Suzi Quatro: Using this iconic image from her first photographic session with Gered Mankowitz in 1973 to promote her 60th anniversary tour. York Barbican awaits
SUZI Quatro will mark the 60th year of her reign as “the Queen of Rock’n’Roll” by embarking on a five-date autumn tour, taking in York Barbican on November 15 as the only Yorkshire venue.
60 years? Michigan-born singer and bass guitarist Quatro started out in bands in Detroit, playing concerts and teen clubs with Ted Nugent, Bob Seger and others. In May 1964, her sister Patti formed the group The Pleasure Seekers with her, leading to their first single coming out on the Hideout Records label in 1965, when Suzi was 15, Patti, 17.
Further singles Never Thought You’d Leave Me and Light Of Love followed in 1966 and 1968 respectively.
In 1971, Suzi flew to England to work with songwriting hit factory Chinn and Chapman after producer Mickie Most saw her perform live.
She duly chalked up chart toppers with 2.5 million-selling Can The Can and Devil Gate Drive and had further hits with 48 Crash, Daytona Demon, The Wild One, If You Can’t Give Me Love and She’s In Love With You.
In the United States, her million-selling Stumblin’ In duet with Smokie’s Chris Norman reached number four in the Billboard Hot 100 in 1979, giving Suzi her only American Top 40 success.
Of York note, after appearing together in Annie Get Your Gun in the West End, she co-wrote the Babbies & Bairns signature song with dame Berwick Kaler in his York Theatre Royal panto pomp.
As well as selling more than 55 million records – she featured in the UK charts for 101 weeks between 1973 and 1980 – Suzi has branched out into acting, writing novels, broadcasting, making her documentary film Suzi Q and presenting her autobiography Unzipped live in a one-woman show.
She released the album Quatro, Scott & Powell, with two Seventies’ cohorts, Sweet’s Andy Scott and Slade’s Don Powell, in 2017; made two albums with her son, Richard Tuckey, No Control in 2019 and The Devil In Me in 2021, and joined forces with Scottish singer-songwriter Face To Face in 2023.
“It’s my 60th year in the business, and it still feels like I’ve just started,” says Suzi, 73. “Devil Gate Drive, number one, 51 years ago. Are you ready now? Let’s do it one more time for Suzi.”
The wild one will rock on, she vows. “I will retire when I go on stage, shake my ass, and there is silence,” she says.
Henry Strutt: “Fearless tenor was well suited to the role of leading Druid”
SPORTING a new logo on the backs of their music stands and joined by their long-time colleagues from Leeds Festival Chorus (also conducted by Simon Wright), York Guildhall Orchestra here launched the first of a series of Sunday afternoon concerts.
Cantatas by Parry and Mendelssohn framed Elgar’s ‘Enigma’ Variations. Parry’s setting of Milton’s Ode At A Solemn Music, known by its opening line Blest Pair Of Sirens, took him 20 years from conception to completion.
This performance echoed that tentative start, with the gentlemen of the chorus taking time to get into their stride. Buoyed by the orchestra’s enthusiasm, however, the choir gradually shed its inhibitions and invested increasing muscle in successive climaxes. Well before the end, Wright had them all relishing Parry’s discords.
The Mendelssohn was something of a rarity. Popular in the Victorian era, the secular cantata Die Erste Walpurgisnacht (‘The First Walpurgisnight’) sports a text by Goethe more suited to the age of Nietzsche than our own.
The roots of his ballad lie in heathen fertility rites, which were subsumed into Christian tradition by being centred on St Walpurga, a 9th-century Devonian nun who became an abbess in Germany. The modern rite is still observed on the eve of her canonisation, April 30.
Sarah Winn: “Firm contralto as a heathen woman”
Goethe, however, is not interested in the sacred aspects, more in rampaging Druids who terrorise Christians. Think witches on broomsticks and pagans with pitchforks and you are getting close.
Text aside, there is plenty for a choir to get its teeth into, along with three soloists. They all did just that. It was unashamedly enjoyable, much enhanced by some dashing brass.
Henry Strutt’s fearless tenor was well suited to the role of leading Druid, as was Sarah Winn’s firm contralto as a heathen woman. Too bad they had so little to do. The lion’s share of solo work went to Christopher Nairne, an 11th hour substitute, who doubled admirably as a hectoring Priest (bass) and a woebegone Christian guard (baritone). Simon Wright just about kept his enthusiastic orchestra on the leash, but it was a close shave.
It was impossible to ignore the subtlety Wright coaxed from his players in the Elgar. Between a smoothly circumspect opening inspired by his wife, Alice, and a colourful self-portrait at the close, we had many memorable moments, including Troyte’s verve and Sinclair’s bulldog, both cameos beautifully crisp.
Nimrod needed more line, especially in its early stages. But the violas excelled themselves, not only in Ysobel but also in partnership with the cellos in the recollection of Basil Nevinson, which was truly heartfelt. The orchestra’s voyage through Elgar continues to satisfy deeply.
Christopher Nairne: “Doubling admirably as 11th hour replacement“
Robert Hayward as Alfio in Opera North’s Cavalleria Rusticana: “Some of the finest singing he has ever delivered on this stage”. Picture: Tristram Kenton
WITH his distraught features spread across both covers of the programme in close-up, there was no doubting who was to be the anti-hero of this double bill.
