Paul Lewis: ” A strain of melancholy threaded through the evening but the result was riveting”
PAUL Lewis is among Britain’s finest pianists. So to have him visit York at the invitation of the British Music Society – which is enjoying a bumper season – was a special privilege.
He presented two of Beethoven’s better-known sonatas, the ‘Pathétique’ and the ‘Appassionata’ (not names assigned by the composer), which framed a Debussy suite and Chopin’s Polonaise-Fantasy.
A strain of melancholy threaded through the evening but the result was riveting. The opening Grave of the ‘Pathétique’ was exceptionally spacious, with chord-resolutions delayed to the absolute maximum, so that the succeeding Allegro, taken at lightning pace, felt even quicker by contrast.
The accompanimental figures in the slow movement were rich and dark, which lent the main melody, beautifully sustained, an autumnal fireside warmth. In contrast, the rondo theme in the finale was surprisingly light and frisky at first, becoming progressively more urgent until its resolute last appearance, which recaptured the intensity of the very opening of the work.
Debussy’s Children Corner suite is not kiddies’ music, either for players or listeners. Lewis offered the pretence that it was, touching in the details of these character-pieces with a delicate brush while keeping their droll humour to the fore.
Jimbo’s clumsy lullaby, the doll’s clockwork serenade and a snowy white-out were but preludes to the loneliness of the little shepherd and the Golliwogg’s self- satisfied strut (with a moment of self-doubt thrown in). It was hard not to smile throughout.
Chopin’s Polonaise-Fantasy Op 61 in A flat. which dates from 1846, three years before he died, is one of the most forward-looking pieces he ever penned. It belonged next to Debussy in this programme exactly because it is so impressionistic.
Its dance element – the polonaise section of the title – only really becomes clear towards the end, after a considerable stretch of varying, improvisatory ramblings. Lewis excelled in differentiating its many changes of colour, where lesser pianists can get lost in its brambles. In his hands it became a ballade, often tinged with melancholy, with the third of its three main sections building persuasively into dramatic closure.
By now, Lewis’s adrenaline must really have been flowing: volatility was the name of his game in Beethoven’s ‘Appassionata’, Op 57 in F minor. Where there was some cloudiness in the first movement’s bass line, its very detail endowed the central variations with a marvellous nobility, stoically underpinning the increasingly taxing decorations.
He preferred to gloss over the ‘ma non troppo’ (not too much) of the third movement’s Allegro – which added to its fearsome frenzy but left little acceleration in reserve for the closing Presto. No matter: it still became a tragedy of Shakespearean proportions, daringly delivered.
Director Janet Farmer in the Pocklington Arts Centre auditorium
DIRECTOR Janet Farmer is to leave Pocklington Arts Centre this spring, ending a 25-year association with the East Yorkshire venue.
She will retire in mid-April after 22 years in post, preceded by three years of fundraising to transform the market town’s former cinema into a theatre, concert venue, cinema and studio gallery. The recruitment process to appoint her successor will start later this month.
From a standing start in 2000, Janet has led Pocklington Arts Centre (PAC) into becoming a leading small-scale arts venue, recognised nationally as a beacon of good practice with a significant cultural reputation.
Janet has drawn more than £1million in public funding to support the venue’s presentation of 3,500 film screenings and staging of 900 live events, numerous festivals, from Pocktoberfest to the Platform Festival at the Old Station, plus hundreds of community events, workshops, exhibitions and private hires.
She has programmed a diverse range of acts over the past 22 years, naming her personal favourites as Joan Armatrading, Lesley Garrett, Shed Seven, John Bishop, The Shires, Rhod Gilbert, Sarah Millican, Lucinda Williams, Baroness Shirley Williams, KT Tunstall, The Unthanks, Mary Chapin Carpenter, David Ford and Josh Ritter.
When informing PAC staff and volunteers of her decision, Janet said: “I am sure this will be said on many occasions over the next few months, but I want to thank all of the staff and volunteers for their tireless support, hard work, dedication and friendship. This has been vital to making PAC the success it is today.
“It has been an absolute pleasure and honour to lead PAC over two decades and it fills me with immense pride knowing what has been achieved during this time. I look forward to returning as a customer and perhaps a volunteer in years to come.”
