hog-eyed, however, especially when trying to win the heart of the dashing Lieutenant Gilmartin, or shooting insults at the notorious Wild Bill Hickok.
“But when the men of Deadwood fall hard for Chicago stage star Adelaid Adams, Calamity struggles to keep her jealousy holstered. Her heart’s a thumpin’… but who for? What are you waiting for, you wild coyotes? Whip -crack-away!”
Tickets for the 7.30pm evening performances and 2.30pm Thursday, Friday and Saturday matinees are on sale at atgtickets.com/york.
Carrie Hope Fletcher: More than one million views every month on her YouTube channel
Carrie Hope Fletcher: back story
Born: October 22 1992, South Harrow, Harrow
Occupation: Actress, author and vlogger.
Theatre includes: Elizabeth in The Crown Jewels (West End/UK tour), Grusha in The Caucasian Chalk Circle (Rose Theatre), Cinderella in Cinderella (Gillian Lynne Theatre), Fantine in Les Misérables: The Concert (Gielgud Theatre), Veronica in Heathers (Theatre Royal Haymarket), Carabosse in Sleeping Beauty (Marlowe Theatre), Brenda in The Christmasaurus Live (Eventim Apollo, Hammersmith), Wednesday in The Addams Family (Music and Lyrics), Eponine in Les Misérables (Dubai – Cameron Mackintosh), Truly Scrumptious in Chitty Chitty Bang Bang (Music and Lyrics), Eponine in Les Misérables (Queen’s), Beth in Jeff Wayne’s War Of The Worlds (arena tour), Wind In The Willows (Regent’s Park Open Air), Jane Banks in Mary Poppins (Disney Theatrical/Cameron Mackintosh), Jemima in Chitty Chitty Bang Bang and Young Eponine in Les Misérables.
Television: In Two Minds, Break Kids, Princess Beatrix in Wilhelmina and Dog & Duck.
Concerts: Once – In Concert (London Palladium), Treason – The Musical in Concert (Theatre Royal Drury Lane), When The Curtain Falls (Cadogan Hall), Jason Robert Brown in Concert (Haymarket Theatre), West End Does Love (FortyFour Productions), West End Does Christmas (FortyFour Productions), West End Does Animation (FortyFour Productions), Edges (Prince of Wales), Andrew Lippa in Concert, Sheytoons in Concert (St James) and Ramin Karimloo’s 2012 tour Road To Find Out.
Carrie’s first solo tour in 2023, An Open Book, toured UK and played London Palladium (sold out) in a celebration of her career so far.
Music: Debut solo album When the Curtain Falls was released in March 2018, produced by 2300 Records. Reached Top 20 in UK album charts and number two in iTunes Soundtrack Charts. 2022 Grammy nominee for Best Musical Theatre Album for Cinderella (Original Concept Album) and Les Misérables: The Staged Concert (Live Album).
Presenting: Host of 2016 Olivier Awards in the Piazza; backstage host of 2018 Olivier Awards at Royal Albert Hall.
Books: First book All I Know Now: Wonderings and Reflections on Growing Up Gracefully, was released in 2015; On The Other Side, July 2016; All That She Can See, 2017; When The Curtain Falls, July 2018; In The Time We Lost, 2019; first children’s book, Into The Spotlight, a reimagining of Noel Streatfield’s Ballet Shoes, September 2020; With This Kiss, 2022; The Double Trouble Society, 2023.
Awards: Three-time winner of Best Actress in a Musical at WhatsOnStage Awards for roles of Cinderella in Cinderella, Veronica Sawyer in Heathers and Wednesday Addams in The Addams Family. Also won WhatsOnStage Award for Best Takeover in a Role for Eponine in Les Misérables
Social media: Established online presence with more than 472,000 followers on X, 600,000 on Instagram and 630,000 subscribers to her YouTube channel with more than one million views every month. Named in The Sunday Times Influencer List as one of UK’s top 100 influencers.
Davide Ortu’s illustration for the book cover for Carrie Hope Fletcher’s 2023 children’s novel, The Double Trouble Society And The Worst Curse
Carrie Hope Fletcher: the writer
“I HAVE written eight novels and one non-fiction book, my first book [All I Know Now: Wonderings and Reflections on Growing Up Gracefully, published in April 2015], written off the back of the lifestyle blog I wrote from 2011 onwards.
“I was 22 when I wrote it with all the knowledge of what I thought I knew as a teenager. I could easily write another now at 31,” she says.
“I wrote for Little, Brown Books for the first five books and then switched to Harper Collins. I have this incredible editor, who transferred to Harper Collins, and I followed her.
