Category: Theatre

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What’s On in Ryedale, York and beyond. Hutch’s List No. 31, from Gazette & Herald, from July 29 onwards

Christina Bianco’s June Carter Cash and Christopher Ryan Grant’s Johnny Cash in The Ballad Of Johnny & June. Picture: Pamela Raith Photography

JOHNNY and June’s country musical, The Queen and Margaret Thatcher’s handbag clashes, a rare Blueflies gig and The Streets’ masterpiece in full perk up Charles Hutchinson for the week ahead.

Musical of the week: The Ballad Of Johnny & June, The Johnny Cash Musical, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm matinees on July 29 & 30 and August 1

THIS thrilling musical from Jersey Boys director Des McAnuff celebrates the love, music and mayhem of country music couple Johnny Cash and June Carter Cash. Electrifying chemistry marks the performances of  Christopher Ryan Grant’s Johnny and Christina Bianco’s June in a story observed through the eyes of Ryan O’Donnell’s John Carter Cash, their son. Box office: atgtickets.com/york.

Blues gig of the week: Ryedale Blues Club presents The Blueflies, Milton Rooms, Malton, July 30, 8pm

ENDURING and beloved York blues and funk band The Blueflies – Miles Gilderdale, guitar and vocals, Gavin Ewing, bass and co-songwriter, and Paul Stipetic , drums – perform only rarely these days. Expect a night packed with outstanding musicianship, ace songs and the kind of atmosphere that only a combo with 40 years of musical muscle memory can create. Booking in advance is recommended on 01653 696240 or at themiltonrooms.com.

Tall tales of the week: Neil Delamere, Reinventing The Neil, Pocklington Arts Centre, July 30, 7.30pm

COMEDIC adventurer Neil Delamere returns with a new stand-up show, packed with tall tales and humorous stories. Join The Blame Game panellist and Celebrity Chase contestant as he ponders the eternal question: if it ain’t broke, should he fix it? Box office: 01759 or 301547 or pocklingtonartscentre.co.uk. 

Interpreters of the week: The Songs of Joni Mitchell, with Jesca Hoop & Lail Arad, The Citadel, York, Friday, doors 7pm, show 7.45pm

JESCA Hoop & Lail Arad, acclaimed singer-songwriters in their own right, perform intimate interpretations of their favourite Joni Mitchell songs, accompanied by Richard Sears on piano and special guest Naima Bock. Hoop presented Legend: The Joni Mitchell Story, the award-winning six-part BBC radio documentary and podcast on the Canadian singer-songwriter. Box office: thecrescentyork.com.

Political drama of the week: Handbagged, Stephen Joseph Theatre, Scarborough, Friday to August 29

MOIRA Buffini’s 2014 Olivier Award-winning play imagines what happened behind closed palace doors when two of the 20th century’s most powerful women, Queen Elizabeth II and Prime Minister Margaret Thatcher, locked handbags. Meeting once a week for 11 years, one believed there was no such thing as society; the other committed her life to serving it.

Spanning 1979 to 1990, Handbagged asks if The Queen and the Iron Lady ever found common ground or did their stiff upper lips reign supreme? Hannah Tyrrell-Pinder directs the SJT cast of Pandora Clifford, Liz Garland, Alexandra Mathie, Deven Modha, Simon Darwen and Meriel Scholfield. Box office: 01723 370541 or sjt.uk.com.

Shakespeare show of the week: Four Forty Theatre in A Midsummer Night’s Dream, Joseph Rowntree Theatre, York, Friday, 7.30pm

FOUR Forty Theatre (or 440 Theatre, as their website uses both names) tackle Shakespeare’s romantic romp of a chaotic comedy, A Midsummer Night’s Dream, with their trademark irreverence, wit and theatrical ingenuity, directed by Dominic Gee-Burch, formerly of fellow high-speed Shakespeare humorists Oddsocks Productions.

Lovers are enchanted, fairies feud and a troupe of hapless players rehearse their way into disaster, all in a single moonlit night. Inventive staging, breakneck character changes and playful dismantling of tradition mark out Four Forty’s mischief-making take on Shakespeare’s best-loved comedy: part affectionate homage, part riotous reinvention. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Duo of the week: Snake Davis with Gareth Moulton, Helmsley Arts Centre, Friday, 7.30pm

THE Snake Davis and Gareth Moulton duo is back on the road, featuring saxophonist-to-the-stars Davis and Manchester-born, Macclesfield-based  singer-songwriter and guitarist Moulton, his best buddy, with the promise of new material and a new album.

Davis has performed with Paul McCartney, James Brown, Tina Turner, The Eurythmics and Amy Winehouse and has featured on more than 400 recordings by 60 artists, including Lisa Stansfield’s Change, M-People’s Search For A Hero and Take That’s Million Love Songs. Moulton is lead guitarist with Cutting Crew and “moonlighting” singer and guitarist with Wang Chung and has recorded and toured with Heather Small, Jim Diamond, Paul Young and Go West. Box office: 01439 771700 or helmsleyarts.co.uk.

Coastal gigs of the week: Scarborough Open Air Theatre presents The Streets, A Grand Don’t Come For Free, Saturday; Sex Pistols featuring Frank Carter, Sunday, gates 6pm

FOR the first time, The Streets’ Mike Skinner is performing his landmark 2004 album A Grand Don’t Come For Free in full on tour. One of the most influential British records of the 21st century, the multi-platinum-selling chart topper delivered era-defining singles Dry Your Eyes, Fit But You Know It and Blinded By The Lights while taking a cinematic journey through the love, loss, chaos, heartbreak, hope and raw emotion of everyday life with poetic wit and honesty.

Original Sex Pistols members Steve Jones, Paul Cook and Glen Matlock are joined by vocalist Frank Turner on Sunday to mark “50 years of chaos and celebration” since the punk iconoclasts’ brace of Summer 1976 gigs at Manchester’s Lesser Free Trade Hall. The Stranglers and The Undertones are special guests. Box office: scarboroughopenairtheatre.com.

York comedy gigs of the week: Hot Water Comedy Club presents Paul Smith, Happy, York Barbican, Saturday and August 5, 7.30pm

PAUL Smith, resident MC and compere of Liverpool’s Hot Water Comedy Club, is heading to York for two nights in his biggest, boldest tour show, Happy: fearless stand-up at full throttle, brimful of observations, true stories and audience interaction. Pulling tales from  real life, Smith finds joy in the chaos, laughter in the everyday and comedy in absolutely everything. Box office: yorkbarbican.co.uk.