Robert Hayward has made a speciality of portraying twisted psychotics – his Scarpia comes straight to mind – so the pistol-packing combination of Alfio in Mascagni’s melodrama with the title role in Rakhmaninov’s graduation exercise Aleko was right up his street.
In both, jealousy prompts his character to shoot dead the tenor, in this case the luckless Andrés Presno. Hayward rose to the occasion with some of the finest singing he has ever delivered on this stage.
Karolina Sofulak had returned to revive her 2017 production of Cavalleria Rusticana while tackling the company’s first look at Aleko. Rakhmaninov completed the latter in 1892, a mere two years after the Mascagni had caused a sensation.
Sofulak was understandably at pains to point out the parallels between the two. In close association with her designers, Charles Edwards (sets and lighting) and Gabrielle Dalton (costumes), she put Cavalleria Rusticana first, the reverse of the usual order with these two pieces.
Supplanting the sunshine and lemon blossom of Sicily with the darker but equally restrictive society of Communist Poland in the 1970s, she then – inspired by Pushkin’s poem The Gypsies on which the libretto is based – conceived Aleko as taking place in a 1990s post-hippie commune, such as Freetown Christiania in Copenhagen.
Helen Évora as Lola and Andrés Presno as Turiddu in Opera North’s Cavalleria Rusticana. Picture: Tristram Kenton
Here ‘Al’, who has by now changed the latter half of his name, is trying to liberate himself from the misdemeanours of his youth as Alfio. But his fate lies within his own dark heart, and he is unable to shake it off. It was an ingenious idea. It also put into much better perspective her staging of the Mascagni, which had not made much sense previously alongside Trial By Jury.
None of this would have worked without the conviction of Hayward. He moved convincingly from being a small-town, repressed Alfio, short of one or two marbles judging by his hesitant steps and inability to control his emotions, to a supposedly wiser, more worldly Aleko, whose anger still lay only just below the surface.
As Alfio, he was seen wringing his bloodstained hands at the end of the Mascagni. He was still wringing his hands, albeit now no longer gory, when he became Aleko. Shortly afterwards, he fondly cradled the gun he had used to shoot Turiddù (while a passenger in his beaten-up taxi), before secreting it in his suitcase.
Edwards’s set for Cavalleria Rusticana was bleak, in keeping with the deprivations of the villagers, queuing at Lucia’s counter for meagre supplies which soon ran out. It was still dominated by a huge wooden cross against which Turiddù’s outstretched arms presaged his imminent demise.
Presno’s fine tenor was almost too resonant for the role, given that his attacks were relentlessly fierce, making every note sound higher than it really was. But his depiction of emotional immaturity was telling enough.
Elin Pritchard’s Zemfira in Opera North’s Aleko. Picture: Tristram Kenton
He was immensely helped by Giselle Allen’s marvellously vicious Santuzza, spitting tacks like hell-fire. Anne-Marie Owens brought all her authority to bear on Lucia, and Helen Évora’s Lola was exactly the kind of girl-next-door ingénue to catch her lover’s eye.
The set for Aleko was a total contrast, built around a flashy bar where the community seemed to be perpetually drinking or dancing (very appealingly to Tim Claydon’s choreography).
Rakhmaninov’s score has more than a suggestion of Middle Eastern flavour, especially at the start, right out of the Rimsky-Korsakov playbook. Antony Hermus latched onto this, so that his orchestra underlined the other-worldliness of the setting. Elsewhere he was quick to lend extra drama to an already highly charged atmosphere.
Aleko moves forward in a series of tableaux rather than unfolding continuously, which makes the director’s task tough. But Sofulak’s cinematic style, apparently inspired by Kieślowski, was rarely less than riveting.
Hayward’s determined baritone stole the show, with Elin Pritchard’s luscious-toned Zemfira as his faithless wife. It was a clever conceit to have Lola reappear in a vision to remind Aleko of his earlier life. Presno’s Lover had less to do here and remained much in the Turiddù mould.
Matthew Stiff as Zemfira’s father delivered a pleasing seen-it-all-before aria. The chorus relished their opportunities, especially in Aleko, while Hermus kept his orchestra at a high level of intensity. But Hayward was the true key to the evening’s success.
REVIEW: Martin Dreyer’s verdict on Opera North in Albert Herring, Howard Assembly Room, Leeds
Dafydd Jones as Albert Herring in Opera North’s Albert Herring. Picture: Tom Arber
FOR the first show of Laura Canning’s reign as general director, Opera North returned to Giles Havergal’s successful production of 2013, here revived by Elaine Tyler-Hall.
As chamber-comedy, Albert Herring certainly benefited from the relative intimacy of the Howard Room, with the audience aligned three-deep on its long sides, facing inwards, and the action confined to the strip between. The orchestra was where the stage platform would normally be.
The production held fast to Havergal’s insistence that Loxford’s village stereotypes should be clearly differentiated but delivered a few carefully calculated extras. The opening scene was much enlivened by a parade of comely candidates for May Queen, all of whom looked extremely suitable but had to retreat dolefully for their alleged misdemeanours. There was a little caper by the judging panel when Lady Billows acquiesced in the choice of Albert.
Dafydd Jones, who has been a Leeds Lieder Young Artist, made his company debut in the title role with considerable aplomb, graduating smoothly from downtrodden drip to born-again bravado. His Act 2 solos as he fantasised about a better life were excellently paced.