“My recent books were my first children’s books, the Double Trouble Society series. Last year Puffin published The Double Trouble Society And The Worst Curse, where the Double Trouble Society know how to handle witches but can they manage vampires, werewolves and ghosts as well?
“I have ideas for my next books, both for children and the adult market, but I’ve been preoccupied with being a new mum!”
Carrie Hope Fletcher: the vlogger
“YOU can find them on YouTube @Carrie. It’s mainly behind the scenes of musical theatre. I’ve been doing it for 11-12 years now and it’s been a delight to keep doing it,” says Carrie, who has made 893 videos and has 628,000 subscribers.
The cover artwork for Michael Palin’s new book, in focus at the Grand Opera House, York, tomorrow
FROM a talkative traveller to a Californian Kate Bush tribute act, York’s weekend of open doors to a best-of-British musical revue, Charles Hutchinson seeks diverse cultural opportunities.
Globe-trotter of the week: Michael Palin, Grand Opera House, York, tomorrow, 7.30pm
IN the words of Monty Python alumnus, actor, presenter and Yorkshireman Michael Palin: “In There And Back – The Diary Tour 2024, I’ll bring to life the fourth collection of my diaries and the first to be released for ten years.
“Lots of fun as I go through the Noughties, and some dark times too. I constantly surprise myself with the sheer amount I took on.” Tickets update: still available at atgtickets.com/york.
Baby Bushka: Delighting in the theatricality of Kate Bush’s songs at Pocklington Arts Centre
Tribute show of the week: Baby Bushka, Pocklington Arts Centre, tomorrow, 8pm
THE music and magic of Kate Bush has reached across the seas and skies to San Diego, California, where the eight women of the bewitching Baby Bushka have honed their wide-eyed, other-worldly versions of Kate’s baroque, ethereal pop.
Performed in jump-suits by Natasha Kozaily, Lexi Pulido, Nancy Ross, Leah Bowden, Batya Mac Adam-Somerm, Marie Haddad, Heather Nation and Melanie Medina, their kooky rock show is filled with four-part harmonies, avant-garde choreographed dancing, theatrical props, costumes and glitter masks. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
The Korgis: This is the time for everybody to learn about their favourite songs at Selby Town Hall
Sing something synth-full: The Korgis Time Machine, Selby Town Hall, tomorrow, 7.30pm
WHIRL back in time with The Korgis as they undertake a musical and audio/visual journey though the songs and bands that influenced them. Best known for their 1980 hit Everybody’s Got To Learn Sometime, the Bristol synth-pop band will put their spin on songs by The Beatles, The Beach Boys, Simon & Garfunkel, 10cc, The Buggles, Peter Gabriel and their own songs of peace and hope with The Korgis and, earlier, with Stackridge.
If I Had You, Bringing Back The Spirit Of Love, If It’s Alright With You Baby and Something About The Beatles will feature, along with new compositions from this year’s two-album set, UN – United Nations. Questions will be taken too. Box office: 01757 708449 or selbytownhall.co.uk.
Lucy Porter: No regrets about her regrets at Selby Town Hall
Comedy gig of the week: Lucy Porter, No Regrets!, Selby Town Hall, Friday, 8pm
REGRETS? Frank Sinatra had too few to mention, but Lucy Porter has hundreds, and she is raring to go into graphic detail about all of them. From disastrous dates and professional calamities to ruined friendships and parenting failures, she charts all the mistakes she has made, works out why they happened, and ponders how her life would have turned out if she had acted differently.
Porter posits that if you regret something, you can use it to change your ways. “See the thing you regret as your rock bottom, and let it spur you on to become a better person,” says Porter, who names guilt as one of her top five hobbies as a middle-aged, middle-class, left-leaning ex-Catholic. Box office: 01757 708449 or selbytownhall.co.uk.
Barbara Dickson: Reflecting on her career in music and musical theatre at All Saints Church, Pocklington, and Leeds City Varieties
Folk gigs of the week: Hurricane Promotions present Barbara Dickson & Nick Holland, All Saints Church, Pocklington, Friday (sold out) and October 16, 7.30pm. Also Leeds City Varieties Music Hall, October 20, 7.30pm
SCOTTISH folk singer Barbara Dickson and her pianist Nick Holland explore her catalogue of songs in these acoustic concerts in intimate settings, where the pair will let the words and melodies take centre stage as they draw on Dickson’s folk roots, contemporary greats and her classic hits, from Another Suitcase In Another Hall to I Know Him So Well. Box office: barbaradickson.net; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
Festival of the week: York Unlocked 2024, Saturday and Sunday
IN its third year, York Unlocked welcomes residents and visitors to experience York’s architecture and open spaces with the chance to discover, explore and enjoy around 50 sites.