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When The Queen met Mrs Thatcher each week for 11 years, what was said? Let Handbagged imagine the power play at SJT

Hangbagged director Hannah Tyrrell-Pinder working with cast member Simon Darwen. Picture: Tony Bartholomew

THEY met once a week for 11 years. One believed there was no such thing as society. The other committed her life to serving it.

On stage at the Stephen Joseph Theatre, Scarborough, from tonight until August 29, Moira Buffini’s comedy Handbagged imagines what happened behind closed palace doors when two of the world’s most powerful women, Queen Elizabeth II and Prime Minister Margaret Thatcher, clashed.

Spanning 1979 to 1990, this Olivier Award-winning 2014 play asks if HM The Queen and her PM, the Iron Lady, ever found common ground or did their stiff upper lips reign supreme?

The SJT revival is in the hands of director Hannah Tyrrell-Pinder, whose later father, Andrew Pinder, served as the UK’s e-Envoy from 2000 to 2004 under Prime Minister Tony Blair,  receiving his CBE from The Queen in 2004.

“He was going to turn it down because of his working-class Yorkshire  roots [he was born in Sheffield] and being a dyed-in-the-wool Labour voter – we grew up never watching The Queen’s Christmas message on TV – but everyone else talked him into it because I wanted to go to Buckingham Palace!” recalls Hannah.

“We just got to stand at the back while Dad got his honour from The Queen, with a proper handshake and a bow, but I do remember us being driven through the palace gates, having our photos taken like we were important.”

Hannah has now come into rather closer contact with The Queen, at least theatrically, in being at the helm of Handbagged, with its two versions of Elizabeth II, Meriel Scholfield’s Q, the older monarch, and Liz Garland’s Liz,  her younger self, playing opposite Alexandra Mathie’s T and Pandora Clifford’s Mags.

“I’m absolutely thrilled to be directingHandbagged at the SJT this summer, working with this brilliant company of actors to bring to life some of the most prominent figures from recent history,” says Hannah.

Pandora Clifford, left, and Alexandra Mathie in the SJT rehearsal room. Picture: Tony Bartholomew

“Presenting Handbagged in the Round is so exciting, engaging in an immediate dialogue with our audience, and bringing them face to face with two of the most powerful women of the 20th century.”

Hannah knew SJT artistic director Paul Robinson in his time in the same post at Theatre503, when she was first starting out as Box Of Tricks’ joint artistic director and co-founder, and had worked with Amy Fisher, now the SJT’s head of producing, at Box Of Tricks (where Amy is a board member).

After talking to Paul about freelance work, he came back with the suggestion of Hannah directing Handbagged in the summer season and liked her ideas on how to stage it. Amy was a useful source too on how to make a play speak to the SJT audience, one steeped in the comedies of Sir Alan Ayckbourn since 1959.

“They’re a lovely audience, where they’re so invested in having a good time and care so much about their theatre and want to have pride in it,” says Hannah.

Ayckbourn’s 92nd play, The Trial Of Romeo Oscar, a futuristic drama exploring what it means to be human in 2194, will open six days after Handbagged concludes its look-back at the recent past.

“I’m surprised that we’ve not seen more versions of Margaret Thatcher on stage because she’s such a fascinating character,  and even though The Queen has left us too, we are still caught up in how she represented us,” says Hannah. “Margaret Thatcher had a similar impact on our psyche: for some people, she was the utmost villain; for others, she was a real inspiration.”

Analysing Handbagged’s theatrical style, Hannah says: “The show is very interesting because it is so meta-theatrical and theatrically literate, dipping into the notion of storytelling and the art of telling the truth. They [The Queens and PM] may say ‘I’m not  a fan of theatre’, but they both enjoyed theatre, they both loved music and went to musical theatre, and they understood the value of art, so there’s a lot to learn about them that way.

“I don’t think they would have been unhappy about being the subject of a play when language was so important to both of them, given how much they had to communicate with words, and with the gaps in between; the nuances that go with that, when there’s so much in between the lines.”

Liz Garland, left, and Meriel Scholfield in rehearsal for the Stephen Joseph Theatre production of Handbagged. Picture: Tony Bartholomew

In the distinction between politician and monarch, Mrs T could be frank, where The Queen could not. “You can’t fault Margaret Thatcher for her force of vision, when she could have been more collaborative. You don’t have that force now, when politicians try to prevaricate about a subject, where you can’t be certain about what they think,” says Hannah.

“For The Queen, it was a hard role because she repressed so much and had to be in control of what she said.”

Margaret Thatcher’s 1993 book, The Downing Street Years, all 900-plus pages of it, was invaluable to constructing her character in Handbagged. “Whereas The Queen is a much trickier proposition, where we want to know what she was like behind her public appearances, what she was like behind closed doors, because people were so loyal to her, so it’s difficult to get a sense of that voice,” says Hannah,

“But there’s something enjoyable about knowing you can never have the ‘true’ voice but you can bring playfulness and irreverence to it. As a piece of theatre, Handbagged enters a contract with the audience where we suspend disbelief and you’re given licence to say it’s as much about interpretation as it is about what you’re seeing, and with these two women that’s even more enjoyable.”

Hannah grew up in a “very anti-Thatcher household, and not fans of the Royal Family either”, but in working on Handbagged, she has developed “respect for just how much Margaret Thatcher had to deal with the patriarchy – respect for both of them, in  fact.”

“It was so much more difficult for them than if they had been men, particularly for Margaret Thatcher, living in a strict religious community, going to church four times on Sundays, as the daughter of a Methodist lay preacher,” she says.

“She had this sharp, sparky brain that she couldn’t use at first, but she kept fighting to use it, and you have to have respect for that, just as I developed an admiration for Denis Thatcher, how they really supported each other in a loving relationship and were an example of a loving marriage that worked. That’s been a realisation for me.”

Handbagged runs at Stephen Joseph Theatre, Scarborough, tonight until August 29. Box office: 01723 370541 or sjt.uk.com.

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REVIEW: The Ballad Of Johnny & June, The Johnny Cash Musical, Grand Opera House, York, until Saturday ****

Christopher Ryan Grant’s Johnny Cash and Christina Bianco’s June Carter Cash duetting in The Ballad Of Johnny & June, on fire at Grand Opera House, York, this week. Picture: Pamela Raith Photography

ONE comment stood out in Drama Desk Award nominee Christina Bianco’s interview with CharlesHutchPress ahead of her return to York to play June Carter Cash in The Ballad Of Johnny & June.