Katie Bray as Nancy and Dominic Sedgwick as Sid in Opera North’s Albert Herring. Picture:Tom Arber
He was well supported by Dominic Sedgwick’s breezy Sid, whose aria was nicely nuanced, and Katie Bray’s assured and engaging Nancy; their love-duet was a breath of fresh air in this stuffy village.
Judith Howarth was in fine fettle as Lady Billows, superbly bolstered by Heather Shipp’s Florence Pike, who was if anything even more waspish: a formidable duo. William Dazeley, the only holdover from the original cast, was an avuncular vicar, wringing his hands in diffidence, matched in character-acting by Paul Nilon’s out-of-his-depth mayor.
Amy Freston’s twittery schoolmarm and Richard Mosley-Evans’s blustery local copper added further fuel to the farce. There was always the feeling that Claire Pascoe’s severe Mrs Herring meant well, a feather in her cap.
The threnody over Albert’s casket-to-be, which was overlaid by his tye-marked jacket, was beautifully delivered, which made Albert’s reincarnation all the more effective.
Rosa Sparks as Emmie, left, Willow Bell as Cis and Oliver Mason as Harry in Opera North’s Albert Herring. Picture: Tom Arber
There was a strong sense of a generation gap between the young and old in this village, enhanced by the three children, who were ably led by Rosa Sparks as Emmie, a promising debutante here.
Willow Bell as Cissie and Oliver Mason as Harold were her lively underlings, all encouraged to sing properly rather than pseudo-shout. Their alternates were Lucy Eatock and Dougie Sadgrove; all four are members of the company’s Children’s Chorus. They broke into dance at the slightest excuse (movement director Tim Claydon) which added to the fun.
Vital to the success of the whole evening was the stylish contribution by Garry Walker’s orchestra, whose interludes were potently atmospheric, notably in Act 2.
Diction was not always as clean as it might have been, and some of the voices strayed into territory too forceful for this arena, but those were minor misgivings in the face of Tyler-Hall’s admirable sense of ensemble. This site-specific production could not tour, though sold out weeks in advance. It will, however, be streamed on Operavision later this year.
Late Music York, Robert Rice and William Vann, Unitarian Chapel, St Saviourgate, York, February 3
WALTER de la Mare’s Peacock Pie (1922) is a charming collection of rhymes that have an appeal for all ages, not least through their evocation of childhood.
This recital, featuring baritone Robert Rice and pianist William Vann, mainly paired settings from the anthology by Armstrong Gibbs and Howells with first performances of the same poems by living composers, many of whom were in the audience.
Before that, Rice announced himself with Finzi’s song-cycle in tribute to Vaughan Williams, Let Us Garlands Bring, celebrating the latter’s 70th birthday in 1942. He at once established his sense of line and a keen awareness of text, while Vann added some tasty colour, not least in the postlude to ‘Who Is Sylvia?’. The duo was notably effervescent in ‘It Was A Lover And His Lass’.
Thereafter we had no fewer than ten premieres by nine different composers. As a whole, they were encouragingly well crafted, and a handful also revealed real inspiration.
Robert Walker found an ingenious way to conjure scissors at work in The Barber’s, which Armstrong Gibbs had not done. Also in the Gibbs corner was Charlotte Marlow’s Old Shellover, nicely shaped with its opening repeated.
Liz Dilnot Johnson exploited piano extremes in Hide And Seek and David Lancaster used effective syncopation in With Lantern Bright, a setting of the original ‘Then’. William Rhys Meek daringly selected Miss T, already wittily set by both Gibbs and Howells, and still managed to add tonal variety.
Amongst the Howells settings, Hayley Jenkins neatly milked the absurdity of Alas, Alack! in both parts, but her piano was hyperactive in The Dunce. Phillip Cooke conjured an appealing vocal line in Full Moon.
At this point we had heard no fewer than 26 songs. But there were still six to come that had nothing to do with the rest of the evening.
Having successfully curated the programme, David Power rewarded himself with his own (translated) settings of René Char, three written as a student nearly 40 years ago and the same three poems re-cast in 2016. The early ones had little to offer, the later ones were much bolder and more confident. But their relevance here was tenuous and looked like self-indulgence.
Nonetheless Rice and Vann treated them with the same tireless respect as elsewhere, despite not enjoying any biographies of their own in the otherwise truly admirable printed programme.
Wise Children “open the bloody door” to Emma Rice’s beguiling but disturbing Blue Beard at York Theatre Royal from Tuesday. Picture: Steve Tanner
PANTO dame tales and a comedian’s first-time memories, a classic thriller and a feminist fairytale, a community choir festival and a prog-rock legend make Charles Hutchinson’s list of upcoming cultural highlights.
Play of the week: Wise Children in Emma Rice’s Blue Beard, York Theatre Royal, February 27 to March 9, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
BLUE Beard meets his match when his young bride discovers his dark and murderous secret. She summons all her rage, all her smarts and all her sisters to bring the curtain down on his tyrannous reign as writer-director Emma Rice brings her own brand of theatrical wonder to this beguiling, disturbing tale.
Applying Rice’s signature sleight of hand, Blue Beard explores curiosity and consent, violence and vengeance, all through an intoxicating lens of music, wit and tender truth. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Rick Wakeman: Last return of the Caped Crusader at York Barbican
Catch him while you can: Rick Wakeman, Return Of The Caped Crusader, York Barbican, tonight (24/02/2024), 7.30pm
PROG-ROCK icon and Yes keyboard wizard Rick Wakeman, 76, is to call time on his one-man shows to concentrate on composing, recording and collaborating, but not before playing York. “I always planned to stop touring by my 77th birthday,” he says. “For those of you who wish to send me a card, it’s 18th May!”
