Category: Theatre

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More Things To Do in York and beyond as the ‘Sheds’ have a day out amid the huts. Hutch’s List No. 26, from The York Press

Shed Seven, huts five: Heading to the Yorkshire coast for the York band’s Scarborough Open Air Theatre debut today

OPEN studios, chocolate tales, dinosaurs and reflections on time make for a typically diverse week ahead in Charles Hutchinson’s diary.

Coastal gig of the week: Shed Seven, Jake Bugg and Cast, Scarborough Open Air Theatre, tonight; gates open at 6pm

THE 2025 season of Cuffe & Taylor concerts in the bracing sea air of Scarborough is under way. After two chart-topping 2024 albums in their 30th anniversary year, York band Shed Seven make their belated Scarborough Open Air Theatre debut tonight, supported by Jake Bugg and Cast. Box office: scarboroughopenairtheatre.com.

Ric Liptrot: Taking part in North Yorkshire Open Studios at PICA Studios, Grape Lane, York, today and tomorrow

Festival of the week: North Yorkshire Open Studios, today and tomorrow, 10am to 5pm

MORE than 200 artists and makers are taking part in North Yorkshire Open Studios 2025. In and around York, look out for Helen Drye; Emma James; Alex Ash; Dee Thwaite; Veronica Ongara; Rachel Jones; Laura Duval; Karen Winship; Donna Maria Taylor; Di Gomery;  Caroline Utterson; Jacqueline Warrington; Constance Isobel; Jill Tattersall and Adele Karmazyn.

Opening their studios too will be: Mo Nisbet; Robin Groveer-Jacques; Fran Brammer; Rob Burton; Jo Walton; Ric Liptrot; Rae George; Lu Mason; Lisa Power; Lesley Shaw; Katrina Mansfield; Evie Leach; Drawne Up; Sam Jones; Greenthwaite Sculptor (Janie Stevens); Sarah Schiewe Ceramics; Gonzalo Blanco, Gina Bean; Freya Horsley; Graham Jones; Justine Warner; Andrew Bloodworth and Steve Page. Full details can be found at nyos.org.uk.

Theatre Of Connections: Bringing to life the deep roots of chocolate’s story in IxCacao at York Theatre Royal Studio

Chocolate story of the week: Theatre Of Connections, IxCacao, York Theatre Royal Studio, today, 4pm

INSPIRED by the Mayan legend of the Cacao Goddess, IxCacao journeys into an ancient time when the Earth thrived under the care of matriarchs and the rhythm of nature. Movement, song, and storytelling combine in a reclamation of community, pleasure and ancestral knowledge in the face of domination:  a reminder that joy is a revolutionary act and that true abundance is meant for all.

Theatre Of Connections, a York theatre group made up of “individuals from the global majority and people with refugee and asylum-seeker background”, brings to life the deep roots of chocolate’s story to honour the many who have carried its legacy forward. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Shepherd Group Brass Band : In concert at Joseph Rowntree Theatre

Brass concert of the week: Shepherd Group Brass Band Spring Concert, Joseph Rowntree Theatre, York, tonight, 7.30pm

FROM their Brass Roots through to their Championship section, the Shepherd  Group Brass Band presents a mix of all genres of music, culminating in a grand finale when all band members play together on stage. Tickets update: Last few still available on 01904 501935 or josephrowntreetheatre.co.uk.

Robert Lloyd Parry: Telling tales from The Archive Of Dread at Theatre@41, Monkgate

Tales of terror of the week: Robert Lloyd Parry in The Archive Of Dread: Revisited, Theatre@41, Monkgate, York, tonight, 7.30pm

IN late 2019, Southport storyteller Robert Lloyd Parry inherited the contents of a flat belonging to a dead man he had never met. The property was full of boxes, stuffed with chilling documents: letters, diaries, newspaper cuttings, notebooks and postcards. Filed in disarray, they all told impossible tales of terror. 

After the stunning revelation of two of these documents in York last year, Lloyd Parry now begs leave to share more items from The Archive Of Dread. Box office: tickets.41monkgate.co.uk.

Rock’n’looroll: The Dinosaur That Pooped: The Rock Show at Grand Opera House, York, tomorrow

Children’s show of the week: The Dinosaur That Pooped: A Rock Show, Grand Opera House, York, tomorrow, 12.30pm and 3.30pm 

WHEN Danny and Dino’s favourite rock band announce their last ever concert, they go on a quest to acquire the last two tickets. However, a villainous band manager is lurking, so nothing goes to plan. Will the band perform? Will Danny rock out? Or will Dino’s rumbling tummy save the day?

Adapted from the number one best-selling books by McFly’s Tom Fletcher and Dougie Poynter, this new 60-minute stage show, directed by Miranda Larson, promises a “poopy good time” for all the family. Cue new songs by Fletcher and Poynter, loads of laughs and “a whole lot of poo”. Box office: atgtickets.com/york.

Singer Jessa Liversidge, left, and her poet sister Andrea Brown: Combining in A Tapestry Of Life at Theatre@41, Monkgate

Life, love and loss: Jessa Liversidge: A Tapestry Of Life, Theatre@41, Monkgate, York, tomorrow, 6pm

EASINGWOLD singer, songwriter and community singing workshop champion Jessa Liversidge presents her 60-minute solo musical performance, inspired by Carole King’s album Tapestry.