“The film [James Mangold’s 2005 biopic Walk The Line] is only about 60 per cent accurate, whereas it’s so special that this show comes from the family,” she said.

The Johnny Cash Musical is directed and co-authored by Jersey Boys director (in tandem with Robert Cary), but the key voice belongs to Johnny and June’s only son, story consultant John Carter Cash, whose books Anchored In Love: An Intimate Portrait of June Carter Cash and House of Cash: The Legacies of My Father, Johnny Cash, inform the script so richly.

What’s more, Ryan O’Donnell’s John Carter Cash narrates the musical, breaking down the fourth wall to engage in informal, home-spun conversation with the Stallls, full of homilies on the thorn pricks of love and marriage as he reflects on the truths behind “country music’s greatest romance”.  

After sold-out seasons at La Jolla Playhouse, San Diego, California, and  the Citadel Theatre, Edmonton, Canada, Christopher Ryan Grant has crossed the Big Pond to play Johnny Cash on tour, joined by UK-based New Yorker Bianco, whose acting, singing and impersonating skills were last seen in York as the multi-voiced LV in Jim Cartwright’s tragic-comedy The Rise Of Little Voice at the Theatre Royal in July 2022.

Not that she delivers an impersonation of June here. “I feel a great responsibility to present her as accurately as possible, without doing an impression,” she told CharlesHutchPress. Her performance is all the more truthful for focusing on emotional depth, her June in full bloom in the face of Johnny’s hurricane, while her singing grows ever stronger, the more  the show progresses.

The subtitle may be The Johnny Cash Musical, but McAnuff and Cary’s show gives equal time to Johnny and June, even if Ryan’s swarthy, black-eyed Johnny is the last to arrive on stage, the Man in Black held back for maximum impact.

Grant looks the part, physically imposing, moving with a swagger, crystallised in the way he holds his guitar, and then there is that deep-as-a-well Arkansas voice: the rolling thunder of his basso profundo, suited equally to warmth, flirting, righteous fire and darkness in songs that address sorrow, fickle morality and redemption with room for humour too (typified by A Boy Named Sue).

As many as 33 songs feature, some sung by O’Donnell’s affable John in storytelling mode, others by characters denoted as Man and Woman 1, 2 and 3, playing wives, husbands, members of Cash’s Tennessee Three and more besides. Anne Marie Wojna is particularly striking as Johnny’s wife Vivian, who inspired I Walk The Line, rooted in his vow not to stray or consume pills.

As O’Donnell’s narrator reveals, those vows were broken. Cash is drawn to pills & alcohol, as much as to June, although the veracity of how they first met is played out three ways by the show’s end, because Johnny and June may be unreliable witnesses, and so John Carter Cash lets us play judge and jury.

This warts’n’all musical, like Jersey Boys before it, features such career landmarks as Ring Of Fire (with Johnny challenging June’s claim of writing his biggest hit), his Folsom Prison and San Quentin concerts, his television specials and his late-career revival with Trent Reznor’s Hurt.

There is no mention of the cotton farmers’ son’s four years in the American Air Force, nor of  producer Rick Rubin’s key contribution to his American Recordings late renaissance, but the tragic death of his brother and Sam Phillips’ early influence at Sun Records do feature, while the typeface on the list of locations and city names above Robert Brill’s wood-dominated set design mirrors the American Recordings album covers.

Throughout, the ‘ballad’ of Johnny & June plays out as a love affair that damaged but fed each other, as son John asks June to admit to her prescription drug habit in later years and Grant’s Johnny has to address his demons, encapsulated in his soul-baring rendition of Hurt.

Connagh Tonkinson’s band is terrific throughout, especially Morgan Rees’s trumpet, while  Byron Easley’s delightfully diverse choreography, Sarafina Bush’s costumes, Peter Fitzgerald’s sound design and Sean Nieuwenhuis’s projections all add to the sound and fury signifying everything in the volatile yet boundless love of Johnny and June.

The Ballad Of Johnny & June runs at Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Thursday and Saturday matinees. Box office: atgtickets.com/york.

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York Theatre Royal to co-produce Arthur Miller’s Death Of A Salesman in first alliance with Glasgow Citizens Theatre in 2027

The poster image for York Theatre Royal’s co-production of Death Of A Salesman with Glasgow Citizens Theatre. Picture: FEAST

YORK Theatre Royal will present a major new revival of Arthur Miller’s Death Of A Salesman as the centrepiece of the new season.

In a first for the St Leonard’s Place theatre, the production will be co-produced with Glasgow’s Citizens Theatre.

Directed by Citizens Theatre artistic director Dominic Hill, Death Of A Salesman will open at York Theatre Royal on March 2 2027, preceded by previews from February 24, and will run until March 27 before transferring to Glasgow from April 7 to May 1 2027.

Richard Grassie’s image for Emma Rice Company’s revival of Tristant & Yseult

Miller’s heartbreaking story of the pursuit of wealth and popularity remains devastatingly relevant today. After 34 years on the road, Willy Loman returns home exhausted, having sacrificed everything in pursuit of success and recognition. Yet the American Dream seems always just out of reach.

When his career falters and the debts mount, Willy is lost in memories of the past as his family tries desperately to reconcile the man they love with the tragic consequences of his delusions.

In another co-production, York Theatre Royal will continue its creative collaboration with the Emma Rice Company and Nottingham Playhouse in a revival of Kneehigh and Emma Rice’s Tristan & Yseult. Last seen on stage in 2017,the production will be staged at York Theatre Royal from April 6 to 17 as part of a nationwide UK tour.

The artwork for John Godber’s new play This Is The Life, touring York Theatre Royal next January

Paul Crewes, York Theatre Royal’s chief executive officer, says: “We’re very excited about this upcoming season. Most notably, in a first for us, we will be working with our friends at Citizens Theatre in Glasgow on Arthur Miller’s modern classic Death Of A Salesman, directed by the fabulous Dominic Hill. This is a wonderful collaboration with a great theatre.

“Spring 2027 will also see us co-producing again with the Emma Rice Company and Nottingham Playhouse on a revival of Tristan & Yseult. I have such fond memories of originally producing this show with Emma when we were both at Kneehigh alongside Mike Shepherd. I can’t wait for York audiences to have the chance to finally see this production that successfully toured the world for many years.”