Saturday’s show opens with Wakeman’s new arrangements of Yes material for band and vocalists, followed after the interval by his epic work Journey To The Centre Of The Earth. Box office for returns only: yorkbarbican.co.uk.
Robin Simpson on dame duty in York Theatre Royal’s All New Adventures Of Peter Pan
Pantomime revelations of the week: Robin Simpson: There Ain’t Nothing Like A Dame, Rise, Bluebird Bakery, Acomb Road, Acomb, York, tomorrow, 6.30pm
ALREADY confirmed for his return for Aladdin from December 3 to January 5 2025, York Theatre Royal’s resident dame, Robin Simpson, takes a peak behind the wigs into the glitz and glamour of life as a pantomime dame.
Simpson provides an insight into the origins of the character, backstage antics and classic cheeky panto humour as he reveals “what it’s really like to frock up and tread the boards”. Expect cheesy gags, naughty nonsense and even a silly sing-song.
“I’ve run this event before and it was mostly for slightly older children and adults. Ages 7/8 and above really,” says Robin. “The show includes stories, song-sheet sing-alongs and silly poems. It’s not at all serious!
“It’s fun to approach storytelling from the perspective of the dame. It’s a little more anarchic. I also start with a brief history of the pantomime, from Roman times to the modern day.
“I do this while getting dressed and made up into the dame with the idea that, by the time I’m talking about Dan Leno and the Victorian dame, I’m completely changed. There’s room for questions and chat too about being in a panto and what happens on stage and backstage. Like I say, it’s for KS2 and adults really.”
Earlier in the day, at 4.30pm, in an interactive one-hour event for children aged three to six, Robin and Susanna Meese will be spinning the Storywheel to reveal much-loved nursery tales. “It’s a wheel of fortune-style story generator where random fairytales are told and there’s lots of dressing-up, musical instruments, songs, props, puppets and play,” says Robin.
Afterwards, children can delve into story bags full of goodies and stay and play with the hosts, who will have everything needed for the children to tell the tales, including puppets, props, and costumes. Box office: bluebirdbakery.co.uk/rise
Maura Jackson: Public speaker, charity boss and now comedian, playing Theatre@41 tomorrow
Storyteller of the week: Maura Jackson: More O’ Me, Theatre@41, Monkgate, York, tomorrow, 7.30pm
AT 53 Maura Jackson cannot decide if she is a keynote speaker, charity CEO or comedian. Thanks to “the recklessness of menopause”, she is all three.
After living a life and a half and taking up stand-up in 2022 on a whim, storyteller Jackson takes tomorrow’s audience on a humorous rollercoaster of life-defining moments, good or bad. Despite her professed aversion to drama, she is surrounded by it. Box office: tickets.41monkgate.co.uk.
Neil McDermott, left, and Todd Boyce in Sleuth, “the thriller about thrillers”, at the Grand Opera House, York. Picture: Jack Merriman
Thriller of the week: Sleuth, Grand Opera House, York, Monday to Saturday, 7.30pm; 2.30pm Wednesday and Saturday
TODD Boyce, best known for playing Coronation Street’s notorious baddie Stephen Reid, will be joined by EastEnders soap star Neil McDermott in Anthony Shaffer’s dark psychological thriller about thrillers, directed by Rachel Kavanaugh.
What happens? A young man arrives at the impressive home of a famous mystery writer, only to be unwittingly drawn into a tangled web of intrigue and gamesmanship, where nothing is quite as it seems. Box office: atgtickets.com/york.
Rob Auton: Star of The Rob Auton Show, full of firsts, from memories to girlfriends to jobs
Comedy gig(s) of the week: Rob Auton, The Rob Auton Show, Burning Duck Comedy Club, The Crescent, York, February 28, 7.30pm; Mortimer Suite, Hull City Hall, February 29, 7.30pm; The Wardrobe, Leeds, March 1, 7.30pm
ROB Auton, Pocklington-raised stand-up comedian, writer, podcaster, actor, illustrator and former Glastonbury festival poet-in-residence, returns north from London with his self-titled tenth themed solo show.
After the colour yellow, the sky, faces, water, sleep, hair, talking, time and crowds, Auton turns the spotlight on himself, exploring the memories and feelings that create his life on a daily basis. Box office: York, thecrescentyork.seetickets.com; Hull, hulltheatres.co.uk; Leeds, brudenellsocialclub.seetickets.com.
Skylights: Lighting up York Barbican in November
Gig announcement of the week: Skylights, York Barbican, November 2
YORK band Skylights will play their biggest home-city show yet this autumn, with tickets newly on sale at ticketmaster.co.uk in a week when latest release Time To Let Things Go has risen to number two in the Official Vinyl Singles Chart.
Guitarist Turnbull Smith says: ‘We’re absolutely over the moon to be headlining the biggest venue in our home city of York, the Barbican. It’s always been a dream of ours to play here, so to headline will be the perfect way to finish what’s going to be a great year. Thanks to everyone for the support. It means the world and we’ll see you all there.”