This year’s new addition is a children’s trail book; families can pick up a free copy from York Explore Library, All Saints’ Church, North Street, or The Guildhall. Full details of the participating locations, from Spark: York to City Screen Picturehouse, Terry’s Factory Clock Tower to Bishopthorpe Palace, Holgate Windmill to York Railway Station, can be found at york-unlocked.org.uk. Entry is free, including for those requiring booking.
Stevie Williams & The Most Wanted Band: Heading to Helmsley
“Wild journey” of the week: Stevie Williams & The Most Wanted Band, Helmsley Arts Centre, Saturday, 7.30pm
LED by powerhouse vocalist Stevie Williams, The Most Wanted Band take their audiences on a wild musical journey with tight grooves, searing guitar solos and a rhythm section that hits with precision in an accomplished, high-energy, explosive show. Box office: 01439 771700 or helmsleyarts.co.uk.
Courtney Brown: From playing Ado Annie in Oklahoma! to assistant-directing Pickering Musical Society’s Wonders Of The West End
Ryedale musical show of the week: Pickering Musical Society, Wonders Of The West End, Kirk Theatre, Pickering, October 10 to 13, 7.30pm
PICKERING Musical Society performs the best of British musicals, from the early 20th century to current hits next week, when the full company will be joined once again by Sarah Louise Ashworth School of Dance students. Lesser-known gems will complement show-stopping favourites.
Regular performer Courtney Brown, seen latterly as the Princess in Aladdin and Ado Annie in Oklahoma!, steps up to the role of assistant director alongside regular director Luke Arnold after expressing an interest in directing. Box office: 01751 474833 or kirktheatre.co.uk.
Sharleen Spiteri: Fronting Texas at Scarborough Open Air Theatre next summer
Gig announcement of the week: Texas, Scarborough Open Air Theatre, July 26 2025
SCOTTISH band Texas, fronted as ever by Sharleen Spiteri, will return to Scarborough Open Air Theatre for the first time since July 2018 to showcase five decades of songs, from I Don’t Want A Lover, Say What You Want and Summer Son to Inner Smile, Mr Haze and Keep On Talking next summer. Tickets will go on sale at 9am on Friday at scarboroughopenairtheatre.co.uk and ticketmaster.co.uk. Irish rock band The Script are confirmed already for July 5.
Rievaulx Abbey, mixed media, by Robert Dutton, on show in A Yorkshire Year at Nunnington Hall
YORKSHIRE landscapes, campsite class division, horror movies to the max and a talkative traveller herald the arrival of the arts autumn for Charles Hutchinson.
Exhibition of the week: A Yorkshire Year, Nunnington Hall, near Helmsley, until December 5
THE changing landscape of the Yorkshire countryside and coastline is captured by Yorkshire artists Robert Dutton, from Nunnington, and Andrew Moodie, from Harrogate, in seasonal images.
Dutton presents a dramatic interpretation of the untamed expanses of Yorkshire, from meandering freshwater rivers and hidden woodlands to the stark beauty of the moors. Moodie directs his attention to the undulating valleys of the Yorkshire Dales, as well as coastal villages. Opening hours: Tuesday to Sunday, 10.30am to 5pm, last entry at 4.15pm. Normal admission prices apply at nationaltrust.org.uk/nunnington-hall.
The artwork for the Dead Northern 2024 Horror Film Festival at City Screen Picturehouse, York
Film event of the week: Dead Northern 2024 Horror Film Festival, City Screen, Picturehouse, York, today and tomorrow
IN “the world’s most haunted city”, Dead Northern presents a festival of movies, music and social gatherings. Today opens with Demonic Shorts at 11am, followed by the regional premiere of Scopophobia, 12.30pm; Slasher, Thriller and Creature Shorts, 2.30pm; UK premiere of The Healing, 4.30pm; Dead Talk film-making panel, 7.30pm; regional premiere of Kill Your Lover, 9pm, and VIP Awards Party at Revolution, York,11pm.
Tomorrow features the Mad Props documentary, 11am; mini-feature Strike,12.45pm; feature film The Monster Beneath Us, 1.15pm; music mini-feature The Black Quarry, 3.45pm; Music Videos, 4.30pm; UK premiere of Kill Victoria, 6.30pm, and world premiere of Lake Jesup, 8.30pm. Guests must be aged over 18 to access screenings and live events. Box office: deadnorthern.co.uk/dead-northern-2024-film-festival.