In reply, “all at Team PAC” responded on social media: “Janet, you moulded our identity, you are part of the building’s DNA and the legacy and success of your tenure will be seen for decades to come. Pour yourself a large drink and enjoy your well-deserved retirement.”
CharlesHutchPress will be interviewing Janet Farmer and venue manager James Duffy to reflect on her tenure at Pocklington Arts Centre. Watch this space.
Pilot Theatre’s The Bone Sparrow: Premiering at York Theatre Royal next month
PODCASTING culture vultures Graham Chalmers & Charles Hutchinson pick their way through what lies ahead in their 2022 arts diary, from formulaic films to pioneering theatre in Episode 72 of Two Big Egos In A Small Car.
Kevin Clifton in Burn The Floor, returning to the Grand Opera House, York
FEEL the heat, despite the chill, as Charles Hutchinson’s calendar starts to hot up like a burst of tango.
Return of the week: Kevin Clifton in Burn The Floor, Grand Opera House, York, January 21, 7.30pm
STRICTLY champ Kevin Clifton returns to York to lead an international ballroom dance company in the fiery, rebellious tango, waltz and rhumba show Burn The Floor.
“Kevin from Grimsby”, who left BBC1’s Strictly Come Dancing professional roster after seven seasons at the end of 2019, last scorched the Grand Opera House boards in May 2019.
“Burn The Floor is the show that ignited a spark in me and changed me forever as a performer,” he says. “Through Broadway, West End and touring all over the world, this show has ripped apart the rule book, revolutionised our genre and inspired and shaped me as the dancer I am today.” Box office: 0844 871 3024 or at atgtickets.com/york.
Alfie Moore: Front-line copper-turned-comic. Picture: Tony Briggs
Offbeat police procedural: Alfie Moore, Fair Cop Unleashed, Helmsley Arts Centre, today, 7.30pm
FAIR Cop Unleashed, Alfie Moore’s latest stand-up tour show, is based on a dramatic real-life incident from the cop-turned-comic’s police casebook.
Re-live the thrilling ups and downs of the night when a mysterious clown came to town and more than one life ended up in the balance, as recalled with insightful humour by the BBC Radio 4 presenter. Box office: 01439 771700 or helmsleyarts.co.uk.
Teddy Thompson: Rearranged gigs in Pocklington and Leeds
Heartbreaker of the week: Teddy Thompson, supported by Roseanne Reid, Pocklington Arts Centre, January 22, 8pm; Leeds Brudenell Social Club, January 23, 8pm
TEDDY Thompson, an Englishman in New York since his 20s, heads home to play his tour rearranged from last year, showcasing his 2020 album Heartbreaker Please.
Famously the son of songwriters Richard and Linda Thompson, he was influenced heavily by Buddy Holly, Chuck Berry, Elvis Presley and the Everly Brothers, rather than his family folk roots, claiming he listened only to early rock’n’roll and country until he was 16. Box office: Pocklington, 01759 301547 or pocklingtonartscentre.co.uk; Leeds, brudenellsocialclub.seetickets.com.
Vintage performance: Pasadena Roof Orchestra, revelling in the music of the Twenties and Thirties
Nostalgia on tap: Pasadena Roof Orchestra, York Theatre Royal, January 28, 7.30pm
LED by suave singer and band leader Duncan Galloway, the Pasadena Roof Orchestra invite you to “pack up your troubles, come on get happy, and experience an evening of superlative live music with more than a dash of wit and humour”.
For more than 50 years, they have put on top hat and tails to re-create the golden era of the 1920s and 1930s, performing the songs of Irving Berlin, Ray Noble, Cole Porter and their contemporaries, complemented by the hot jazz of Fletcher Henderson and Duke Ellington. Box office: 01904 623568 or yorktheatreroyal.co.uk.
One of York artist Ian Cameron’s works on show at Helmsley Arts Centre
Never too late to start: Ian Cameron exhibition, Helmsley Arts Centre, until February 25
IAN Cameron became interested in art “quite late in life”, aged 50 in 2003, when he enrolled for an GCSE evening class. Art and design foundation course studies at York Art College ensued, since when he has taken part eight times in York Open Studios.
In his garden studio, he starts his paintings by doing a wax crayon rubbing on a manhole cover, then covering the rubbing with a vibrant watercolour wash called Brusho that causes a wax-resist result. “On to that I draw my image with a dip pen and Indian ink,” he says. “I embellish the artwork with collage and watercolours.”