Such much-loved songs as You’ve Got A Friend, Will You Love Me  Tomorrow?, It’s Too Late, So Far Away, I Feel The Earth Move and Natural Woman will be interspersed with original songs, rooted in the powerful poetry of Jessa’s sister, Andrea Brown, from her Life, Love, Loss collection, reflecting on “life’s big themes of love and friendship and loss, situations and journeys, that every human can identify with”. Box office: tickets.41monkgate.co.uk.

Comedian Raul Kohli: Exploring what it means to be British in Raul Brittania at Theatre@41, Monkgate

Comedy gig of the week: Raul Kohli: Raul Brittania, Theatre@41, Monkgate, York, June 21, 8pm

COMEDIAN and proud Brit Raul Kohli is the son of a Hindu Indian and Sikh Singaporean, raised in Newcastle upon Tyne, where his best friend was a Pakistani Muslim.

Kohli has lived in every corner of this glorious nation and is fascinated by the diversity of these small isles.  Imagine his surprise to hear from politicians and the media that “multiculturalism has failed”: the spark that lit the flame for his exploration of what it means to be British. Box office: tickets.41monkgate.co.uk.

Poet Ian Parks: Performing in About Time Too at St Olave’s, Marygate, York, this evening

In Focus: York Festival of Ideas event of the day: Navigators Art presents About Time Too, St Olave’s, Marygate, York,today, 7pm

ABOUT Time Too rounds off a day of free talks celebrating time. Navigators Art’s evening concert features poetry readings, music and original song settings, including works by York-born poet W H Auden and Nobel Prize winner Seamus Heaney, together with time-related works by York writers and musicians.

Taking part will be Jane Stockdale, from White Sail; poet Ian Parks; electronic musicians  Namke Productions; writer and University of York creative industries academic JT Welsch and poet and novelist Janet Dean Knight. Box office: bit.ly/nav-events.

Meanwhile, the Micklegate Arts Trail is in its final week, ending on Sunday (15/6/2025) with live music at The Falcon and The Hooting Owl at 2pm and 7pm, as well as works by 35 York artists in shops, cafes, pubs and restaurants.

Look out, in particular, for the display of 3D work in Holy Trinity church, curated by Navigators team member Nick Walters.

Navigators Art’s poster for Making Waves Live!, Sounds of the Solstice

In addition, the Making Waves exhibition is extending the Arts Trail into City Screen Picturehouse, Micklegate, where collage artist George Willmore has curated an exhibition by 20 further artists, including new and more familiar York names. The works are on show in the cafe and the first-floor corridor gallery until July 4.

All events are free and the trail and exhibition are open during business and licensing hours.

In the aftermath of the festival, Making Waves Live! Sounds of The Solstice in The Basement at City Screen Picturehouse will showcase some of Navigators Art’s favourite performers from the past two years of live events, complemented new friends, on June 21.

The first session will run from 4pm to 6.30pm; the second will start at 7.30pm after a break. “We’ve lined up a superb range of local poets, comedians, singers and bands in a celebratory midsummer festival,” says Navigators Art co-founder Richard Kitchen.

Taking part will be folk song duo Adderstone, poet Becca Drake, comedian Cooper Robson, storyteller Lara McClure, punk/jazz trio Borgia, psychedelic band Soma Crew and more. For full details and tickets (from Ticket Source), go to:  bit.ly/nav-events.


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REVIEW: The Last Laugh, Grand Opera House, York, until Saturday ****

The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith

AFTER five hollow weeks in New York, Paul Hendy’s love letter to the quintessentially British – even English – humour of Tommy Cooper, Eric Morecambe and Bob Monkhouse opens its UK tour in old York.

Morecambe & Wise may have appeared on the Ed Sullivan Show 16 times, Cooper on six occasions too, but if ever affirmation were needed that the USA and UK are divided by a common language, then the Big Apple audiences’ bewilderment at their reactivated larks in Hendy’s 90-minute play provided it.

Unlike last summer’s Edinburgh Fringe premiere and February and March’s West End run at the Noel Coward Theatre, it was more a case of ‘no laugh’, rather than ‘last laugh’, judging by the New York recollections of Hendy’s cast at the question-and-answer session that followed Wednesday’s matinee.

Hendy just happened to be there too, adding further insight into his affectionate play, and his hand-picked cast – who first appeared in his 19-minute film version in 2016 – will be on hand after each performance to take more questions. Well worth staying for their banter, nostalgia and comedic camaraderie, prompted by questions deposited in a Cooper fez in the interval.

Damian Williams’s Tommy Cooper, minus trousers, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in a moment of musical camaraderie in The Last Laugh. Picture: Pamela Raith

If Hendy’s name is familiar to you, he is the writer of York Theatre Royal’s pantomimes under the fruitful partnership with his Evolution Productions company since 2020. You will know his style too: meticulous crafting of puns, putdowns and pratfalls, allied to a rebellious streak and a passion for storytelling.

Those qualities will be seen again in Sleeping Beauty from December 2 to January 4 2026, and they are writ large in The Last Laugh, his exploration of what makes comedy work, what drives comedians to perform and at what cost, and why the laughs last long after their passing.

Hendy, a jokesmith who lets others do the telling, has chosen his comedians carefully for his study: Cooper and Morecambe, who died within six weeks of each other in 1984, were naturally funny, but whereas Cooper merely had to walk on stage to engender laughs, using silence like no-one else, Morecambe needed partners, whether Ernie Wise on stage, or writers for him to then apply his alchemical gifts of timing, mannerism and mischief.