Tom Gallagher, Annie Kirkman and Laura Jennifer Banks in a scene from John Godber’s revival of Perfect Pitch
Touring play of the week: John Godber Company in Perfect Pitch, Harrogate Theatre, today, 2pm and 7.30pm; Pocklington Arts Centre, October 9 and 10, 7.30pm; Stephen Joseph Theatre, Scarborough, November 13 to 16, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees
WHEN teacher Matt (Frazer Hammill) borrows his parents’ caravan for a week on the Yorkshire coast with partner Rose (Annie Kirkman), they are expecting four days of hill running and total de-stressing. However, with a Tribfest taking place nearby, Grant (Tom Gallagher) and Steph’s (Laura Jennifer Banks) pop-up tent is an unwelcome addition to their perfect pitch.
The class divide and loo cassettes become an issue as writer-director John Godber reignites his unsettling1998 state-of-the-nation comedy, set on an eroding coastline, as Matt and Rose are inducted into the world of caravanning and karaoke. Box office: Harrogate, 01423 502116 or harrogatetheatre.co.uk; Pocklington, 01759 301547 or pocklingtonartscentre.co.uk; Scarborough, 01723 370541 or sjt.uk.com.
The bird man of RedHouse Originals Gallery: artist Jim Moir at his Birdland exhibition in Harrogate
Last chance to see: Jim Moir, Birdland, RedHouse Originals Gallery, Cheltenham Mount, Harrogate, today, 10am, 10am to 5pm
“PEOPLE think that I am a comedian, but art comes first,” says Jim Moir, aka Vic Reeves, as he mounts his second RedHouse show. “This one is Birdland because of my love of birds. I spend most of my days bird watching and painting,” he says.
On show – and for sale – is an exclusive collection of 50 new paintings celebrating his favourite subject ahead of the October 24 release of his second bird book, More Birds, Paintings Of British Birds, published by Unbound. Free entry.
Clare Ferguson-Walker and Robin Ince: Plenty to discuss at Pocklington Arts Centre
Double act of the week: Clare Ferguson-Walker & Robin Ince, Pocklington Arts Centre, tonight, 8pm
TAKE a tour around two marvellous minds via the vehicles of poetry, storytelling, jokes, and general silliness when Clare Ferguson-Walker and Robin Ince link up in Pock. Poet, comedienne, sculptor and singer Clare’s explosive second collection, Chrysalis, lays bare the poet’s soul on a journey laced with humour and humane observation.
Humorist, presenter, poet and author Ince co-hosts the BBC Radio 4 series The Infinite Monkey Cage with Professor Brian Cox. His books include Bibliomaniac, The Importance Of Being Interested, I’m A Joke And So Are You and his next work, Normally Weird And Weirdly Normal: My Adventures In Neurodiversity, will be published next May. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
The cover design for Michael Palin’s new diary collection
Globe-trotter of the week: Michael Palin, Grand Opera House, York, October 3, 7.30pm
IN the words of Monty Python alumnus, actor, presenter and Yorkshireman Michael Palin: “In There And Back – The Diary Tour 2024, I’ll bring to life the fourth collection of my diaries and the first to be released for ten years.
“Lots of fun as I go through the Noughties, and some dark times too. I constantly surprise myself with the sheer amount I took on.” Tickets update: still available at atgtickets.com/york.
Barbara Dickson: Acoustic October concerts in Pocklington and Leeds
Folk gigs of the week: Hurricane Promotions present Barbara Dickson & Nick Holland, All Saints Church, Pocklington, October 4 (sold out) and October 16, 7.30pm. Also Leeds City Varieties Music Hall, October 20, 7.30pm
SCOTTISH folk singer Barbara Dickson and her pianist Nick Holland explore her catalogue of songs in these acoustic concerts in intimate settings, where the pair will let the words and melodies take centre stage as they draw on Dickson’s folk roots, contemporary greats and her classic hits, from Another Suitcase In Another Hall to I Know Him So Well. Box office: barbaradickson.net; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
Mundane matters: Josh Widdicombe mulls over really niche observations about silly little thingsin 2025 and 2026
Gig announcement of the week: Josh Widdicombe, Not My Cup Of Tea Tour, Hull City Hall, October 2 2025, and York Barbican, February 28 2026
PARENTING Hell podcaster and comedian Josh Widdicombe, droll observer of the absurd side of the mundane, will take stock of the little things that niggle him, from motorway hotels to children’s parties, and explain why he has finally decided to embrace middle age, hot drinks and doing the school run in his 58-date tour show, Not My Cup Of Tea.