Paul continues: “These productions join the line-up of our other produced work already on sale, including our revival of Margaret Atwood’s The Penelopiad later this year with Amelia Bullmore as Penelope, our Youth Theatre production of Wendy And Peter Pan and the highlight of the festive season, our panto Snow White And The Seven Dwarfs.

The Penelopiad: Directed by York Theatre Royal creative director Juliet Forster this autumn

“Our dance programme also continues to be one of the most exciting in the north of England, with the return of London City Ballet, the world premiere of the latest show from Carlos Acosta and the Acosta Danza Company and Ben Duke’s Lost Dog coming to York for the first time. I hope we have given audiences plenty to look forward to with a range of classics, new work and family favourites on our stage.”

Dominic Hill, artistic director of Citizens Theatre, says: “I am delighted to be directing a new production of this brilliant Arthur Miller play that is one of the most influential works of the 20th century.

Lost Dog’s Juliet & Romeo, playing York Theatre Royal on November 20 and 21. Picture: Paul Blakemore

“It could not be more timely in the age of Donald Trump’s politics of greed and toxic masculinity. But Death Of A Salesman is also an ordinary working man’s story, as a family tries to wrestle with living up to expectation and forging their own path. I can’t wait to see the reaction from audiences in York and Glasgow to this new production.”

Other highlights include the UK premiere of Acosta Danza’s Cuban Baroque, in collaboration with York Theatre Royal, running from October 1 to 3. The visiting programme also includes the UK premiere of London City Ballet: Firebird – A Mixed Bill ( co-produced by York Theatre Royal, London City Ballet and Opera De Vichy) on September 18 and 19.

In a new touring production starring Jane Asher and Samantha Womack from November 10 to 14, Daisy Goodwin’s By Royal Appointment tells the story of Queen Elizabeth II’s life behind-the-scenes. Lost Dog’s dance-theatre duet Juliet And Romeo flips the story of Romeo And Juliet on its head, blending dance, comedy and theatre on November 20 and 21.

The poster artwork for By Royal Appointment, booked into York Theatre Royal for November 10 to 14

York Theatre Royal will welcome back a variety of York and Yorkshire companies in the upcoming season in the Studio, including York Actors Collective in The Strongbox (October 28 to 31) and Story Craft Theatre’s festive production of The Enormous Christmas Pudding (December 16 to 24).  

Wakefield’s John Godber Company will return with John Godber’s new play,  This Is The Life, from January 27 to 30 in the Main House, where York Light Opera Company will perform the Dolly Parton musical, 9 To 5 – The Musical, from February 4 to 13.

For the full programme and tickets, go to: https://www.yorktheatreroyal.co.uk/. Box office: 01904 623568.

Acosta Danza in Carlos Acosta’s Cuban Baroque, part of the dance programme at York Theatre Royal. Picture: Johan Persson
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Emma Rice Company announces cast for first revival of Tristan & Yseult since 2017. York Theatre Royal awaits next April

Emma Rice: Directing revival of Tristan & Yseult

THE EMMA Rice Company has announced the cast for the 2026-2027 revival of Emma Rice’s Tristan & Yseult, booked into York Theatre Royal for April 6 to 17 next year.

First produced in 2003 and last seen on stage in 2017, now the new production will be co-produced by York Theatre Royal and Nottingham Playhouse and will preview at Theatre Royal, Bath, from September 11.

John Leader and Nandi Bhebhe will lead the cast as Tristan and Yseult, joined by Matthew Churcher (Frocin), Tom Fox(Morholt and Brangian), Jack Heydon(Love Spotter), Stephanie Hockley (Whitehands), Edward Rowe(King Mark) and Nigel Sudarkasa (Love Spotter).

In the band will be Pat Moran, Stu Barker, Harry Miller, Philippa Hogg and, as alternate for the New York run, Mary Johnson.

John Leader: Cast as Tristan in Emma Rice Company’s Tristan & Yseult

Staged originally by Cornish company Kneehigh and Emma Rice, Tristan & Yseult opened in the open air at Restormel Castle in Cornwall and Rufford Abbey in Nottinghamshire. In 2004, it played cliff-side Minack Theatre, in Porthcurno, Cornwall, before being re-imagined as an indoor production for the Cottesloe at the National Theatre in 2005. Now, the new UK tour marks the first time Tristan & Yseulthas been performed to audiences since 2017.

Written by Anna Maria Murphy and Carl Grose and adapted and directed by Rice, the show will be staged by a creative team featuring Stu Barker (composer), Simon Baker (sound designer), Malcolm Rippeth (lighting designer) and Etta Murfitt (choreographer & intimacy coordinator). Bill Mitchelll’s original set and costume design is refreshed by Vicki Mortimer.

One of the most influential theatre productions of the 21st century, Tristan & Yseult’s “poem to love and its madness” is returning for the first time in ten years, offering a rare chance to encounter a modern masterpiece fresh and live on stage.

Visceral, playful and heartbreakingly beautiful, Rice’s internationally celebrated production blends myth, music, movement and storytelling. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Nandi Bhebhe: Cast as Yseult in Emma Rice Company’s Tristan & Yseult

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1,300 discounted £15 tickets released for upcoming shows as York Theatre Royal launches scheme for age 16 to 30

The Penelopiad: One of the shows in the new free membership scheme for £15 tickets for young theatregoers at York Theatre Royal

YORK Theatre Royal is launching a new free membership scheme for 16 to 30-year-olds to provide the opportunity to enjoy the best seats in the house for only £15.

They can book two tickets (one for themselves, one for a friend or family member of any age) for a variety of Theatre Royal main-house productions.

Shows on offer include such Theatre Royal in-house dramas as Margaret Atwood’s The Penelopiad and Arthur Miller’s Death Of A Salesman; world-class dance performances in London City Ballet’s Firebird and Acosta Danza’s Cuban Baroque; musical offerings from York Light Opera Company, including 9 To 5 The Musical, and much more besides.  

16-30 YTR Members also will acquire access to invitations to exclusive membership events and monthly £15 Club newsletters to keep up to date when new shows are added.

For each production included in the discount scheme, 100 £15 tickets will be released, available on a first-come, first-served basis.

Signing up is free and membership can be added at https://www.yorktheatreroyal.co.uk/support-us/memberships/16-30/ or via calling the Theatre Royal box office on 01904 623568. More details on the shows can be found on www.yorktheatreroyal.co.uk/whats-on/

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Full cast and creative team announced for The Penelopiad at York Theatre Royal

The cast for York Theatre Royals’ revival of The Penelopiad

AMID the summer buzz over Christopher Nolan’s film account of The Odyssey, the full cast and creative team is in place for York Theatre Royal’s autumn revival of Margaret Atwood’s The Penelopiad.