Hendy, by his own admission, is closer to Monkhouse, the craftsmen who would chisel away at a gag like a sculptor until it had the right balance and comic weight, honed and polished to the last word. He kept his jokes in books; he knew who wrote every famous line; he knew how to deliver a punchline.

After all, it was Monkhouse who quipped: “People used to laugh at me when I said I wanted to be a comedian. Well, they’re not laughing now.”

The Last Laugh writer-director Paul Hendy

You can imagine Hendy applying such fastidious skills when writing The Last Laugh, pulling the strings as a writer must to make a piece of theatre with resonance and meaning, rather than rely on an overload of familiar jokes.

He does so by placing the comedy triumvirate in a dressing room of memories, where one wall is filled with black-and-white portraits of comedians, all dead, from Sid Field to Sid James, with the space for one more. Then he lets them chat, lock horns, reflect, perform to each other, and dress for their next performance.

He entrusts the roles to two of his regular dames, Bob Golding and Sheffield Lyceum’s Daman Williams, and Simon Cartwright, who first made his name as an impressionist. Golding first played Eric 16 years ago in his own Morecambe show; Williams had wanted to follow Cooper on to the stage since childhood days; Cartwright knew Monkhouse, working on his act with him.

Williams’s Cooper enters first, after a spluttering and fizzing of the lights that frame each dressing room mirror and the pre-show ghostly sounds of comedians past. Williams, in his underwear, is wearing huge yellow bird’s legs.

In New York, a woman objected to his lack of trousers. “It was going to be a long night,” Williams shrugged in the Q&A. He goes on to give a towering performance as the play’s fulcrum, not an impression, but a full picture of a giant of comedy, amusingly dismissive of others, a quick thinker, an astute observer and both inventive and re-inventive.

Damian Williams’s Tommy Cooper: Comedy magic in The Last Laugh. Picture: Pamela Raith

Cartwight has the Monkhouse manner and voice off to a T, a man of candour, kindness, precision, admiration for others and forensic knowledge, with Hendy dropping in stories that may not be familiar but make for a rounded portrait.

Golding’s love of Eric is in every moment, every movement, from the pipe smoking to the chirpy demeanour, while resisting too much twitching of the spectacles.  Again, as with Cooper and Monkhouse, Hendy judges so well what to include of Morecambe’s life story, in particular his resolute devotion to working with Wise.

Who has The Last Laugh? No, it would be wrong to give away the ending, but let’s say it could not be more moving. Joy and sadness, the two faces of theatre, are never more interlocked than in Hendy’s finale.

We miss these comic titans, the fez, the spectacles and Bob’s books, but you will have the first laugh, the last laugh and so many more in between in their memory.  

The Last Laugh, Grand Opera House, York, 7.30pm tonight; 2.30pm and 7.30pm tomorrow. Box office: atgtickets.com/york.

The tour poster for Paul Hendy’s The Last Laugh

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What does it take to be a Big Strong Man? You help to decide in The Growth House’s interactive cabaret on men’s mental health

Christopher Finnegan, Peter Pearson, Tommy Carmichael and Jonny Wakeford in The Growth House’s interactive cabaret Big Strong Man

BIG Strong Man will invite tomorrow’s audience at Bilton Working Men’s Club, Skipton Road, Harrogate, to become part of the action, challenging societal norms and shining a light on the systemic barriers that shape how men’s mental health is addressed.

“This is radical theatre at its most alive: unfiltered, unafraid and unmistakably northern,” says The Growth House, as this surrealist comedy theatre company mounts its boldest tour yet, “setting a new standard for socially driven, interactive performance”.

Mentored by Emma Rice’s Wise Children company, The Growth House is on a 12-venue tour with its groundbreaking flagship production. As associate artists at CAST in Doncaster, the company continues to seek to push boundaries with its unapologetically working-class, socially conscious theatre.

Part party, part protest, Big Strong Man is a riotous, high-energy cabaret where four northern lads blend fast-paced improv, physical comedy and the aforementioned audience participation to tackle men’s mental health.

The lads are given the impossible task of deconstructing and rebuilding manhood in one night. Bonj reckons we should get rid of this outdated concept forever; Winston thinks we should listen to King Charlie; Gaz knows all we need is work, women, food and the gym; Timternet thinks they’re all idiots and would rather play Pokemon Go

“Only one of them can become the Big Strong Man to save us all. Which one?!” Find out as The Growth House probes men’s mental health

They have some big decisions to make, but every time they do, something happens: a game, a song, a scene or a mysterious feeling they cannot quite describe. They need help to get the job done…and that’s where you, the audience, comes in, because only one of them can become the Big Strong Man to save us all. Which one?!

“Big Strong Man puts the power in your hands by letting you choose what parts of the show you want to see,” says The Growth House. “What elements of masculinity do you love? Let’s celebrate it. What aspects do you hate? Let’s talk about it. And what is it missing? Let’s find out!

“This show is a celebration of northern culture and community spirit. A unique experience with all the remarkable features of a cabaret or gig.”

Created in response to the disproportionately high rates of suicide and depression among working-class men in the North, this urgent, electrifying, interactive cabaret show will be performed by Christopher Finnegan (Winston), Peter Pearson (Bonj), Tommy Carmichael (Timternet) and Jonny Wakeford (Gaz).