“That’s my favourite type of stand-up: really niche observations about silly little things that you wouldn’t think about. I’ve got no interest in the big topics.” Box office: joshwiddicombe.com; yorkbarbican.co.uk; hulltheatres.co.uk.
In Focus: Mark Thomas: Gaffa Tapes…Old Title, New Show, The Crescent, York, tomorrow. More Yorkshire shows to follow
This is the modern world:Mark Thomas returns to stand-up venting at The Crescent, York. Picture: Tony Pletts
LAST appearing in York in Ed Edwards’s one-man play England & Son in the Theatre Royal Studio last September, South London’s grouchy “godfather of political comedy”, Mark Thomas, returns to polemical stand-up in Gaffa Tapes…Old Title, New Show at The Crescent tomorrow night.
One of the longest-surviving alternative comics after close to 40 years of stand-up, theatre, journalism, human rights campaigning and the odd bout of performance art, his latest tour’s fusillade of jokes, rants, politics, play and the occasional sing-song adds up to “generally mucking about trying to have fun and upset (shall we say) the right people”.
Gaffa Tapes…Old Title, New Show? Explain the extended tag, Mark. “What happened is I liked the idea of ‘Gaffa Tapes’ as a title and had it last year for my Edinburgh Fringe show, but halfway through the Fringe run I got Covid and had to stop.
“Last year I toured England & Son, written by Ed Edwards, which I was really pleased with. It picked up more awards than I’d ever done before – six awards – and one of them was to perform the play in Australia, taking it out to Adelaide for five weeks – and we might be going to New York …
“But we made no money out of it. I thought, ‘right, how do we make some money?’, so it’s great to be getting back to stand-up. What I love about stand-up is… and this is simple…if you stop doing it, they say you’ll feel rusty, so if you have a hiatus, what you have to learn to do is put your hand on the neck of the beast.
“I thought, ‘I’m going to do all the clubs at the bottom of the eco-system, doing ten minutes here, ten minutes there, doing shows in different places, and the thing about it is, I died on my arse a couple of times, which feels horrible each and every time…
“But if you take a break, you need to get your muscle memory back working again. That’s why I loved doing Edinburgh this summer. I did 26 gigs. It’s just bang, bang, bang, every night. You can muck around, try things out.
Mark Thomas in England & Son, toured to York Theatre Royal Studio in 2023. Picture: Alex Brenner
“The riots were happening around that time, so I wrote about them – and it’s important to be able to talk about that. It’s a living, breathing affecting thing. I love being a warrior in the culture wars, and it’s good to be back on the battlefield.”
The tectonic plates of the political landscape keep shifting: fresh meat to a polemicist comedian’s grist. “Things are always changing,” says Mark. “What I love is that when I started work on the show, there was loads going on, because the Tories were no longer in power, and it’s good to be able to react to that and to suggest what should be happening.
“I was at the Diggers Festival, celebrating Gerrard Winstanley [English Protestant religious reformer, political philosopher, activist and leader and co-founder of the ‘True Levellers’ or ‘Diggers’], doing a talk in a church, where someone said, ‘if you get rid of the oath to the King, that would be the most radical thing you could do’.
“I said, ‘well, actually, I don’ think it is. If you want democracy to work, you should have voting at 16, proportional representation, and you need to abolish the House of Lords’…whereas they’re just tidying up what [Tony] Blair started all those years ago. The most radical thing would be to ban donations to political parties. Make it state-funded, giving money to run parties and campaigns, making it a level playing field.
“Do you know who is the only other country in Europe to have a ‘first past the post’ electoral system? Belarus. So if anyone is out of step, it’s us. I think eventually PR [proportional representation] will come in; it’s just a question of what form it takes.”
How does the change of ruling party in Westminster from the Conservatives to Labour after 14 years have an impact on Thomas’s venting? “It changes the goalposts because it’s a new set of people to attack for a new set of reasons,” says Mark. “It’s the new austerity that they’re proposing that’s not great.
“The fact is that Starmer got some of the things right over the riots. I find it fascinating that there is this a disconnect; the idea that everyone who rioted was a racist, but not everyone was, because riots have a movement of their own, but certainly the organisers were far right.
“I didn’t vote Labour. I’m a Socilaist, why on Earth would I vote Labour?” says Mark Thomas. Picture: Art by Tracey Moberly
“You can be a Zen Buddhist but if you set fire to an asylum seekers’ hotel, then you’re a racist.”
Long associated with spouting anti-Tory sentiment aplenty, Thomas will hold the incoming Labour Party to account too. “I think it’s healthier that way in politics. The honeymoon period is over already,” he says.