In Focus: York Community Choir Festival 2024
Jessa Liversidge: Directing Easingwold Community Singers’ performance at the York Community Choir Festival
York Community Choir Festival 2024, Joseph Rowntree Theatre, York, February 25, 6pm; February 26 to March 1, 7.30pm; March 2, 2.30pm and 7.30pm
THE 8th York Community Choir Festival spreads 31 choirs across eight concerts over six days at the JoRo. On the opening evening, Easingwold Community Singers will be premiering director Jessa Liversidge’s arrangement of The Secret Of Happiness from the American musical Daddy Long Legs, with permission of composer and lyricist Paul Gordon.
“Festival organiser Graham Mitchell wanted a choir to perform this song,” says Jessa. “I bought the music but couldn’t find a choral arrangement, so I chanced my arm on contacting the composer to ask if there were any arrangements or could I do one, and he said, ‘yes, you can’.
“It’s a lovely gentle song. Hopefully it will go well, and I can then send Paul a recording.”
Choirs range from York Philharmonic Male Voice Choir to The Rolling Tones, Sounds Fun Singers to York Military Wives Choir, Selby Youth Choir to Track 29 Ladies Close Harmony Chorus. Six choirs from Huntington School perform next Friday, taking up all the first-half programme. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
York Community Choir Festival: the programme
Sunday, 6pm
Selby Youth Choir, Bishopthorpe Community Choir, Eboraca, Easingwold Community Singers.
Monday, 7.30pm
Community Chorus, York Celebration Singers, Euphonics, York Philharmonic Male Voice Choir.
Tuesday, 7.30pm
Jubilate, Some Voices York, Sounds Fun Singers, Abbey Belles Chorus.
Wednesday, 7.30pm
Stagecoach Youth Junior Choir, The Garrowby Singers, In Harmony, Stamford Bridge Community Choir.
Thursday, 7.30pm
York Military Wives Choir, Harmonia, Spirit of Harmony Barbershop Chorus, Heworth Community Choir.
Friday, 7.30pm
Huntington School Choirs, Vivace! Aviva York Choir, Main Street Sound Ladies, Barbershop Chorus
Deaf comedian Steve Day: Playing on the Hilarity Bites bill at Milton Rooms, Malton
A DEAF comedian and history-charting musicians, a classic thriller and a feminist fairytale, a community choir festival and a prog-rock legend make Charles Hutchinson’s list of upcoming cultural highlights.
Ryedale comedy gig of the week: Hilarity Bites Comedy Club, Steve Day, Ashley Frieze and Carl Jones, Milton Rooms, Malton, Friday (23/02/2024), 8pm
THE first Hilarity Bites bill of 2024 will be headlined by Steve Day, who describes himself as “Britain’s only deaf comedian and if there are any others he hasn’t heard them”! Actually, a couple of others have started since he wrote that joke, but it is only a joke after all.
On the bill too are guitar-toting funny man Ashley Frieze, with his charming, daft and warm brand of music-infused stand-up, and Midlands storytelling comedian Carl Jones, a football fanatic who interviews comedy cohorts for his Premier League nostalgia podcast When Football Began Again. Box office: 01653 696240 or themiltonrooms.com.
Chris Green and Sophie Matthews: 600 years of music crammed into 90 minutes at Pocklington Arts Centre
Musical tour of the week: Green Matthews: A Brief History Of Music, Pocklington Arts Centre, Friday, 8pm
STRING player Chris Green and woodwind player Sophie Matthews take in 600 years of musical history in 90 minutes, spanning the Middle Ages to the 20th century in a whistle-stop tour of Western music.
Featuring long-forgotten songs, tunes and jokes too, Green and Matthews paint a vibrant and vivid picture of our musical DNA, mixing the familiar and the obscure, the raucous and the reflective and the courtly and the commonplace. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Skylights: Lighting up York Barbican in November
Gig announcement of the week: Skylights, York Barbican, November 2
YORK band Skylights will play their biggest home-city show yet this autumn, with tickets going on sale on Friday at 10am at ticketmaster.co.uk in a week when latest release Time To Let Things Go has risen to number two in the Official Vinyl Singles Chart.
Guitarist Turnbull Smith says: ‘We’re absolutely over the moon to be headlining the biggest venue in our home city of York, the Barbican. It’s always been a dream of ours to play here, so to headline will be the perfect way to finish what’s going to be a great year. Thanks to everyone for the support. It means the world and we’ll see you all there.”
Rick Wakeman: Return Of The Caped Crusader at York Barbican
Catch him while you can: Rick Wakeman, Return Of The Caped Crusader, York Barbican, Saturday, 7.30pm
PROG-ROCK icon and Yes keyboard wizard Rick Wakeman, 76, is to call time on his one-man shows to concentrate on composing, recording and collaborating, but not before playing York. “I always planned to stop touring by my 77th birthday,” he says. “For those of you who wish to send me a card, it’s 18th May!”
Saturday’s show opens with Wakeman’s new arrangements of Yes material for band and vocalists, followed after the interval by his epic work Journey To The Centre Of The Earth. Box office for returns only: yorkbarbican.co.uk.
Jessa Liversidge: Directing Easingwold Community Singers’ performance at the York Community Choir Festival
Choirs galore: York Community Choir Festival 2024, Joseph Rowntree Theatre, York, February 25, 6pm; February 26 to March 1, 7.30pm; March 2, 2.30pm and 7.30pm
THE 8th York Community Choir Festival spreads 31 choirs across eight concerts over six days at the JoRo. On the opening evening, Easingwold Community Singers will be premiering director Jessa Liversidge’s arrangement of The Secret Of Happiness from the American musical Daddy Long Legs, with permission of composer and lyricist Paul Gordon.