Cue alternative comedy, storytelling, song, dance, improvisation, ladders, competition, boy band parodies, lip syncs, placards, blocks, charity-shop suits, a bear and “Poundland-level extravagance”, plus the content warning of “strong language and references to suicide, mental health conditions, infant death, domestic violence and karaoke”.

Big Strong Man: “A celebration of northern culture and community spirit with all the remarkable features of a cabaret or gig”

“Male identity is no longer as rigid and homogenous as it once was,” says The Growth House. “Industry, politics and society are moving away from a single culture. Big Strong Man looks at the current state of masculinity to attempt to understand the soaring depression and suicide rates facing men across the north of England.

“What are the rules to being a male? What are the expectations of men in the 21st century? What can we do to develop male culture in order to make the world a better place to live in?”

The Growth House was founded by directors Finnegan, Pearson and Sam Dunstan, who have been collaborating for five years on works that combine movement, voice, song, contemporary creative writing and sweat aplenty from the performers.

Co-writer, choreographer and performer Finnegan is an actor, director, writer, lecturer, physical theatre practitioner and tutor; Pearson is a Geordie actor and performer who specialises in devised and improvised theatre, working with social theatre companies that combine activism with art; director and co-writer Dunstan is a creative director, producer and educator, born and bred in Yorkshire.

The Growth House, in association with Harrogate Theatre, presents Big Strong Man at Bilton Working Men’s Club, Skipton Road, Harrogate, tomorrow (13/6/2025), 7.30pm. Further tour dates include Slung Low, The Warehouse, Crosby Street, Holbeck, Leeds, on July 12, 7.30pm. Box office: Harrogate, harrogatetheatre.co.uk/events/big-strong-man/; Leeds, ticketsource.co.uk/booking/select/emyxmqvaznlp.

The Growth House’s poster artwork for Big Strong Man, heading for Harrogate tomorow and Holbeck, Leeds, on July 12. The 12-date tour already has played The Carriageworks Theatre, Leeds, on May 23 and 24 and Hull Truck Theatre on May 29

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REVIEW: John Godber Company in Do I Love You?, York Theatre Royal ****

Blackpool Tower Ballroom here they come: Chloe McDonald’s Nat, left, Martha Godber’s Sally and Emilio Encinoso-Gil’s Kyle keep the faith in John Godber’s hymn to Northern Soul, Do I Love You?

JOHN Godber has a new play on its way this autumn: Black Tie Ball, a tale of hotel upstairs and downstairs, bow ties and fake tans, jealousies and avarice, divorces and affairs, told by staff at breakneck speed from arrival at seven to carriages at midnight. Harrogate Theatre, from September 10 to 13, and Stephen Joseph Theatre, Scarborough, from November 12 to 15, await.

There is a Godber house style, billed as his “signature visceral style”, one that applies as much to his hymn to Northern  Soul, Do I Love You?, as it will to Black Tie Ball. Ever since Bouncers and Teechers, less has been more in Godber plays: compact casts, concise scenes, minimal props and space aplenty for combative or compatible movement.

No-nonsense Yorkshireman Godber has been writing plays since 1977, the year of punk at its scratchy apex, and likewise he tore up the rule book to write working-class dramas, economical but full of home truths, albeit with a nod to Bertolt Brecht in breaking down theatre’s fourth wall to favour direct address.

Do I Love You? is up there with his best works, visiting York Theatre Royal in the concluding week of its third tour since its 2023 debut, still with the same fresh-faced cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil, who are in the groove not only of the sublime underground Sixties and Seventies music, but also of working together regularly, like the comic interplay of a well-oiled TV comedy series.

Frank exchange: Martha Godber’s Sally makes her point to Chloe McDonald’s Nat as Emilio Encinoso-Gil’s Kyle seeks to intervene in Do I Love You?

Godber is always at his best when his fractious comedies are fired by both love and anger, ideally backed by a pulsating soundtrack too. The love here is for Northern Soul from his own days of going to all-nighters and weekenders across the north, and he writes with passion, Record Collector levels of knowledge, not so much nostalgia, but more a lament for what we have lost.

Qualities of authenticity, truth, pride: all values he attributes to Northern Soul, music of pain and sorrow and ecstatic release; music of and for the working  classes.  

He places his drama in the hands of what he calls the lost generation, the twenty-something post-Covid generation stuck in the sludge of working at drive-through fried chicken counters.

Meet Martha Godber’s Sally, who looks after her ailing Irish-born grandma (played with a scarf, a fag and a hacking cough by McDonald), neglected by her drunkard mother. Meet Encinoso-Gil’s Kyle, her best mate, from Spanish stock, but the timing has never been right for it to be anything more than that. Meet McDonald’s Nat (or ‘Natalie’, she insists), their friend since schooldays, who has a crush on Kyle too and likes a spliff or two.

The anger lies in Godber surveying how little has changed between Britain in 1973 and 2023, the year in which the play is still set with Rishi Sunak as Prime Minister, “looking 11 years old” as he puts it.

Do I Love You? writer-director John Godber: Keeping the faith in Northern Soul when losing the faith in everything else

Godber writes of rising costs and prices, unemployment and small-town blues; of pubs closing, hospitality venues going; strikes on-going.  Plus ca change.

He writes too of the everyday difficulties of young lives, as they fall out with each other, while facing mounting problems at home. What is left but to find a love, something to believe in, to keep the faith?