“I didn’t vote Labour. I’m a Socialist, why on Earth would I vote Labour? There shouldn’t be a honeymoon period anyway, but I expect the right-wing press to go at Labour with gusto because they want to shape not only this government, but the next Tory one too.”
Any suggestions for policy change, Mark? “Local government can run the bus companies, but it’s really important that it’s not about making the maximum profit. That’s what used to happen until Thatcher changed it,” he says.
“I’m lucky now – because I’m 61, I get the 60+ London Oyster card for £20 [administration fee] that allows me to travel everywhere in London for free and I use buses a lot. That’s one of the great things about London: wherever you are, there will be a night bus coming along in a moment.”
He is looking forward eagerly to tomorrow’s return to The Crescent. “I love The Crescent,” he enthuses. “What they may lack in technical facilities, it’s a proper community venue. I always say, when talking about what community venues could be, take a look at this place.”
Mark Thomas: Gaffa Tapes, Burning Duck Comedy, The Crescent, York, tomorrow, 7.30pm; Marsdsen Mechanics, November 8, 8pm; Social, Hull, November 16, 8pm; Sheffield Memorial Hall November 10, 8pm; Leeds City Varieties Music Hall, February 5 2025; Wakefield Theatre Royal, February 6 2025, 7.30pm.
Box office:York, thecrescentyork.com; Marsden, 01484 844587 or marsdenmechanics.co.uk; Sheffield, sheffieldcityhall.co.uk; Hull, socialhumberstreet.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.com; Wakefield Theatre Royal, 01924 211311 or theatreroyalwakefield.co.uk (on sale soon) Age guidance: 16 plus.
Mark Thomas: the back story
The next step for Mark Thomas: Touring Gaffa Tapes
“IF you don’t know what Mark does, ask your parents. In his time, he has won eight awards for performing, three for human rights work… and one he invented for himself. He has made six series of the Mark Thomas Comedy Product and three Dispatches for Channel 4, made five series of The Manifesto for BBC Radio 4, written five books and four play scripts, curated and authored two art exhibitions with artist Tracey Moberly and was commissioned to write a show for the Royal Opera House.
“He has forced a politician to resign, changed laws on tax and protest, become the Guinness Book of Records world-record holder for the number of protests in 24 hours, taken the police to court three times and won (the fourth is in the pipeline), walked the length of the Israeli Wall in the West Bank (that’s 724km), and generally mucked about trying to have fun and upset (shall we say) the right people.”
The cover artwork for Shed Seven’s Liquid Gold, released on Cooking Vinyl tomorrow
SHED Seven’s album of orchestral reworkings, Liquid Gold, arrives tomorrow on Cooking Vinyl as their 30th anniversary celebrations take to the road.
These gilded reinventions were recorded in collaboration with arrangers Fiona Brice and Michael Rendall, Rendall having teamed up with the Sheds for 2017’s Top Ten comeback album Instant Pleasures and 2024’s A Matter Of Time.
The track listing will be: Getting Better; Speakeasy; Devil In Your Shoes; On Standby; Going For Gold; Waiting For The Catch; Better Days; Parallel Lines; Disco Down; Ocean Pie; new composition All Roads Lead To You and Chasing Rainbows.
Already the York band have trailered the 12-track recording with a quintet of tasters: Speakeasy, Devil In Your Shoes, Getting Better, the BBC Radio 2 B-listed Waiting For The Catch duet with Issy Ferris, of UK folk/rock/Americana duo Ferris & Sylvester, and, most recently, Chasing Rainbows, their most streamed song of all time and perennial set closer.
Originally released on 1998’s Let It Ride, Chasing Rainbows has been reshaped with a string arrangement and plaintive piano before the Sheds furnish the song still further, giving its melancholy and yearning a deeper resonance.
Frontman Rick Witter says: “When we set out to re-record Chasing Rainbows for Liquid Gold, this particular track presented a different kind of challenge. We knew we were handling something with extreme care, as we understand just how significant Chasing Rainbows is to so many of you! It’s not just a song but a part of your lives and memories. We read your comments and felt the impact this song has had.
The artwork for Shed Seven’s Liquid Gold version of Chasing Rainbows
“In crafting this new version, we poured all that emotion and significance into it. As we worked in the studio, it became clear that this rendition embodies a collective spirit. It’s not meant to be better than the original but rather to stand as its sister, a cinematic alternative, like the closing scene of a movie. That’s why it sits proudly at the end of Liquid Gold. You can almost hear your voices singing long after the record has finished.”