Theatre Of The Macabre’s artwork for their Frankenstein premiere at Theatre@41, Monkgate
The horror, the horror: Theatre Of The Macabre in Frankenstein, Theatre@41, Monkgate, York, February 2 to 5, 7.30pm plus 2.30pm Saturday matinee
“IF you think you know everything about this story then come along and be pleasantly surprised about how little you really know,” say Theatre Of The Macabre, introducing the twisted fantasies and grotesque dreamscapes of their adaptation of Mary Shelley’s Frankenstein.
“Join us as we discover his innermost fears and misgivings which haunt his troubled mind and how his ungodly experiments defied the Laws of Nature.”
What dreadful secret does he keep hidden? Who is the mysterious stranger he can only refer to as “It”. All will be revealed in this disturbing premiere. Box office: tickets.41monkgate.co.uk.
My Darling Clementine: Delving into Costello country in Selby
Off to the country: My Darling Clementine, Selby Town Hall, February 3, 8pm
MY Darling Clementine, a labour of love for spouses Michael Weston King and Lou Dalgleish, began as a homage to the Sixties and Seventies’ country duets of George Jones & Tammy Wynette and Johnny Cash & June Carter Cash.
Their latest album, 2020’s Country Darkness, reinterpreted Elvis Costello’s country songs in a collaboration with Steve Nieve, Costello’s stalwart keyboardist in The Attractions and The Imposters. Box office for their first gig of 2022: 01757 708449 or selbytownhall.co.uk.
What’s the Buzz? Buzzard Buzzard Buzzard can be spotted flying high in Leeds in April
Bird song: Buzzard Buzzard Buzzard, Leeds Brudenell Social Club, April 23
BUZZARD Buzzard Buzzard, “the most exciting new band to break out of Wales”, promote their February 25 debut album in Leeds on the closing night of their 18-date spring tour.
The Cardiff indie glam rockers’ front man, Tom Rees, says: “Backhand Deals is a practice in subverting the ideology of rock music as something that needs to be ‘brought back from the dead’.
“Rock should be about enjoying yourself honestly, whether that’s washing the dishes, sweeping the yard, or complaining about whoever got elected.” Box office: brudenellsocialclub.co.uk.
The City of York civic party and performers at last September’s Yorkshire’s Got Talent showcase at the Joseph Rowntree Theatre, York
YORKSHIRE’S Got Talent is offering an open invitation for performers to take part in the online event’s second year.
The competition is the brainchild of Hannah Wakelam, Young Ambassador for the Joseph Rowntree Theatre in York, who organised last year’s contest across Yorkshire. Once more, the event will support the JoRo’s “Raise The Roof” fundraising appeal.
2022 entrants are invited to submit their audition tapes by Saturday, January 22 to be considered for the following round. The ten most successful performers, as decided by a public vote, will be joined by three wildcards of the judges’ choosing.
Those judges will be three West End professional performers, Laura Pick and Nathan Lodge, from last year’s panel, joined by May Tether, fresh from appearing in the national tour of Heathers The Musical.
Last year’s winner, Ed Atkin, was the headline act when the finalists’ held a showcase at the JoRo last September and has embarked on a course of vocational music study.
Organiser Hannah Wakelam
Organiser Hannah says: “Last year’s competition was really popular and gave performers from all across our region the chance to compete for a £250 cash prize and to perform on the Joseph Rowntree Theatre’s stage.
“We had to wait a while until we were able to put the showcase on, because of Covid restrictions, but the finalists’ show was well worth the wait. The feedback from all the audience was amazing! One of the highlights was when the performers had the chance to meet the City of York civic party backstage once the curtain had come down.”
To enter this year’s contest, send an audition tape to hannah.wakk@gmail.com and make a minimum donation of £5 to the Joseph Rowntree Theatre’s Just Giving page via: https://www.justgiving.com/fundraising/ygt22. “Please add your name, age and a little bit about yourself,” requests Hannah.
Three further rounds of the competition will follow, each judged by Laura, Nathan and May. “For the final round, you will have the amazing opportunity of being mentored by one of the judges,” says Hannah. “Following the initial audition submission, each round will be based on a theme, to be announced at the beginning of each round.”
Dan Shrimpton, chair of the JoRo charity’s trustees, says: “What makes this competition exciting to us, being a hub for community theatre across the whole of the Yorkshire region, is that, as the competition gets better known, we can see what talent the wider region has to offer.”