Joining the already announced Amelia Bullmore in the leading role of Penelope will be Nell Baker (Laertes), Danielle Bird (Eurycleia), Olivia Burton-Laws (Naiad Mother), Theatre Royal pantomime alumna Faye Campbell (Melantho), Pena Iiyambo (Helen), Kat Johns-Burke (Antonius), Syakira  Moeladi (Telemachus) and Charlie Russell (Odysseus).

Directed by Theatre Royal creative director Juliet Forster, the production will open on October 14, with previews from October 10, and will run until October 31.

“Margaret Atwood is such a phenomenal writer – she’s clever, witty, subversive and her insights into human dynamics are acutely well observed,” says Juliet. “The Penelopiad is a funny, moving, fast-paced, visual feast, a classical tale told through a contemporary lens. The epic, heroic story of The Odyssey will never look the same again! I am thrilled we will be staging it here at York Theatre Royal, and I can’t wait to get started on the show.” 

The Penelopiad writer Margaret Atwood. Picture: Luis Mora, 2020

Adapted for the stage by Booker Prize winner Margaret Atwood from her 2005 novella, The Penelopiad’s feminist retelling of The Odyssey reimagines Homer’s epic through the eyes of Penelope and her chorus of maids.  

Atwood, author of the modern feminist classic The Handmaid’s Tale, presents a powerful, irreverent and darkly humorous retelling that unpicks one of the oldest of myths.  Immortalised as the devoted and faithful wife to the glorious Odysseus, Penelope waits 20 years for her husband to return from the Trojan War, silently weaving and unpicking and weaving again. Now it is time to hear the story of those left behind. 

Reimagining this ancient tale, Atwood gives voice to the silenced Penelope and her maids. Wandering the underworld, Penelope spins a different kind of thread: her side of the story – a tale of injustice, betrayal and revenge. 

 Forster, director of such York Theatre Royal productions as Little Women and Around The World In 80 Days-ish!, will deliver an exuberant and witty retelling that questions the version of events we think we know and exposes the truth behind the myth.

Juliet Forster: Director of York Theatre Royal’s production of The Penelopiad

Juliet says: “It has been such a joy to meet so many brilliant women over the last couple of months, and what a phenomenally talented cast and creative team we have lined up for The Penelopiad. It is clear just how strongly this story resonates with people today, and I am looking forward to a rehearsal room buzzing with excitement and creativity. 

“Margaret Atwood’s powerful script is so rich with wit and humour as she unveils a new feminist perspective on the familiar Odyssey myth. The show is interwoven with songs and exuberant movement and we hope to offer audiences an entirely different way of understanding the story of Penelope and her maids – and most importantly a great night out.”   

Amelia Bullmore will return to the stage to star as Penelope, having last trod the boards in the 2018 revival of Annie Baker’s 2009 play Circle Mirror Transformation at HOME, Manchester.

Amelia says:“I’m thrilled I’m going to be working at York Theatre Royal – such a beautiful theatre – on this fantastic play. The Penelopiad manages to be funny, dark, moving and provocative by turns. And it’s Margaret Atwood, so the writing is uniquely brilliant. I think audiences will love how playful it is and how directly it connects with them.”

Amelia Bullmore: Cast as Penelope in The Penelopiad

Welcoming her to York, Juliet says: “It is wonderful to have Amelia on board to lead the cast for The Penelopiad. Penelope is such a fascinating and complex character in Margaret Atwood’s retelling and I know Amelia will do her justice! I can’t wait to work with her to bring this compelling story to the stage for York audiences.”

Joining Forster in the all-female creative team will be designer Sara Perks, lighting designer Alexandra Stafford, composer, musical director and sound designer Kate Marlais, movement director Michelle Edwards and casting director Ellie Collyer-Bristow.

To ensure as many people as possible can enjoy the show, the first preview on October 10 will be offered on a ‘Pay What You Choose’ basis, allowing audiences to pay as little or as much as they wish. 

The York Theatre Royal Choir will present special foyer performances for audiences on October 10 and press night, October 14, before the 7.30pm shows start.  

Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.

York Theatre Royal’s poster for The Penelopiad. Concept: Émilie Chen. Photography: Camilla Greenwell

Did you know?


MARGARET Atwood’s The Penelopiad premiered at the Swan Theatre, Stratford-Upon-Avon, in July 2007 in a co-production between the Royal Shakespeare Company and Canada’s National Arts Centre. York Theatre Royal’s production marks the first major UK revival since that original staging. 

Amelia Bullmore: back story

THEATRE credits include Circle Mirror Transformation (HOME Manchester); A Christmas Carol (Noël Coward Theatre); The Norman Conquests (The Old Vic and Circle in the Square Theatre, New York); The Crucible (Sheffield Crucible); Really Old, Like Forty Five (National Theatre); Road and The Queen And I (Leicester Haymarket, Royal Court Theatre and UK tour).

Also, The Thickness Of Skin (Royal Court Theatre); A View From The Bridge, Romeo And Juliet (Royal Exchange Theatre and UK Tour); All My Sons and How The Other Half Loves (Cheltenham Everyman); Be-Bop-A-Lula (Liverpool Playhouse and UK tour); The Red Balloon (Contact Theatre); The Threepenny Opera (Birmingham Rep);  Major Barbara and Sweet Bird Of Youth (Citizens Theatre, Glasgow);The Way Of The World (Wilton’s Musical Hall) and Ladies In The Lift (Red Stockings Theatre Company.)

Her television credits include Riot Women; The Buccaneers; Happy Valley; Gentleman Jack; Scott & Bailey (as series regular DCI Gill Murray and co-writer); Twenty Twelve; The Crown; Vienna Blood; I’m Alan Partridge; Jam; Big Train; State Of Play; Ashes To Ashes; The Jetty; Marble Hall Murders;The Larkins and Coronation Street (as series regular Steph Barnes).

Her films include Mrs Dalloway, Festival, The Truth, Endgame and What We Did On Our Holiday.

She is an acclaimed writer for TV, radio and stage. Her play Di And Viv And Rose premiered at Hampstead Theatre, London before transferring to the Vaudeville Theatre in the West End.