Choirs range from York Philharmonic Male Voice Choir to The Rolling Tones, Sounds Fun Singers to York Military Wives Choir, Selby Youth Choir to Track 29 Ladies Close Harmony Chorus. Six choirs from Huntington School perform next Friday, taking up all the first-half programme. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Todd Boyce, left, and Neil McDermott in Sleuth, on tour at Grand Opera House, York. Picture: Jack Merriman
Thriller of the week: Sleuth, Grand Opera House, York, Monday to Saturday, 7.30pm; 2.30pm Wednesday and Saturday
TODD Boyce, best known for playing Coronation Street’s notorious baddie Stephen Reid, will be joined by EastEnders soap star Neil McDermott in Anthony Shaffer’s dark psychological thriller about thrillers, directed by Rachel Kavanaugh.
What happens? A young man arrives at the impressive home of a famous mystery writer, only to be unwittingly drawn into a tangled web of intrigue and gamesmanship, where nothing is quite as it seems. Box office: atgtickets.com/york.
Emma Rice: Writer-director of Wise Children’s Blue Beard, playing York Theatre Royal from next Tuesday
Play of the week: Wise Children in Emma Rice’s Blue Beard, York Theatre Royal, February 27 to March 9, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
BLUE Beard meets his match when his young bride discovers his dark and murderous secret. She summons all her rage, all her smarts and all her sisters to bring the curtain down on his tyrannous reign as writer-director Emma Rice brings her own brand of theatrical wonder to this beguiling, disturbing tale.
Applying Rice’s signature sleight of hand, Blue Beard explores curiosity and consent, violence and vengeance, all through an intoxicating lens of music, wit and tender truth. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Rob Auton: Star of The Rob Auton Show, full of firsts, from memories to girlfriends to jobs
Comedy gig(s) of the week: Rob Auton, The Rob Auton Show, Burning Duck Comedy Club, The Crescent, York, February 28, 7.30pm; Mortimer Suite, Hull City Hall, February 29, 7.30pm; The Wardrobe, Leeds, March 1, 7.30pm
ROB Auton, Pocklington-raised stand-up comedian, writer, podcaster, actor, illustrator and former Glastonbury festival poet-in-residence, returns north from London with his self-titled tenth themed solo show.
After the colour yellow, the sky, faces, water, sleep, hair, talking, time and crowds, Auton turns the spotlight on himself, exploring the memories and feelings that create his life on a daily basis. Box office: York, thecrescentyork.seetickets.com; Hull, hulltheatres.co.uk; Leeds, brudenellsocialclub.seetickets.com.
Blackeyed Theatre’s 2024 cast for the 60th anniversary tour of Joan Littlewood’s Oh What A Lovely War. Picture: Alex Harvey-Brown
BLACKEYED Theatre’s 60th anniversary revival of Joan Littlewood’s epic anti-war musical Oh What A Lovely War plays Harrogate Theatre from Thursday to Saturday.
A cornerstone of modern musical theatre, this exposé of the folly, farce and tragedy of the First World War was conceived and developed by Joan Littlewood and her Theatre Workshop, in Stratford, East London, in 1963, with a book by Theatre Workshop, Charles Chilton, Gerry Raffles and members of the original cast.
The fusion of timeless songs, such as Pack Up Your Troubles and It’s A Long Way To Tipperary, piercing humour and high jinks offers a satirical account of the First World War as seen through the eyes of the common soldier.
Wildly satirical, visually striking and deeply moving, the show is a humorous but heartbreaking snapshot of life for those caught in the crossfire of conflict, a unanimous voice from the trenches and a timely warning from the theatre of war itself. Now, more than ever, it holds a mirror up to the world and speaks to us all.
The cast comprises Tom Benjamin (Fire Songs, Frozen Light; Rewind, Ephemeral Ensemble); 2023 Rose Bruford graduate Tom Crabtree; Harry Curley (Once, Barn Theatre; Summer In The City, The Gatehouse; Caligari, Underbelly); Alice E Mayer (Frankenstein, Blackeyed Theatre; The Chronicles Of Wild Hollow, Audible; Y Mabinogi, Welsh tour); Chioma Uma (Brief Encounter, New Wolsey and UK tour; Kiss Me Kate, Watermill Theatre) and Euan Wilson (A Midsummer Night’s Dream, Vienna English Theatre; The Great Gatsby, Immersive London; Stick Man, UK tour).
On tour from last September to May 18, the production is directed by Nicky Allpress, with musical direction by Ellie Verkerk, movement direction by Adam Haigh, orchestration by Tom Neill, set design by Victoria Spearing, costume design Naomi Gibbs and lighting design by Alan Valentine.
“Our concept will explore the idea of war as a circus with an incredibly talented company of actor-musicians,” says Blackeyed Theatre director Nicky Allpress. Picture: Alex Harvey-Brown
“I’m so thrilled to be directing this unique piece of theatrical history, having followed Blackeyed Theatre and their extraordinary work for many years,” says Allpress. “One of the most exciting things about Oh What a Lovely War is how universal, timeless and ever relevant it is, and testament to the brilliance of the work is how it can bear endless reinterpretation.
“Our concept will explore the idea of war as a circus, with an incredibly talented company of actor-musicians bringing Joan Littlewood’s ground-breaking classic to life with music, comedy, and stories.”