The Judges
Laura Pick: Returnee judge
Laura Pick
Now playing Elphaba in Wicked in the West End.
Theatre: Dr Osgood and featured ensemble in Anyone Can Whistle (Union Theatre) and understudy for Maria in The Sound of Music (Regent’s Park).
Other work: Lead vocalist for Belinda King Creative Productions; So This is Christmas (UK tour) and chorus for The Songs Of My Life: An Evening With Peter Polycarpou (Garrick).
Training: Mountview Academy of Theatre Arts.
Originally hailing from Wakefield, Laura is looking forward to seeing all the new and fresh talent Yorkshire has to offer.
Nathan Lodge: Fellow returnee judge
Nathan Lodge
Vocal vocal captain on M/S Color Fantasy; Queen by Candlelight, the Monastery, Manchester; theatre roles in Aladdin (Brick Lane Music Hall); The World Of Musicals (China Tour); Equally: A New Musical (Cockpit Theatre); Christmas In New York (Palace Theatre, West End); The 8th Fold (Duchess Theatre, West End).
TV credits: The Paul O’Grady Show (ITV); The One Show (BBC)
Training: York College and Italia Conti Academy of Theatre Arts.
Originally from York.
May Tether: new judge for 2022
May Tether
In 2021, she understudied Veronica Sawyer and played the drama club drama queen in Heathers The Musical on tour. Played Lily/Elijah/Pip in John Godber Company’s Moby Dick, directed by John Godber at Stage@The Dock, Hull, in June.
Performed for York Stage Musicals for many years, appearing at the Grand Opera House in Hairspray, 9 To 5 The Musical, Legally Blonde and Sister Act. Also appeared as Jill in York Stage’s debut pantomime, Jack And The Beanstalk, at Theatre@41, Monkgate, York, in December 2020.
Training: Trinity Laban Conservatoire.
Originally from Goole, May is thrilled to be a judge in this year’s Yorkshire’s Got Talent.
We Will Rock You: 20th anniversary tour visits Grand Opera House, York, next month. Picture: Johan Persson
WE Will Rock You’s 20th anniversary tour plays the Grand Opera House, York, from February 14 to 19 in week two of its 2022 tour, directed by the futuristic Queen musical’s writer, Ben Elton.
“I can hardly believe it’s been 20 years since We Will Rock You premiered in London, or that much of what we thought was science fiction in the script back then has turned into science fact,” says Elton, the Eighties’ godfather of political stand-up comedy, novelist and writer for stage and screen.
“I guess Queen were always ahead of the game! I’ve directed this show all over the world and I can’t wait to bring it home to the UK with a brand-new production and a fabulous cast of young Bohemians – Bohemians, most of whom were rocking in their cradles when this adventure first began.”
Since its 2002 premiere, more than 18 million theatregoers in 20-plus countries have seen the flamboyant musical hit that enjoyed 12 unbroken years at the Dominion Theatre, London, followed by multiple tours and a tenth anniversary world tour in 2013. This year’s seven-month British and Irish tour begins in Southsea, Portsmouth on February 7 before heading to York.
Powered by 24 Queen songs, We Will Rock You’s bold narrative is set in a distant, dystopian, globalised future where Earth is called Planet Mall and its inhabitants wear the same clothes, think the same thoughts and exist in a brain-dead haze.
In a system that bans musical instruments and composers, rock music is all but unknown, stirring a handful of rock rebels, the Bohemians, to fight against the all-powerful Global Soft company and its boss, the Killer Queen.
Scaramouche and Galileo, two young outsiders who cannot come to terms with the bleak conformist reality, join the Bohemians to seek the unlimited power of freedom of thought, individuality and love and to set free the rebirth of rock.
“I guess Queen were always ahead of the game!” says We Will Rock You book writer Ben Elton. Picture: Trevor Leighton
Elton recalls how it became clear to him that the story needed an abstract quality “that reflected the feel of the word and music, rather than its literal content”. “This was not pop music, but rock music. Some of the most famous rock ever written, and legendary music should have a legendary context,” he says.
“I began to think of legends, both new and old, from King Arthur to The Terminator; heroic myths in which brave individuals take on the vast monolithic force of evil systems.”