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The Curious Incident Of The Dog In The Night-Time to play Grand Opera House in October with teenager Chris now female

The full cast for Melting Pot and Birmingham Rep’s tour of The Curious Incident Of The Dog In The Night-Time, playing Grand Opera House, York, from October 27 to 31

ALEX Keenan and Imi Price will become the first women to portray fearful yet fearless teenager Chris Boone in Melting Pot and Birmingham Rep’s bold new interpretation of The Curious Incident In The Night-Time, booked into the Grand Opera House, York, for October 27 to 31.

Directed by Ned Bennett, this fresh perspective on one of contemporary theatre’s most iconic characters will honour the heart of the original story while inviting audiences to experience Simon Stephens’ adaptation of Mark Haddon’s novel through a new lens.

The story combines the intrigue of a whodunit with a coming-of-age story, wherein 15-year-old schoolgirl Chris Boone is gifted with a brilliant mind for numbers but is unsettled by the unpredictability of people and everyday life, distrusting strangers deeply, never venturing alone beyond the end of her road.

Novelist Haddon never called Chris autistic or attributed Asperger Syndrome to the character, but she does not like to be touched, is incapable of lying, can count binary numbers to infinity and has powers of logic beyond conventional reasoning or normal patterns of behaviour.

When a neighbour’s dog is discovered killed, Chris comes under suspicion. Determined to prove her innocence, Chris becomes both detective and suspect, drawn into a mystery that grows darker and more complex with every clue uncovered.

Charlie Brooks as Teresa Phillips in her York debut at the Grand Opera House in 2017 in Alan Ayckbourn’s How The Other Half Loves

What begins as the search for a culprit soon reveals secrets closer to home, forcing Chris to confront truths that will test her courage, family and understanding of trust, independence and the wider world.

Keenan and Price will alternate the lead role on tour, joined by Charlie Brooks and Joe McFadden as Chris’s parents Ed and Judy.

Brooks is best known for her long-running soap opera role since 1999 as wildcat Janine Butcher, caught up in cocaine addiction, murder and prostitution in EastEnders. Rumours began yesterday that Janine is to return after four years [on release from prison] for “two explosive episodes in the autumn”.

Brooks made her York debut in October 2017 in Alan Strachan’s revival of Alan Ayckbourn’s 1969 comedy of matrimonial mishaps How The Other Half Loves, playing Teresa Phillips on tour at the Grand Opera House. “Teresa is fiery and strong, like Janine, but I think the similarities end there,” she said at the time.

McFadden has appeared in the BBC’s The Crow Road and Holby City and ITV’s Heartbeat and was the 2017 Strictly Come Dancing Glitterball winner to boot. He played film director Jason in the Original Theatre Company’s production of Agatha Christie’s The Mirror Crack’d at York Theatre Royal in October 2022 and was last seen on a Yorkshire stage as Andy Dufresne in The Shawshank Redemption at Leeds Grand Theatre in May this year.

Joe McFadden’s Jason, the film director, in Agatha Christie’s The Mirror Crack’d at York Theatre Royal in October 2022, playing opposite Sophie Ward

Completing the ‘Curious Incident’ cast will be Bridgette Amofah as Siobhan; Alex Murdochas Mrs Alexander/Posh Woman/Voice One; Matthew Bulgo as Roger (Mr Shears)/Duty Sergeant/Voice Two/Mr Wise/Man Behind Counter/Drunk One and Jerone Marsh Reid as Mr Thompson/Man with Socks/London Policeman/Voice Three.

Carla Garratt will play Punk Girl/No. 40/Voice Five/Information; Tom Clegg, Reverend Peters/Uncle Terry/Voice Four/Station Policeman/Station Guard; Robert Penny, Voice Seven, and Sera Mustafa, Mrs Gascoyne/Woman on Train/Shopkeeper/Police Officer One/Voice 6. All will perform ensemble roles too.

Alongside Ned Bennett in the production team will be set & costume designer Eleanor Bull; lighting designer Laura Howard; composer & sound designer Giles Thomas; video designer Hayley Egan; movement director Jenni Jackson; costume supervisor  Izzy Pellow; props supervisor Eve Hall; casting director Abby Galvin and associate director Anastasia Osei-Kuffour.

The Curious Incident Of The Dog In The Night-Time premiered at the National Theatre, London, in 2012 and has been seen globally by more than five million people. The National Theatre’s inaugural tour visited the Grand Opera House, York, in January 2015. York company Pick Me Up Theatre staged the play in April 2025 at Theatre@41, Monkgate.

Pick Me Up Theatre in Andrew Isherwood’s production of The Curious Incident Of The Dog In The Night-Time at Theatre@41, Monkgate, York, in April 2025

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More Things To Do in and around York. Hutch’s List No. 30, from The York Press

Tom Grennan: Performing after this afternoon’s race card on Knavesmire

VETERANS James Taylor and Tom Jones on the coast, Knavesmire’s music showcase, York Proms and Johnny and June’s country musical stand out in Charles Hutchinson’s recommendations for the week ahead.

Race day concert of the week: York Racecourse Music Showcase Weekend, Knavesmire, Tom Grennan, today

BEDFORD singer-songwriter Tom Grennan is today’s post-racing performer, drawing on such hits as Little Bit Of Love, Let’s Go Home Together, Remind Me, Here and How Does It Feel, plus songs from his number one albums Evering Road, What Ifs & Maybes and Everywhere I Went Led Me To Where I Didn’t Want To Be and top-five debut Lighting Matches. Tickets: yorkracecourse.co.uk; no booking fees; free parking on race day.

Tom Jones: Returning to Scarborough Open Air Theatre tomorrow

Coastal concerts of the week: Scarborough Open Air Theatre, An Evening with James Taylor and His All-Star Band, today; Tom Jones, with Stone Foundation, tomorrow; gates open at 6pm

MASSACHUSETTS singer, songwriter and guitarist, Laurel Canyon folk luminary, six-time Grammy winner and Rock and Roll and Songwriters Halls of Fame inductee James Taylor, 78, draws on six decades of songs, from his self-titled 1968 debut to 2021’s 19th studio album, American Standard, tonight.

Tom Jones, or Sir Tom Jones since 2006, to be more formal, returns to Scarborough this weekend aged 85 to perform such favourites as It’s Not Unusual, What’s New Pussycat?, Delilah, Green, Green Grass Of Home, A Boy From Nowhere, Kiss, Mama Told Me Not To Come and Sex Bomb. Joining Sir Tom will be the eight-piece soul collective Stone Foundation. Box office: scarboroughopenairtheatre.com.