Godber interweaves the trio’s trials and tribulations with their initiation into Northern Soul, brilliantly described in Sally’s account of their first visit to a Cleethorpes all-nighter: £3 for eight hours. Soul devotees on the dancefloor, sliding, gliding, kicking, making her cry, although she doesn’t know why, but the way Godber writes, we do.

He takes us there with a sense of poetic wonder, just as he captures the tedium of taking fried chicken orders by reducing the experience to the fewest words possible for the maximum comical impact.

Emilio Encinoso-Gil’s Kyle tentatively shows off his dancefloor moves in Do I Love You?, to the scornful amusement of Chloe McDonald’s Nat and Martha Godber’s Sally

The songs can be played only in snippets that have to stop all too quickly, but Godber evokes Northern Soul by mentioning all the landmark songs and locations and by the power of his pen.

Best of all is the fulminating speech by Encinoso-Gil’s hunched-up Keith, a soul veteran with a criminal past and fingers in every pie, who is Do I Love You’s version of Lucky Eric in Bouncers, except that he squeezes all he has to say into one impassioned yet beautiful rant-cum-lament, whereas Eric has four bites at the sour cherry.

All three performances are terrific, Martha Godber especially so, and if no moment that follows Keith’s speech quite matches it, Do I Love You? packs an emotional punch, full of northern wit, grit and soul power hits.

John Godber Company in Do I Love You?, York Theatre Royal, until Saturday, 7.30pm plus 2pm matinee  tomorrow (12/6/2025) and 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 25, from Gazette & Herald

Making her point: Martha Godber’s Sally, left, in a contretemps with Chloe McDonald’s Nat as Emilio Encinoso-Gil’s Kyle seeks to intervene in John Godber’s Do I Love You?

CELEBRATIONS of Northern Soul and British comedy greats are right up Charles Hutchinson’s street for the week ahead.  

Weekender of the week: John Godber Company in Do I Love You?, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees; post-show discussion on June 13

THE John Godber Company is on its third tour of John Godber’s hymn to keeping the faith in Northern Soul, with the same cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil.

Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of drive-through counter jobs, who find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Blackpool Tower Ballroom, Chesterfield to Stoke. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh, on tour at the Grand Opera House, York

Comedy legends of the week: The Last Laugh, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm matinees today, tomorrow and Saturday

WHO will have The Last Laugh at the Grand Opera House when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?

Find out in the Edinburgh Fringe, West End and New York hit’s first tour stop as Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too. Box office: atgtickets.com/york.

One of the Famous Faces on show in the Artistic Spectrum exhibition at Pocklington Arts Centre

Exhibition of the week: Artistic Spectrum: Famous Faces, Pocklington Arts Centre, on show until June 27

BOLD artworks feature in Famous Faces, a powerful, large-scale portrait project from Artistic Spectrum, co-created with more than 100 neuro-divergent and Special Educational Needs children and adults across East and South Yorkshire to challenge perceptions, champion inclusivity and put the power of representation into the hands of those too often left out of the frame.

Developed in group workshops over several weeks, participants created striking portraits of people who inspired them, from musicians and sports stars to activists and screen icons, using collage, found materials and personal objects to make works rich with texture, colour and personal meaning.

Comedian Scott Bennett and his daughter in the promotional picture for Blood Sugar Baby, on tour in York and Pocklington

Storyteller of the week: Scott Bennett, Blood Sugar Baby, Theatre@41, Monkgate, York, tonight, 8pm; Pocklington Arts Centre, August 6, 8pm

ONE family, one condition, one hell of a hairy baby: Scott Bennett, from The News Quiz, relates how his daughter fell ill with a rare genetic condition, congenital hyperinsulinism (CHI).

Never heard of it?  Neither have new parents Scott and Jemma as they fight to achieve  the right diagnosis for their daughter and are plunged into months of bewildering treatment, sleepless nights, celebrity encounters and bizarre side effects, but a happy ending ensues. Box office: York, tickets.41monkgate.co.uk; Pocklington, 01759 301547 or pocklingtonartscentre.co.uk.

Shed Seven: Off to the Yorkshire coast on Saturday to play Scarborough Open Air Theatre

Coastal gigs of the week: The Corrs and Natalie Imbruglia, tonight; Gary Barlow and Beverley Knight, Friday; Shed Seven, Jake Bugg and Cast, Saturday, all at Scarborough Open Air Theatre; gates open at 6pm

THE 2025 season of Cuffe & Taylor concerts in the bracing sea air of Scarborough opens tonight with the Irish band The Corrs and Australian singer  and Neighbours actress Natalie Imbruglia, followed by Take That and solo songwriter and The X Factor and Let It Shine judge Gary Barlow on his Songbook Tour 2025 on Friday, when Beverley Knight supports. Expect hits from both his band and Barlow back catalogues.

After two chart-topping 2024 albums in their 30th anniversary year, York band Shed Seven make their belated Scarborough Open Air Theatre debut on Saturday, supported by Jake Bugg and Cast. Box office: scarboroughopenairtheatre.com.

Henry Blofeld: Wickets and wit in cricket chat at Helmsley Arts Centre

The sound of reporting on leather on willow: An Audience With Henry Blofeld, Sharing My Love Of Cricket, Helmsley Arts Centre, tomorrow, 7.30pm, rearranged from March 21

LEGENDARY BBC broadcaster and journalist, Henry Blofeld, former stalwart of the BBC’s Test Match Special commentary box, takes a journey through modern cricket, while looking back at the great games of yesteryear.