The idea for We Will Rock You emerged from a meeting between Hollywood actor Robert De Niro and Queen guitarist Brian May and drummer Roger Taylor in Venice in 1996.
De Niro’s daughter was a fan of the ubiquitous British band, prompting De Niro to ask if the rock legends had ever thought of creating a musical based on their songs.
May and Taylor subsequently became musical advisors to We Will Rock You but did have early reservations about staging such a show. “We were not initially convinced, not being fans of the ‘musical theatre’ genre on the whole,” says May. “The show needed to work in a theatrical context and retain the rock, while also incorporating the spectacle, uniqueness and humour embodied by Queen.”
Taylor concurs: “We [Queen] took the music seriously, but we never took ourselves seriously. We always had the ability to laugh at ourselves. Some of the stage gear and even some of the music is quite humorous. The whole middle section of Bohemian Rhapsody was. We did a lot of daft things and a lot of experimentation.”
Doing something new was important to May. “If we were going to go into this arena, the challenge was that we would somehow try and make it our own,” he says.
“The show needed to work in a theatrical context and retain the rock, while incorporating the spectacle, uniqueness and humour embodied by Queen,” says Brian May. Picture: Rankin
“There was a point where I realised there was a whole new area of creativity opening up to us if we wanted it – a whole new canvas to paint on”.
Cue the musical’s book, scripted by Elton. “He has such a great active mind that never ever stops churning out ideas,” says Taylor.
The resulting musical is fun, light and humorous but also contains softer and, at times, heart-rending moments that allow an audience to invest emotionally. “We Will Rock You is intriguing, challenging, achingly romantic, brutally cynical and at once both sad and hilarious,” says Elton.
Taylor agrees: “It’s silly, but funny and makes quite a lot of serious points while it goes on its rather daft course,” he says.
Echoing May’s determination to create something “new in every sense”, Taylor recalls the intention was “to keep it a bit gritty and make sure it’s not a typical show”.
Roll on 20 years when today’s focus on technological advancement leaves reading and the marriage of minds looking like outdated activities, prompting May to consider the musical’s significance in 2022. “I think it’s a very good comment on the way things are going,” he says.
“Ben’s idea that individuality is being eroded every second of the day and soon it will be impossible for people to write their own music, think their own thoughts, write their own poetry, is very perceptive.”
“It’s silly, but funny and makes quite a lot of serious points while it goes on its rather daft course ,” says Roger Taylor. Picture: Rankin
To May, “Radio Ga Ga represents the malady which is taking over the world. It’s almost like that old ‘men versus machines’ thing, which we also addressed a few albums ago,” he says.
We Will Rock You explores themes relevant to those growing up in today’s world, while the 2022 tour offers younger generations the chance to discover Queen’s back catalogue.
“I had this very strange thought that it’s quite possible that this particular musical might be the thing through which people know our music in 300 years’ time,” says May, who then reflects on Queen’s relevance, 52 years on from their formation in 1970. “I’m quite shocked at how fresh this stuff still sounds and it makes me very happy, obviously.”
May says audiences should expect “a stunning state-of-the art new-look production – but of course the original story is now more relevant than ever. We’re confident We Will Rock You fans will love revisiting the world’s first true ‘Rock Theatrical’, and a whole new generation will now discover the vibe!”
The tour cast will be led Ian McIntosh as Galileo and Elena Skye as Scaramouche, with Jenny O’Leary as Killer Queen, Adam Strong as Khashoggi, Michael Mckell as Buddy, Martina Ciabatti Mennell as Oz and David Michael Johnson as Brit.
The ensemble will include Laura Bird, Kate Leiper, Joanne Harper, Anna Davey, Edward Leigh, Spin, Karen Walker, David Muscat, Damien Walsh, Laura Ava-Scott, Victoria Collins, Joseph Connor, Louis Clarke-Clare and Jacob Fearey.
We Will Rock You rocks Grand Opera Hose, York, February 14 to 19; Sheffield City Hall, August 29 to September 3. York tickets are on sale at 0844 871 7615 or at atgtickets.com/york; Sheffield, sheffieldcityhall.co.uk.
YORK drag diva supreme Velma Celli is heading off to America for a month of cruise-ship shows, but not before a birthday bash at Impossible York.
Velma, the fabulous cabaret creation of West End musical actor Ian Stroughair, will mark Ian’s birthday on Thursday (13/1/2022) with an 8pm performance of The Velma Celli Show in the Wonderbar.