On the heels of being named as ambassadors forNational Album Day, playing Blossoms’ Big Bank Holiday Weekend at Wythenshawe Park, Manchester, on August 25, and BBC Radio 2 In The Park in Preston on September 8, the Sheds head out on a record store tour of short sets and record signings tomorrow.
They also will perform six intimate shows to mark the 30th anniversary of their 1994 debut album, Change Giver, before their full-scale headline tour starts on November 14.
A year that began with Shed Seven topping the album charts for the first time in January with A Matter Of Time will end with Witter and guitarist Paul Banks going back to where the Sheds’ story began, when the two former Huntington schoolboys play acoustic shows at the Huntington Working Men’s Club in York on December 21 and 22.
The Liquid Gold album campaign has been given further impetus with a Bootleg Edition, featuring stripped-back artwork hand-stamped by a band member and five bonus tracks, available as a specially priced CD and on black double-vinyl.
Other formats include signed yellow splatter double-vinyl and a Live At York 2CD that adds a live album recorded at the brace of York Museum Gardens 30th anniversary gigs in July. The Sheds’ official store also offers fans the chanced to build their own custom album bundles. All pre-orders are on sale at shedsevenn.lnk.to/LiquidGoldPR
Shed Seven’s gig diary: September 27 to December 22
Starry starry night: Rick Witter leading Shed Seven at York Museum Gardens in July. Picture: David Harrison
September 27, Manchester, HMV (1pm SOLD OUT)
September 27, Bury, Wax & Beans (6pm SOLD OUT)
September 28, Birmingham, HMV (1pm SOLD OUT)
September 28, Leamington Spa, Head Records (5pm SOLD OUT)
September 29, London, Rough Trade East (5pm SOLD OUT)
September 29, London, Rough Trade East (7pm SOLD OUT)
September 30, Southampton, Vinilo (1pm SOLD OUT)
September 30, Brighton, Resident Music (6.30pm SOLD OUT)
October 1, Bristol, Rough Trade (12 noon LOW TICKETS)
October 1, Bristol, Rough Trade (5pm SOLD OUT)
October 2, Nottingham, Rough Trade (12 noon SOLD OUT)
October 2, Nottingham, Rough Trade (6pm -SOLD OUT)
October 3, Sheffield, Bear Tree Records (12 noon SOLD OUT)
October 3, Liverpool, Jacaranda (7pm SOLD OUT)
October 4, Newcastle, Beyond Vinyl (6.30pm SOLD OUT)
October 10, Kingston-Upon-Thames, Pryzm, Change Giver show, hosted by Banquet Records (EXTRA SHOW ADDED)
October 11, Kingston-Upon-Thames, Pryzm, Change Giver show, hosted by Banquet Records (SOLD OUT)
October 12, Coventry, HMV Empire, Change Giver show (SOLD OUT)
October 16, Edinburgh, Assai Records (12 noon SOLD OUT)
October 16, Glasgow, HMV (5pm SOLD OUT)
October 17, Glasgow, SWG3, Change Giver show, hosted by Assai Records (SOLD OUT)
October 18, Manchester Academy 2, Change Giver show, hosted by Crash Records (SOLD OUT)
October 19, Leeds Beckett Student Union, Change Giver show, hosted by Crash Records (SOLD OUT)
30th anniversary party time: Shed Seven’s Rob ‘Maxi’ Maxfield, left, Paul Banks, Rick Witter, Tom Gladwin and Tim Wills. Picture: Chris Little
November 14, Sheffield Octagon (SOLD OUT)
November 15, Cardiff University Great Hall
November 16, Liverpool University Mountford Hall (LOW TICKETS)
November 18, Halifax, Victoria Theatre (LOW TICKETS)
November 19, Hull City Hall
November 21, Aberdeen Music Hall (SOLD OUT)
November 22, Glasgow O2 Academy (SOLD OUT)
November 23, Edinburgh O2 Academy (LOW TICKETS)
November 25, Leicester O2 Academy (LOW TICKETS)
November 26, Margate, Dreamland
November 28, Bristol O2 Academy (SOLD OUT)
November 29, Newcastle O2 City Hall (LOW TICKETS)
November 30, Leeds O2 Academy (SOLD OUT)
December 2, Oxford O2 Academy (SOLD OUT)
December 3, Lincoln, Engine Shed (LOW TICKETS)
December 5, Stockton Globe
December 6, Manchester O2 Victoria Warehouse (SOLD OUT)
December 7, Birmingham O2 Academy (SOLD OUT)
December 9, Norwich – The Nick Rayns LCR, University of East Anglia (SOLD OUT)
December 10, Cambridge, Corn Exchange (LOW TICKETS)
December 12, Bournemouth O2 Academy (LOW TICKETS)
December 13, Nottingham, Rock City (SOLD OUT)
December 14, London O2 Academy, Brixton (SOLD OUT)
December 21, Rick Witter & Paul Banks, Huntington Working Men’s Club, York, acoustic gig (SOLD OUT)
December 22, Rick Witter & Paul Banks, Huntington Working Men’s Club, York, acoustic gig (SOLD OUT)
For ticket availability, head to shedseven.com/gigs.