BlackeyedTheatre artistic director Adrian McDougall adds: “I’m so proud of the entire team who have put together this incredible show. The experience this group of artists creates for our audiences night after night is nothing short of astonishing, and the response to the production bears that out.
“It’s also worth mentioning that our entire 2024 cast graduated from the same college, Rose Bruford, which is a real testament to the quality of its training! 2024 marks our 20th birthday, and I’m very proud not only that we continue to create shows of the quality of Oh What A Lovely War but that we do so sustainably with little or no funding and against an increasingly challenging theatrical landscape. I like to think Joan Littlewood would approve.”
Blackeyed Theatre in Oh What A Lovely War, Harrogate Theatre, February 22 to 24, 7.30pm plus 2pm Saturday matinee. Box office: 01423 502116 or harrogatetheatre.co.uk.
Further Yorkshire dates: Stephen Joseph Theatre, Scarborough, March 6 to 9 March, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees, 01723 370541 or sjt.uk.com; Hull Truck Theatre, March 19 to 23, 7.30pm plus 2pm Wednesday and Saturday matinees, 01482 323638 or hulltruck.co.uk; Leeds Playhouse, March 26 and 27, 7.45pm, 0113 213 7700 or leedsplayhouse.org.uk; Theatre Royal, Wakefield, April 30 and May 1, 7.30pm, 01924 211311 or theatreroyalwakefield.co.uk.
Amber Davies’s Vivian and Oliver Savile’s Edward, centre, in Pretty Woman The Musical
CHATTING with Mother Hutch’s carer on Monday morning, discussions turned to this week’s reviews. Pretty Woman. “Ah, I loved the film. I know every line. Especially the funny scenes,” she said.
And there you have it: exactly why Pretty Woman still appeals 34 years after the Julie Roberts/Richard Gere rom.com directed by Garry Marshall from a screenplay by J. F. Lawton.
Tickets have been selling like weiners (or ‘wieners’ according to the sign on David Rockwell’s set) for the run at the Grand Opera House, where Monday night’s excited atmosphere will be matched throughout a packed week.
Women dominated, often gathered in groups, of differing ages too, such remains the pull of this Cinderella meets My Fair Lady tale.
The book is by Marshall and Lawton, so no surprises to discover that all the favourite lines are still there. So too is the iconic red dress; the moment where the jewellery box snaps back on Vivian; the flip of the opera glasses; the finale where vertigo-suffering Edward must climb the fire escape to reach Vivian.
So too, the late-1980s setting on Sunset Boulevard, indicated by a reminder to switch off mobile phones that weren’t the norm back then, and later Edward using a phone the size of a brick.
What’s new is two-fold: a “blazing rock score” by Canadian rocker Bryan Adams (booked to play Dalby Forest on June 21, by the way) and Jim Vallance, and slick direction and choreography Tony Award-winning Jerry Mitchell.
Make that three-fold: 2016 Strictly Come Dancing champ Ore Oduba plays two characters: Happy Man, the narrator-cum-Sunset Boulevard wheeler-dealer in the spirit of Oliver Twist’s Fagin, as well as smooth operator Barnard Thompson, the all-seeing-yet-turn-a-blind-eye manager of the Beverly Wilshire hotel, where Edward and Vivian hook up.
That’s two Odubas for the price of one, making him the best value in this show, especially in his song-and-dance routine with Noah Harrison’s scene-stealing bell boy Giulio. The moment when Oduba’s Mr Thompson says he has previous experience of ballroom dancing, delivered with a knowing eye, is the best in show.
Ore Oduba’s Happy Man, one of his two, nay, three roles in Pretty Woman The Musical
Spoiler alert, Oduba even pops up in a third role, as an egregious Rodeo Drive fashion boutique owner. Again, there is that look, not so much breaking down theatre’s fourth wall, as being aware of the audience being one step ahead.
Pretty Woman is the one where, once upon a time in the late ’80s, Hollywood hooker Vivian Ward (Amber Davies, but not on press night) meets billionaire businessman Edward Lewis (Oliver Savile) on the strip.
As the line goes, they “both screw for money”, she by the world’s oldest profession, he by picking off failing companies’ assets: the ruthless “scrap dealer”, as his lawyer calls him.
“Be swept up in their romance in this dazzlingly theatrical take on a love story for the ages – and get to know these iconic characters in a whole new way,” invites the show’s description on the Grand Opera House website.
A whole new way? Well, only in that they now sing, a transformation in the tradition of George Bernard Shaw’s Pygmalion becoming My Fair Lady, but with better songs (by Frederick Loewe and lyricist Alan Jay Lerner).
Understudying for Davies, Sydnie Hocknell’s Vivian is sassy, more than savvy, as resolute and eager to learn as Eliza Doolittle, but with street smarts too, especially in her bond with Kit de Luca (Annell Odartey, understudying for Natalie Paris).
Savile’s Edward is arrogant, presumptuous, undeniably successful, heartless, decisive, but a tender piano player too. If Vivian’s life is “changed forever”, then so too is Edward’s, a point made more forcefully in the musical.
If you loved the film, then Pretty Woman will work its fairytale magic once more, but the songs don’t rival any of Adams’s hits. Nor, do they match professional debutante Lila Falce-Bass’s Violetta singing Sempre Libera from La Traviata in the opera scene. How could they?!
Roy Orbison’s Oh, Pretty Woman makes a guest appearance, teased just before the interval, but held back to the walkdown, where it feels tagged on, when it could have had much more impact when Vivian tries on dresses in Rodeo Drive. Maybe that was not allowed, however.