Blowers reflects on how cricket used to be and where it is headed: the theme of his September 2024 book Sharing My Love Of Cricket: Playing The Game And Spreading The Word, wherein he explores the big shifts, innovations and challenges facing the game. Box office: helmsleyarts.co.uk.

Saul Henry: On the Funny Fridays bill at Patch at the Bonding Warehouse, York

York comedy bill of the week: Funny Fridays at Patch, Bonding Warehouse, Terry Avenue, York, Friday, 7.30pm

THE second Funny Fridays comedy night at Patch features Saul Henry, Gemma Day, Ethan Formstone, Lucy Buckley and headliner Jack Wilson, hosted by founder and comedian Katie Lingo.

Formstone’s profile reveals he is a bricklayer from York, who grew bored and now, “using his natural stage presence and wild imagination, lays surreal stories that will delight you and leave you slightly confused”. Tickets: eventbrite.co.uk/e/funny-fridays-at-patch-tickets-1353208666549?aff=oddtdtcreator.

The poster for the SatchVai Band’s Surfing With The Hydra Tour, visiting York Barbican on Friday

Rock gig of the week: SatchVai Band, Surfing With The Hydra Tour 2025, York Barbican, Friday, doors 7pm

FOR the first time in nigh on 50 years of playing rock, guitarists and friends Joe Satriani and Steve Vai have united to tour as the SatchVai Band, opening their European travels in York before heading to London, Paris, Copenhagen, Amsterdam, Istanbul and Athens.

Powerhouse drummer Kenny Aronoff, bassist Marco Mendoza and virtuoso guitarist Pete Thorn complete the stellar quintet. Box office: for returns only, yorkbarbican.co.uk.

Alex telling her story in EGO Arts’ You Know My Mum at Theatre@41, Monkgate, York, on Friday

Cheeky comedy of life, loss and love for all the family: EGO Arts in You Know My Mum, Theatre@41, Monkgate, York, Friday, 7.30pm.

LEADING EGO Midlands Creative Academy’s disabled and neuro-divergent cast, Alex is a 25-year-old woman with Down’s syndrome struggling with the death of her mum. One day, she discovers Bluey, a baby Blue Tit, in her garden.

While Bluey learns about fried chicken factories and joins a boot camp for birds, Alex battles Harry Potter monsters and dreams about life after death. As her wild imagination comes to life, she learns that the love she thought she lost is all around her. Box office: tickets.41monkgate.co.uk.

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Could the Silence Is Golden app be the answer to bad behaviour in theatres? Paul Engers and Tom Wilson make the case

Paul Engers, left, and Tom Wilson outside York Theatre Royal

COULD silence become golden in theatres once more in this auditorium age of crisp- packet crunching, omnipresent phones and boisterous behaviour?

York theatremaker, filmmaker, director and artist Tom Wilson and Londoner Paul Engers have been working on an initiative with third partner Dr Austen Jones to pilot a product that could “transform the behavioural standards of patrons”.

“We hope our system will revolutionise front-of-house protocol and address the deleterious impact of mobile phone technology on theatre etiquette,” says Tom. “We’re at an advanced stage with the technology, seeking to initiate a trial run at an auditorium in the next few months at venues interested in piloting our system.”

“We’ve known each other for  28 years,” says Paul, by way of introduction. “We met at Dartington College of Arts, in Totnes, where I’d done a degree in theatre and visual arts, and Tom came down to do a degree in theatre and performance writing,” recalls Paul.

“I’m now based in West London, out near Brentford, but I’ve worked in Leeds, among other places, setting up activity camps for pre-school and primary schoolchildren in West Yorkshire and North Yorkshire too.”

Tom has lived and worked in York for 18 years, writing and directing the anarchic farce The Local Authority at the Joseph Rowntree Theatre in August 2021 and presenting his punk expressionist exhibitions at St Bede’s, in Blossom Street, in September 2022 and City Screen Picturehouse in July 2023, as well as making the film Copraphagia with Paul.

Through all these years, they have shared a passion for theatre. “We both appreciate theatre in our own ways but we share a belief that there has to be an understanding of a collective or shared protocol for attending live performances,” says Paul.

“Over the last couple of years, we’ve both found it’s becoming impossible to enjoy going to the cinema, and we’ve also noticed poor protocol in theatres, with fights and people relieving themselves in the auditorium; the constant rustling of sweet wrappers; people talking into their phones during performances, and the distraction of lights from phones.”

Decrying the lack of intervention, Tom adds: “People have stopped going to the theatre because of this. And when you consider the demographic of who works as ushers, or front-of-house, they tend to be the younger demographic…and now venue managers want to protect young staff.”

When Tom and Paul saw Mark Rylance in Sean O’Casey’s Juno And The Paycock and Steve Coogan in Dr Strangelove in the West End, “we were disappointed how lacklustre front-of-house staff were to stop the use of phones, though they put up these cards saying ‘No vaping, no smoking, no mobile phones’,” says Tom.

“On my journey back , I was thinking ‘wouldn’t it be great if you could put a camera on as a monitor to capture when people vape or film the show when they’re not supposed to, and you know  their seat number. My George Orwell thinking was: could they be filmed and fined?’”

Paul rejoins: “This idea has now gone through a few iterations, looking initially at the idea of having a device at the back of each level of the auditorium that can record and identify any individuals who are infringing the established protocol of each theatre or a group of theatres.”