Then come those cruise-ship engagements for Atlantis Gay Cruises, whose publicity proclaims: “Gonna be FUN! Get on board the biggest event of 2022 for Atlantis’s 30th anniversary!
“5,500 guys. Superstar performers. Cutting-edge productions. Legendary concerts. Mind-blowing parties. And you! All on the world’s largest and most spectacular ship.
“We’re finally turning 30 with the greatest production in Atlantis history as we sail the best of the Caribbean for the perfect start to 2022.”
Here, CharlesHutchPress sets Velma/Ian the challenge of firing off quick answers to quick questions in a short break from packing for the travels ahead.
Velma Celli’s new show, God Save The Queens, will be premiered on the Atlantis Gay Cruises
How old will you be on Jan 13?
“Twenty-one. It’s a New Year miracle!”
What would be the perfect birthday present?
“World peace.”
What songs will you be performing at Impossible York?
“It’ll be a mixture of mine and the audience’s favourite from years gone by. A mixture of Whitney [Houston], Amy [Winehouse], Queen, Judy [Garland] and many more. Lots of impressions, banter and general camp fun! Doors at 7pm; show at 8pm.”
What show will you perform on the cruise ships and how often on each cruise?
“I’m performing two shows, A Brief History Of Drag and my new show, God Save The Queens, which is a celebration of British female recording artists. Adele. Annie Lennox. Amy. Dua Lipa. Four shows a week.”
Where will the two cruises sail to?
“OOOOO, so many places! Miami, Bahamas, Mexico, Honduras, Costa Rica, Puerta Vallarta and many more!”
Have you worked with Atlantis Gay Cruises before?
“I’m on contract number five. There should have been so many more but bl***y ‘Rona’ entered our lives, didn’t she!”
Any update on plans to present Irreplaceable, your David Bowie show, in York?
“YES! February 26th at Theatre@41 Monkgate, 8pm, when I’ll be celebrating Bowie and the artists he inspired.”
Velma Celli’s Aladdin Sane sash for Irreplaceable, the Bowie tribute show
What’s coming up for you in York after that?
“Me And My Divas on March 19th on my return to York Theatre Royal, where I sold out A Brief History Of Drag last May. Line-up to be announced, but you can expect ‘an overindulgent diva fest celebrating the songs and behaviour of all your favourite divas: Céline, Mariah, Whitney, Aretha, Cher, Britney (maybe not!) and many more.”
Of all those divas in that show – 2021 Best Cabaret winner at the Perth Fringeworld in Australia – who is your favourite vocalist and why?
“Whitney Houston! Hands down the greatest singer of all time, in my humble opinion.”
What else is in your diary for 2022?
“SO many more gigs at Impossible York, including my Drag Brunches and solo shows. We’re starting a new evening show called Back To The 80s and another brunch called Matinee Musicals Brunch! Tickets go live soon!”
What are your hopes for this year?
“No more ‘Rona’, lots of laughter and PEACE!”
What are your hopes for the arts world at large this year?
“A thriving community and lots of new writing! We all love a ‘Les Mis’ etc, but ’tis time to shine a light on new writing, artists, creatives and producers. A shout-out to Lambert Jackson Productions, who have been smashing compelling and fantastic new work pre and throughout this pandemic. Proud!”
The Velma Celli Show, Impossible York, St Helen’s Square, York, Thursday, January 13; doors at 7pm; show, 8pm. Box office: ticketweb.uk/event/the-velma-celli-show-impossible-york-tickets/11662445.
Velma Celli: Irreplaceable, Theatre@41, Monkgate, York, February 26, 8pm. Box office: tickets.41monkgate.co.uk.
Velma Celli: Me And My Divas, York Theatre Royal, March 19, 7.30pm. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
When shall we three meet again? When the hurlyburly’s done in The HandleBards’ Macbeth at York Theatre Royal
AS the pantomime season draws to a close, Charles Hutchinson turns his focus to new seasons and new reasons to venture out.
The skittish play: The HandleBards in Macbeth, York Theatre Royal, January 25, 7.30pm; January 26, 2pm and 7.30pm
THE HandleBards were the first professional company to play York Theatre Royal after Lockdown 3, lifting the long gloom with a ridiculously funny Romeo And Juliet. Now the three-pronged troupe opens the Spring! Season with an all-female, bewitching, unhinged, bicycle-powered, dead funny take on Macbeth, starring Kathryn Perkins, Natalie Simone and Jenny Smith.