Hannah Maxwell: Fiercely hopeful exploration of human connection in the Information Age at Theatre@41, Monkgate. Picture: Christa Holka

Fringe shows of the week: Halfway To Edinburgh at Theatre@41, Monkgate, York, presents Hannah Maxwell: Turn Your ****ing Phones Off (Work in Progress), today,6.30pm; Kate McCabe and Adam Perrott, The Name Of The Dame, tomorrow, 7.30pm

PERFORMED in traverse with an immersive technical design by Benji Huntrods, theatre-maker Hannah Maxwell’s Edinburgh Fringe-bound new performance artwork is a dark, absurd and fiercely hopeful exploration of human connection in the Information Age, expounding playfully on the rise of Big Tech, attention-hacking innovations and surveillance capitalism, while recounting Maxwell’s personal struggles with phone addiction and her bid for a life in analogue.

Dames, detectives, stylish hats and ‘car chases’ combine in comedians Kate McCabe and Adam Perrott’s hour-long film-noir parody. “If you like Airplane and Police Squad, the oeuvre of Mel Brooks, dicey puns and sight gags, this show is probably for you,” they say. Box office: tickets.41monkgate.co.uk.

Totally Visible Theatre Company in a scene from Invisible, to be spotted at Friargate Theatre tonight

Bonds of friendship of the week: The Totally Visible Theatre Company in Invisible, Friargate Theatre, York, tonight, 7.30pm

FIVE women meet up on a Saturday morning, as they have done every week for years, but this time they have a plan. Fast forward one year and their lives have changed irrevocably.

Celebrating the bonds of friendship and the fascinations and pitfalls of contemporary life, Invisible is a frank, fast-paced, all-female comedy-drama that ruminates on how older women are perceived in society, the relationships they forge and, most importantly, their “invisibility” in writer-director Jane Barrie’s exploration of sisterhood, motherhood and the effects of upbringing. Box office: 01904 655317 or ridinglights.org/friargatetheatre.

Ashley Stillburn: York-born tenor making his York Proms debut tomorrow

Picnic concert of the week: York Proms, York Museum Gardens, tomorrow, 5.30pm

RUN by classical chart-topping York soprano Rebecca Newman and now in its ninth year, York Proms features music from the world of classical and opera, film soundtracks and show songs. Increasing the orchestra size this summer enables the inclusion of John Williams cinema compositions.

The soloists are York-born tenor and West End musical actor Ashley Stillburn in his York Proms debut and British/Irish soprano Jennifer Coleman, making her third appearance. Tickets update: Available today but NOT tomorrow at yorkproms.com/collections/tickets-2026.

Christopher Ryan Grant’s Johnny Cash and Christina Bianco’s June Carter Cash in The Ballad Of Johnny & June, on tour at Grand Opera House, York, next week. Picture: Pamela Raith Photography

Musical of the week:The Ballad Of Johnny & June, The Johnny Cash Musical, Grand Opera House, York, July 28 to August 1, 7.30pm plus 2.30pm Wednesday, Thursday & Saturday matinees

THIS thrilling musical from Jersey Boys director Des McAnuff celebrates the love, music and mayhem of country music couple Johnny Cash and June Carter Cash. Electrifying chemistry marks the performances of Christopher Ryan Grant’s Johnny and Christina Bianco’s June in a story observed through the eyes of Ryan O’Donnell’s John Carter Cash, their son. Box office: atgtickets.com/york.

In addition, the trio gives a special pop-up performance of songs from the show at Forty Five Vinyl Cafe, the Nashville-inspired concert venue, record store and coffee house in Micklegate, on July 29 at 1pm.

“Tribute” show of the week: Songs Of presents The Songs of Joni Mitchell, with Jesca Hoop & Lail Arad, The Citadel, York, July 31, doors 7pm, show 7.45pm

JESCA Hoop & Lail Arad, acclaimed singer-songwriters in their own right, perform intimate interpretations of their favourite Joni Mitchell songs, accompanied by Richard Sears on piano and special guest Naima Bock. Hoop presented Legend: The Joni Mitchell Story, the award-winning six-part BBC radio documentary and podcast on the Canadian singer-songwriter. Box office: thecrescentyork.com.

Jesca Hoop: Intimate interpretations of Joni Mitchell songs at The Citadel

Political drama of the week: Handbagged, Stephen Joseph Theatre, Scarborough, July 31 to August 29

MOIRA Buffini’s 2014 Olivier Award-winning play imagines what happened behind closed palace doors when two of the 20th century’s most powerful women, Queen Elizabeth II and Prime Minister Margaret Thatcher, locked handbags. Meeting once a week for 11 years, one believed there was no such thing as society; the other committed her life to serving it.

Spanning 1979 to 1990, Handbagged asks if The Queen and the Iron Lady ever found common ground or did their stiff upper lips reign supreme? Hannah Tyrrell-Pinder directs the SJT cast of Pandora Clifford, Liz Garland, Alexandra Mathie, Deven Modha, Simon Darwen and Meriel Scholfield. Box office: 01723 370541 or sjt.uk.com.

Alexandra Mathie, left, and Pandora Clifford in rehearsal for Handbagged at Stephen Joseph Theatre, Scarborough. Picture: Tony Bartholomew

Shakespeare show of the week: Four Forty Theatre in A Midsummer Night’s Dream, Joseph Rowntree Theatre, York, July 31, 7.30pm

FOUR Forty Theatre (or 440 Theatre, as their website uses both names) tackle Shakespeare’s romantic romp of a chaotic comedy, A Midsummer Night’s Dream, with their trademark irreverence, wit and theatrical ingenuity, directed by Dominic Gee-Burch, formerly of fellow high-speed Shakespeare humorists Oddsocks Productions.

Lovers are enchanted, fairies feud and a troupe of hapless players rehearse their way into disaster, all in a single moonlit night. Inventive staging, breakneck character changes and playful dismantling of tradition mark out Four Forty’s mischief-making take on Shakespeare’s best-loved comedy: part affectionate homage, part riotous reinvention. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Four Forty Theatre: Mischief-making in the woods in A Midsummer Night’s Dream at Joseph Rowntree Theatre

Art event of the week: Carolyn Coles & Mike Marshall, Beyond The Nab, St Mary’s Church, Sandsend, near Whitby, today, tomorrow & Monday, 10am to 5pm

ARTISTS and fossil collectors Carolyn Coles and Mike Marshall are sharing their love of the north east coastline in Beyond The Nab at St Mary’s Church, Sandsend, near Whitby.