Paul and Tom ran their idea by Dr Austen Jones at me-too.net, specialists in performance improvement, based at Tingley, near Wakefield. “He liked the idea and wanted a slice of it,” says Tom.

“He’s provided the technical expertise,” says Paul. “That’s been the main benefit of his input to go with our initial creative idea to use infrared cameras, either to record all the time or to react to movements.

“But over many conversations, we looked at the best equipment and Austen has shown there are better ways than infrared. The key is that he’s developed this software that’s contained in an app, rather than motion-activated cameras.

“This makes it easier in terms of GDPR (General Data Protection Regulation), so venues can sign up to the system, and there will be no recorded data unless someone’s phone lights up with a message.”

Paul continues: “The Silence Is Golden system will be bespoke. The app has been tested by Austen and his me-too.net team in different iterations, and we now need a decent-sized venue to pilot it.

“No-one would be filmed. For each venue, we would need to map out the grid of the auditorium, and then the app would be able, by area, to identify the seat from the level of illumination.”

The system would be linked to the theatre box office. “If theatre groups embrace the idea, they will be able to monitor it from either the management office or from front of house, with management being in radio contact with front of house,” says Tom. “The flexibility in the system is that theatres can choose how they use it.”

Rather than “filming and fining, what we want is a deterrent”, says Tom, but is this a case of creeping authoritarianism? “We want to initiate a debate: how do people feel about this idea,” says Tom.

“Creeping authoritarianism? No,” says Paul. “The beauty of it is that people will not be filmed, Instead it’s the perfect interface of  modern digital technology with AI and a good, well balanced protocol for theatre audiences moving forward.

“We want to encourage greater attendance through eradicating poor protocol. We’ve always been about attracting greater audiences.”

Tom adds: “We don’t want it to be an elitist thing that shuts people out. We’re not asking people to sit quietly; we want them to engage with a show but there has been behaviour that has had a negative impact. That’s why we want to put out a call to theatres to test the Silence Is Golden app.”

“The key thing is that Austen has been running the testing of the app for a more than a few weeks now and the simulations work,” says Paul. “Now we need to pilot it, do a test run and take it to the next level.”

Interested theatres are asked to contact Tom via gingerorourke@hotmail.com.

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More Things To Do in York & beyond when Pride comes before a full week of delights. Hutch’s List No. 25, from The York Press

Angels Of The North: Headlining the main stage on Knavesmire at York Pride 2025

YORK Pride and celebrations of Northern Soul and British comedy greats are right up Charles Hutchinson’s street for the week ahead.  

Festival of the week: York Pride, Parliament Street to Knavesmire, York, 12 noon to 6pm

NORTH Yorkshire’s largest LGBT+ celebration and York’s biggest free one-day festival, York Pride 2025, takes to the streets for its biggest, boldest and most fabulous event yet today, led off by the Pride Parade that will follow a new path through the streets from Parliament Street at midday.

On Knavesmire, the festival’s main stage will be headlined by Angels Of The North (6pm) and on the bill too will be Ryan Petitjean (1.10pm), tribute act Pet Shop Boys, Actually (1.35pm), Marcus Collins (2pm), Eva Iglesias (2.30pm), York drag superstar Janice D (3.35pm), La Voix (4pm), West End queen Kerry Ellis (5.15pm), The Cheeky Girls (5.35pm) and plenty more. Find the full line-up at yorkpride.org.uk/line-up.

Duncan Honeybourne: Performing the last concert of York Late Music’s 2024-2025 series this afternoon

Season’s finale: York Late Music presents Duncan Honeybourne, piano, Unitarian Chapel, St Saviourgate, York, today, 1pm

PIANIST Duncan Honeybourne performs new commissions commemorating the 100th anniversary of the death of the influential French composer Erik Satie, written especially for this afternoon’s programme by Philip Grange, Fred Viner, Sarah Dacey, Andrew Hugill, Steve Plews, Sarah Thomas, Simon Hopkins, Jenny Jackson and others, some of whom will be heard at Late Music for the first time.

Each composer has been asked to provide a new miniature piano solo influenced or inspired in some way by Satie and their works will be interspersed with a selection of Satie’s own pieces, such as Gnossiennes and Gympnopédies. Box office: latemusic.org/duncan-honeybourne-piano/ or on the door.

Film event of the week: John Barry From York With Love, Everyman York, York, today at 2.30pm and 4pm

JOHN Barry From York With Love, Sean Parkin’s unauthorised documentary of the early career of the York-born film composer, will have two private screenings at Everyman York this afternoon.

Private, yes, but tickets are available, although for copyright reasons, those tickets are for the after-viewing party at The Crescent community venue. The film viewing is free but there will be no entry without an after-show ticket. Doors open at Everyman at 2pm; the after-view party is at 3.45pm. All profits go to the Future Talent charity. A further screening follows at 4pm. Tickets: fienta.com.

Lady Nade: Paying tribute to Nina Simone at Helmsley Arts Centre

Celebration of a legacy: Lady Nade Sings Nina Simone, Helmsley Arts Centre, tonight, 7.30pm,

KNOWN for paying homage to those who have influenced her journey  profoundly, Lady Nade holds Nina Simone in high regard  for leaving behind a legacy of liberation, empowerment, passion and love through her extraordinary body of work.

As a black woman, Lady Nade acknowledges Simone’s trailblazing role in paving the way for artists of her generation. Her high-energy performance is a heartfelt dedication to recreating the transformative sound that blended popular tunes of the era into a distinctive fusion of jazz, blues, gospel, and folk music. Box office: 01439 771700 or helmsleyarts.co.uk.