Coldplay performing on their Music Of The Spheres World Tour. Picture: Anna Lee
FIFTY per cent of the tickets for Coldplay’s first ever concerts in Hull – at Craven Park Stadium on August 18 and 19 2025 – will go on sale to fans with HU, YO, DN and LN postcodes via Ticketmaster this evening from 6pm.
The general sale for Coldplay’s Hull shows and six nights at Wembley Stadium, London, on September 22, 23, 26, 27, 30 and 31 next year will open at 9am tomorrow morning at ticketmaster.co.uk/coldplay-tickets/artist/806431. These will be their only British/European dates in their Music Of The Spheres World Tour diary for 2025.
Last Sunday evening, Coldplay placed a poster in the window of the Dublin Castle, in Camden, London – the venue for their debut gig on February 22 1998 under the name The Coldplay, tickets £4 with flyer – to reveal that ten per cent of their proceeds from the Wembley and Hull concerts will be donated to Music Venue Trust.
This will help to fund the trust’s support of UK Grassroots Music Venues and upcoming artists. Donations also will be made to the Music Venue Trust by the concerts’ promoters (SJM Concerts, Metropolis Music and Live Nation), the band’s booking agent (WME), the two venues and the official ticket agents (Ticketmaster, See Tickets and AXS).
Mark Davyd, the Music Venue Trust’s chief executive, said: “Coldplay are the perfect example of a UK band who came through the grassroots circuit on their way to worldwide stadium-filling success.
“It’s fantastic to see them celebrating their own pathway to Wembley by giving back to the grassroots music venues that supported them and recognising the artists and promoters that are struggling more than ever to build their own careers.
“Through our partnership with Save Our Scene – who introduced us to Coldplay last year – this money will go directly into work that ensures communities right across the country will continue to have access to great live music on their doorstep.
“The band’s support really will stop venues closing, make tours happen and bring the joy of live music to thousands of people. After months of discussing Coldplay’s potential support around these UK shows with them, we’re so happy and grateful that the news is finally out there.”
Coldplay have sold ten million tickets for their Music Of The Spheres World Tour since March 2022. Picture: Anna Lee
In a world first for a stadium show, Coldplay have pledged to power production for the Wembley concerts with 100 per cent solar, wind and kinetic energy, collected at the venue and elsewhere in the UK, and delivered by a specially designed electric battery system.
In addition, one of the satellite stages at each show will be fully powered by energy generated by the audience via kinetic flooring and power bikes.
In June, the band announced that their Music Of The Spheres World Tour has so far produced 59 per cent less CO2 emissions than their previous stadium tour in 2016/17, exceeding their original target of a 50 per cent reduction. They also revealed that nine million trees have been planted, to be followed by a further million before the end of the year.
Coldplay will make a limited number of Infinity Tickets available for the shows via Ticketmaster at 12 noon on Friday, November 22. Infinity Tickets are released for every Coldplay show to make the Music Of The Spheres World Tour accessible to fans for an affordable price.
As always, they will cost £20 per ticket, and they are restricted to a maximum of two tickets per purchaser and must be bought in pairs, which will be located next to each other, anywhere in the venue.
Since the first Music Of The Spheres World Tour date in March 2022, Coldplay have sold more than ten million tickets, making it the biggest tour by a group of all-time.
Coldplay’s tenth studio album, Moon Music, will be released on October 4 and will set new standards for sustainability, with each LP being made from 100 cent recycled plastic bottles (nine per record). It is available to pre-order on EcoCD, EcoRecord LP and digital via ukstore.coldplay.com.
Moon Music is the world’s first album to be released on EcopCD, created from 90 per cent recycled polycarbonate, sourced from waste otherwise headed for landfill.
The track listing is: Moon Music; feelslikeimfallinginlove; We Pray, featuring Little Simz, Burna Boy, Elyanna and TINI; Jupiter; Good Feelings featuring Ayra Starr; 🌈; iAMM; Aeterna; All My Love and One World.