Held at this beautiful church located at the end of the Sandsend Valley at the bottom of Lythe Bank, the special four-day event takes place in one of Yorkshire’s prettiest valleys, noted for its picturesque, high-end stone cottages, rich local history, tied to the Mulgrave Estate, and ancient woodlands leading to the ruins of Mulgrave Castle.

On show and sale are contemporary paintings with a traditional twist, sculptured fossils, evocative photography, jet jewellery, cards and prints, with both York seascape artist Carolyn Coles and East Coast fossil legend Mike Marshall on hand to guide you through the works.

South Bank Studios artist Carolyn will be demonstrating painting techniques while Mike, who runs Yorkshire Coast Fossils, will be glad to identify any fossil you bring along. A pop-up cafe will serve light refreshment in aid of the church, championed by volunteer Helen Lloyd.

Mike Marshall looking out to sea

Carolyn explains the idea behind the event as a “brilliant medley of art and heritage, combining contemporary art and sculpture with traditional techniques”. “We talked about coming together professionally as our work is a perfect compliment and we have such a shared love of the area,” she says.

Carolyn has had a busy 2026, joining wildlife sculptor Karen Fawcett and PICA Studios ceramicist Emily Stubbs in The Sky’s The Limit exhibition at Pyramid Gallery, York, from late-January to mid-March and taking part in York Open Studios in April.

“My dream is to open a studio and gallery and live by the coast, so this event is a huge pleasure to hold,” she says.

York artist Carolyn Coles enjoying painting in plein air at Sandsend

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REVIEW: Rowntree Players in Boeing Boeing, Joseph Rowntree Theatre, York, in the air tonight until Saturday ****

Lizzie Lawton’s Robert, left, and Max Palmer’s Bernard in vexed conversation with Val Debenedetti’s Italian air hostess Gabriella in Rowntree Players’ Boeing Boeing. Picture: Jamie McKeller

LEEDS Conservatoire musical theatre masters graduate and freelance theatre-maker Hannah Shaw is directing her second Rowntree Players production of 2026.

After her LGBTQ+ exploration of gay playwright Oscar Wilde’s “trivial comedy for serious people” The Importance Of Being Earnest in March, she now pilots Marc Camoletti’s high-flying French farce Boeing Boeing, cleared for take-off with five cast members – Bethan Olliver, Jorja Cartwright, Lizzie Lawton, Max Palmer and Rebecca Thomson – returning from her Wilde nights.

Newly on board is Val Debenedetti, who draws on her Italian heritage to play the hot-blooded Gabriella, one of three air hostesses engaged to Palmer’s philandering American architect Bernard.

Rebecca Thomson’s house maid Bertha, fielding yet another problematic phone call in Boeing Boeing. Picture: Jamie McKeller

Shaw introduces all three fiancées, along with Bernard, his gloriously blunt, long-suffering French housemaid, Thomson’s Berthe, and his long-lost friend, Lawton’s callow, gauche Robert, from Wisconsin, in a pre-show sequence in the style of TV credits (think Friends, for example), set to Jennifer Carney’s choreography of Max Barron’s Sixties sitcom theme pastiche.

This establishes both the characters’ individual style and the location, Bernard’s Parisian apartment, with its seven doors – or eight if you count the central double doors – in Camoletti’s 1960 setting, adapted in 1962 by Beverley Cross and Francis Evans. In front is a large sofa, with a leather chair to one side, a bean bag to the other, a drinks trolley, a spinning globe, bannisters by the doors and a regularly ringing phone.

In the tradition of farce, Camelotti’s  smart, stylish comedy starts in a haven of calm, where Palmer’s self-satisfied  Bernard is the cat with the full-fat cream,  utilising the timetables dextrously to juggle his time with his airline fiancées, first  Olliver’s apple-pie American Gloria, next Debenedetti’s tempestuous Gabriella, and lastly, Cartwright’s slightly frightening, no-nonsense German, Gretchen.

Jorja Cartwright’s German air hostess Gretchen: All in yellow, right down to her painted eye lids. Picture: Jamie McKeller

Each entry is designated by their airline colour – red, blue, yellow – lighting up a door, immediately followed by a sound ‘sting’ from Barron’s  compositional tool box,  keeping the audience one step ahead every time those signals are repeated.

Into the farcical mix is stirred the interruptive presence of Lawton’s Robert, who has not seen Bernard for more than 18 years and is determined to make up for lost time, never leaving the apartment, always interjecting with a suggestion and then playing his own cards with Cartwright’s  Gretchen.

As in The Importance Of Being Earnest, Lawton (they/them) favours a physical form of comedy acting, constantly on the move and no less frenetic in their line delivery.

Lizzie Lawton’s jaunty, livewire Robert in Boeing Boeing. Picture: Jamie McKeller

It plays well against Palmer’s more laidback performance style, his calm-in-the-face-of-a-storm Bernard contrasting with the almost volcanic flow of suggestions and reactions from busy Lizzie’s Robert.

Shaw does not update the Sixties setting, but she has cut the backside-patting tropes, the women all the stronger for being empowered to be the decision makers, including Thomson’s ever-exasperated  Berthe demanding an ever-rising pay increase.

Camelotti’s men are exposed as chancers, flippant and indeed weak, despite thinking they hold the upper hand, when in fact the women call the shots.  

Bethan Olliver’s American air hostess Gloria: Bust-up incoming over her discovery of the discarded bras of another of brazen Bernard’s trio of fiancees. Picture: Jamie McKeller

Consequently, Camelotti’s French frolic retains its Parisian air, Sixties chic and outrageously clichéd national stereotypes – from the jet-set age when air hostesses were the height of glamour – but the humour is liberated from its period chains and now feels more truthful.

Shaw’s cast delights in the ever-quickening chaos of comedy that is frothy and frivolous, but deftly delivered, choreographed slickly with the doors in constant use. The performances are fun, the men, flighty; the air hostesses, saucy but sassy; Berthe, the Shakespeare’s Fool of the piece. 

Rowntree Players present Boeing Boeing, Joseph Rowntree Theatre, York, tonight until Saturday, 7.30pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk.   

Hannah Shaw directing a rehearsal for Boeing Boeing. From December 5 to 12, she will step the other side of the footlights to play the villainous Maleficent in Rowntree Players’ pantomime Sleeping Beauty, directed and co-written by Howard Ella. Tickets will go on general sale from August 8 on 01904 501935 or at josephrowntreetheatre.co.uk.