Expect music, mayhem, murders, unusual applications of cycling paraphernalia and more costume changes “than you can Shake a spear at” in this irreverent, skittish romp through Shakespeare’s tragic “Scottish play”. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Charles Court Opera in The Mikado, visiting Harrogate Royal Hall on Sunday. Picture: Bill Knight
Oh, Vienna: International Gilbert and Sullivan Festival’s New Year celebration, Harrogate Royal Hall, today and tomorrow, 7.30pm.
ENCHANTMENT awaits in the Magic Of Vienna New Year Gala Concert today when the National Festival Orchestra, conducted by Aidan Faughey, presents works by Johann Strauss, Mozart and Lehar. International opera stars James Cleverton and Rebecca Bottone will be the soloists.
Charles Court Opera’s London production of G&S’s The Mikado will be performed on Sunday night, accompanied by the National Festival Orchestra. Box office: 01422 323352 or at gsfestivals.co.uk.
One Iota: Debut album launch at the JoRo
York album launch of the month:One Iota, supported by Odin Dragonfly, Joseph Rowntree Theatre, York, January 21, 7.15pm
YORK band One Iota are launching their debut album, More Than You Take, recorded at the venerable Abbey Road studios, in London, and Fairview Studios, Willerby.
Adam Dawson, James Brown, Andy Bowen and Phil Everard’s alt-pop group grew out of their three-piece tribute to The Beatles – The Threetles, of course – when they acquired a taste for writing their own songs in lockdown.
One Iota’s debut live show promises a full line-up, featuring live string arrangements for the Fab Four-influenced songs marked by rich vocal harmonies, innovative melodies and “more hooks than a cloakroom”. Box office: josephrowntreetheatre.co.uk.
Jacob George: Soloist for Schumann’s Violin Concerto at the Academy of St Olave’s January concert
By George, he’s back: Academy of St Olave’s Winter Concert, St Olave’s Church, Marygate, York, January 22, 8pm
THE Academy of St Olave’s Winter Concert features Jacob George, son of musical director Alan George, as soloist for Schumann’s Violin Concerto. He returns to solo duty for the York chamber orchestra after performing the Sibelius Violin Concerto in 2019.
The ASO’s first concert since last September’s sold-out resumption also includes two works inspired by Italy: Schubert’s Overture in the Italian Style, and Mendelssohn’s “Italian” Symphony No. 4. Box office: academyofstolaves.org.uk.
Nunkie Theatre Company’s artwork for the third instalment of their M R James Project, A Warning To The Curious
Ghosts at play: Nunkie Theatre Company in M R James’s A Warning To The Curious, Theatre@41 Monkgate, York, January 28, 7.30pm
NUNKIE Theatre Company bring two of M R James’s eeriest and most entertaining ghost stories back to life in Robert Lloyd Parry’s candlelit one-man show. Lost Hearts, an early work, is constructed around one of his most memorable villains, the predatory scholar Mr Abney.
Lloyd Parry pairs it with perhaps James’s most poignant and personal story, inspired by his holidays in Aldeburgh: A Warning To The Curious’s account of a young archaeologist being haunted and hunted by the guardian of an ancient treasure. Has the English seaside ever looked so menacing? Box office: tickets.41monkgate.co.uk.
Yvette Stone’s life-size puppet of The Creature, as first seen in Blackeyed Theatre’s Frankenstein in 2016. The new tour visits Scarborough next month. Picture: Alex Harvey-Brown
Monster smash: Blackeyed Theatre in Frankenstein, Stephen Joseph Theatre, Scarborough, February 9 to 12
NICK Lane has reinterpreted John Ginman’s original 2016 script for Blackeyed Theatre, built around Mary Shelley’s Gothic novel, wherein nothing can prepare Victor Frankenstein for what he creates in pursuit of the elixir of life.
Eliot Giuralarocca’s highly theatrical production combines live music and ensemble storytelling with Bunraku-style puppetry to portray The Creature, in the life-size form of Yvonne Stone’s 6ft 4inch puppet, operated by up to three actors at once. Box office: 01723 370541 or at sjt.uk.com.