Pretty Woman The Musical, Grand Opera House, York, until Saturday, 7.30pm nightly, plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york
John Atkin conductiing the York Beethoven Project musicians at Millthorpe School
THE second event in the York Beethoven Project to perform all nine of his symphonies was a “huge success”, says director and conductor John Atkin.
On February 10, 56 musicians spent the day hosted by York Music Education CIC at Millthorpe School rehearsing Symphony No2, climaxing with an informal performance to an audience.
“York Music Education CIC were fabulous hosts; a number of senior students joined the orchestra for the day, and most groups popped in to listen at some point, including the I Can Play! session, bringing music to deaf children,” says John.
“As with Symphony No. 1, the day was very well organised and ran like clockwork, with five sessions of rehearsals, the second being a sectional one where the wind instruments were directed by Jonathan Sage.
“There were ample breaks between each session with a couple of hundred cups of tea and coffee as well as cake provided by parents and Friends of York Music Education CIC.”
The aim of the project is inclusivity and opportunity. “That’s why it was really great to include some new faces, especially the students who joined us or came into the open rehearsal and maybe experienced a large orchestra for the first time,” says John. “Huge thanks to Dan Hield and all his team.”
The day was particularly poignant for John, who attended York Music Centre as a pupil in the 1970s and 1980s, when it was held at what was Queen Anne’s Grammar School.
York Beethoven Project’s second day drew 56 musicians
“I first played there in a recorder ensemble as an eight-year-old, then returned as a trombonist in the late-1970s to play in YASSO and the Concert Band, which was a great experience and a good grounding in orchestral playing,” he says.
“I even gave up Saturday morning rugby to play, so it must have been pretty special! Either way, it was my first step along a career path that’s now gone on 40-plus years.”
What’s next? The project is making plans to perform Symphony No. 3, “Eroica”, with a 40-piece orchestra at the Joseph Rowntree Theatre, York, on September 14 and the Wesley Centre, Malton, on September 28 in the company of the White Rose Singers.
Billed as An Evening Of Revolutionary Music, these 7.30pm concerts will feature revolutionary music from musicals including Les Misérables, West Side Story, Carousel and Stephen Sondheim works too.
“We’re asking musicians who play instruments that Beethoven wrote for to sign up to the next event, but we really only have vacancies for strings and French horns,” forewarns John.
Sugababes in 2024: Mutya Buena, left, Siobhan Donaghy and Keisha Buchanan
SUGABABES will complete Futuresounds’ debut line-up for Live At York Museum Gardens in their second outdoor appearance in the city.
The London girl band’s original line-up of Mutya Buena, Keisha Buchanan and Siobhán Donaghy will perform on Sunday, July 21, following up their July 23 performance at the York Racecourse Music Showcase Weekend two summers ago.
They join London singer-songwriter Jack Savoretti on July 18 and chart-topping York titans Shed Seven on July 19 and 20 (both sold out) in the four-night run.
Futuresound Group’s Rachel Hill says: “We are thrilled to finally announce the completed line-up for our first year in the beautiful Museum Gardens with the incredible Sugababes.
Shed Seven: Playing sold-out shows at York Museum Gardens, supported by Peter Doherty, on July 19 and 20. Friday gig will feature Lottery Winners and York band Serotones, fronted by Rick Witter’s son Duke. Picture: Barnaby Fairley
“It’s so exciting to have some genuine icons join us while being able to showcase some of York’s brilliant local artists. With such an eclectic line-up, this will really offer the residents of York a weekend of live music to remember.”
Formed in 1998, Sugababes have topped the singles charts with Freak Like Me (2001), Round Round (2022), Hole In The Head (2003), Push The Button (2005), Walk This Way (with Girls Aloud, 2006) and About You Now (2007), while 2005’s Taller In More Ways and 2007’s Change hit the album chart peak too.
Jack Savoretti: Playing York Museum Gardens on July 18, supported by Foy Vance and York singer-songwriter Benjamin Francis Leftwich
Top ten hits came their way with Overload (2000), Angels With Dirty Faces (2002), Too Lost In You (2003), In The Middle (2004), Caught In A Moment (2004), Ugly (2005), Red Dress (2005), Easy (2006), Girls (2008), Get Sexy (2009), About A Girl (2009) and Wear My Kiss (2010).
The Sugababes line-up changed three times – Heidi Range, Amelle Berrabah and Jade Ewen joining at various points – before Buena, Buchanan and Donaghy reunited in 2011.
Live At York Museum Gardens is Yorkshire promoters Futuresound’s latest addition to a portfolio that has embraced Live At Leeds, Slum Dunk Festival and Ed Sheeran’s August 16 and 17 2019 performances at Roundhay Park, Leeds.
Futuresounds will present Madness on their C’est La Vie itinerary at Kirkstall Abbey, Kirkstall, Leeds, on July 26, supported by The Zutons. What a Yorkshire panoply of outdoor concerts is in prospect that night when Kaiser Chiefs will play York Racecourse and James will return to Scarborough Open Air Theatre.
Tickets: Madness, https://futuresound.seetickets.com/event/madness/kirkstall-abbey/2835070; Kaiser Chiefs, yorkracecourse.co.uk; James, scarboroughopenairtheatre.com.
The poster announcing the postcode presale for Sugababes’ show at York Museum Gardens