Four decades of topical songs and glamour: Fascinating Aida’s Liza Pulman, left, Dillie Keane and Adèle Anderson. Picture: Johnny Boylan
Never tire of satire: Fascinating Aida, York Barbican, February 12, 7.30pm
DILLIE Keane, Adèle Anderson and Liza Pulman’s latest Fascinating Aida tour show features old favourites, songs you haven’t heard before and some you wish you’d never heard in the first place.
“But the songs are mostly topical and the glamour remains unstoppable,” say the satirists, who have been capturing the political and social fixations of our times for nigh on 40 years, from 1984’s Sweet FA to 2012’s Cheap Flights and beyond. All tickets remain valid from the postponed May 5 2021 date. Box office: yorkbarbican.co.uk.
Marc Almond fronting The Loveless, headliners at late-October’s Tomorrow’s Ghosts Festival in Whitby
Looking ahead to Halloween: Marc Almond’s The Loveless, headlining the Saturday bill at Tomorrow’s Ghosts Festival 2022, Whitby Pavilion, October 29
THE Loveless make their Tomorrow’s Ghosts debut with a headline set of their devilishly dark arts at Whitby Pavilion next Halloween.
In a project designed to take its constituent parts back to where they all began, Soft Cell singer Almond, Sigue Sigue Sputnik axeman Neal X, Iggy Pop’s touring rhythm section of Mat Hector and Ben Ellis and haunting Hammond organist James Beaumont “pledge themselves to the pulp appeal of garage rock in its rawest, most gripping guise”.
The Loveless draw material from Almond’s expansive back catalogue, Lou Reed and David Bowie’s canons, warped 1960s’ R&B staples and lost garage-rock gems. Box office: ticketweb.uk/event/tomorrows-ghosts-festival.
Artist Stephen Todd in his Sheffield studio
Weekend opening: Kentmere House Gallery,Scarcroft Hill, York, today and tomorrow
NEW year, New Beginnings and a website “going live again at last” adds up to the start of 2022 for Ann Petherick’s gallery in her home at Kentmere House, York.
Among the works on show today and tomorrow from 11am to 5pm are Allotments In Autumn paintings by featured artist Stephen Todd, from Sheffield.
Kentmere House Gallery also will be open for the York Residents Residents’ Weekend on January 29 and 30, 11am to 6pm each day.
NO time like the present to discover no-nonsense arts podcasters Graham Chalmers and Charles Hutchinson’s look back to the year of No Time To Die, Ralph Fiennes in York, Grayson Perry’s Pre-Therapy Years and Emma Rice’s Wuthering Heights.
Jacob George: Soloist for Schumann’s Violin Concerto
THE Academy of St Olave’s Winter Concert at St Olave’s Church, Marygate, York, on January 22 will feature Jacob George as soloist for Schumann’s Violin Concerto.
Jacob, the son of the York chamber orchestra’s musical director, Alan George, returns on solo duty after performing the Sibelius Violin Concerto in 2019.
As a teenager, he was principal second violin for the National Youth Orchestra of Great Britain, topped off by three concerts at the BBC Proms.
Jacob has appeared as a soloist with several orchestras, including performances of Dvorak’s Romance with York Guildhall Orchestra and the Kabalevsky Violin Concerto with Sheffield University Symphony Orchestra. Outside music, he works as a senior planning officer in urban development management.
The Academy’s first concert since last September’s sold-out return will feature two works inspired by Italy: Schubert’s Overture in the Italian Style and Mendelssohn’s “Italian” Symphony No. 4.
Musical director Alan George says: “We are looking forward to transporting our audience to sunnier Mediterranean climes with two Italian-inspired pieces, as well as welcoming Jacob back as soloist for the concerto.
“The Schumann Violin Concerto is a real curiosity, not performed for more than 80 years after it was composed, and still a relative rarity in the repertoire. It’s a wonderful piece, deeply affecting – dating from the end of his life, and well deserving of greater recognition: we hope to have another full house to sample its characteristic combination of sadness and joy.”
The 8pm concert is in aid of Musical Connections, a York charity that runs community choirs and weekly music groups in assorted care and community settings.
Tickets cost £15 (£5 for accompanied under-18s) at academyofstolaves.org.uk. Numbers are limited; book in advance to avoid disappointment. Check the academy website the week before the concert for any Covid-19 mitigation measures in place.