The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith

Comedy legends of the week: The Last Laugh, Grand Opera House, York, June 10 to 14, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees

WHO will have The Last Laugh at the Grand Opera House, York, when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?

Find out in the Edinburgh Fringe, West End and New York hit’s first tour stop as Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too. Box office: atgtickets.com/york.

Keeping the faith in Northern Soul: Chloe McDonald, left, and Martha Godber in John Godber’s Do I Love You?, on the dancefloor at York Theatre Royal from June 10

Weekender of the week: John Godber Company in Do I Love You?, York Theatre Royal, June 10 to 14, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees; post-show discussion on June 13

THE John Godber Company is on its third tour of John Godber’s hymn to keeping the faith in Northern Soul, with the same cast of Martha Godber, Chloe McDonald and Emilio Encinoso-Gil.

Inspired by Godber’s devotion to Northern Soul, Do I Love You? follows three twentysomethings, slumped in the drudgery of drive-through counter jobs, who find excitement, purpose and their tribe as they head to weekenders all over, from Bridlington Spa to the Tower Ballroom, Chesterfield to Stoke. Box office: 01904 623568 or yorktheatreroyal.co.uk

Making a last stand: Pickering Musical Society bids farewell to musicals in Hello, Dolly! Picture: Robert David Photography

Goodbye to musicals: Pickering Musical Society in Hello, Dolly!, Kirk Theatre, Pickering, June 10 to 14, 7.30pm plus 2.30pm Saturday matinee

PICKERING Musical Society is preparing to raise the curtain on its final full-scale musical production, after more than a century, citing rising production costs and falling membership.

Set in the energetic bustle of 1890s’ New York, Jerry Herman’s Hello, Dolly! follows the irrepressible Dolly Gallagher Levi (society favourite Rachel Anderson) – a witty matchmaker, meddler and “arranger of things” – as she decides to find a match for herself. Box office:  01751 474833 or kirktheatre.co.uk or in person from the box office on Tuesdays, 11am to 1pm.

Podcaster Blindboy Boatclub

Podcaster of the week: The Blindboy Podcast Live, York Barbican, June 10, 7.30pm

POLYMATH, author, screenwriter, songwriter, musician, producer and academic Blindboy Boatclub is on the biggest tour yet of his storytelling podcast, wherein he follows the Irish tradition of the Seanchaí, intertwining history, fiction, cultural critique and politics.

Drawing on his knowledge and chronic curiosity to democratise topics such as art, psychology, politics, science and music, Blindboy gives his insight into complex issues. Look out for a surprise special guest too. Box office: yorkbarbican.co.uk.

The invitation to Mark Hearld’s book signing on Thursday at Janette Ray Booksellers

Book signing of the week: Mark Hearld at Janette Ray Booksellers, 8, Bootham, York, June 12, from 4.30pm

YORK artist, ceramicist and York Open Studios stalwart Mark Heard will be signing copies of his book, Raucous Invention, The Joy Of Making, published in a beautiful new edition by Thames & Hudson. Mark will be on hand from 4.30pm to 7.30pm.

Released on June 5, the newly expanded edition of Hearld’s monograph bursts with more than 400 colour illustrations and fresh insights in a vivid journey into the heart of his creativity and love of the animal world.

Christopher Simon Sykes’s photograph of Mick Jagger in concert on the Rolling Stones’ Tour of the Americas in 1975, on show at Sledmere House from June 13

Exhibition launch of the week:  On Tour With The Rolling Stones 1975, A 50th Anniversary Exhibition of Photographs by Christopher Simon Sykes, Sledmere House, Sledmere, near Driffield, June 13 to July 6, except Mondays and Tuesdays, 10am to 5pm

IN June 1975, Christopher Sykes, of Sledmere House, joined the Rolling Stones Tour of the Americas, known as T.O.T.A ’75: his first rock’n’roll itinerary as a snapper after specialising in photographing stately home interiors.

“You know going on tour is not like country life, Chrissie,” advised Mick Jagger on his first day of accompanying the Stones on their three-month tour of North America and Canada, playing 40 shows in 27 cities. The photos were used in a tour diary published the following year, and this exhibition showcases a selection of the best of the behind-the-scenes and stage pictures in the Courtyard Room. Tickets: sledmerehouse.com.

In Focus: Chalky The Yorkie at No 84 Sandwich Bar, Micklegate Arts Trail, York

Artist Chalky The Yorkie stands behind his Tiki bar at No 84 Sandwich Bar, created for the Micklegate Arts Trail

ROVING, rock’n’roll-loving York artist Chalky The Yorkie has always had a canny eye for spotting locations for his installation pieces.

Raise a glass to his latest artwork, the outdoor, Polynesian-style Tiki bar at No 84 Sandwich Bar, Julian Smith’s deli and cafe in Micklegate, created for the 2025 Micklegate Arts Trail but destined to remain in place after the festival ends on June 15.

“Last year Julian had a conversation with me about how it would be great to have a bar out here, at the back, which was full of bins at the time,” recalls Chalky. “So the bar was the first idea, but then, when we were thinking about the Arts Trail, two friends had suggested I should  incorporate bikes, and another said it would be great to do something for the environment, repurposing things out of skips and the old bicycles.

Chalky The Yorkie’s Tiki bar installation poem on the plight of cyclists

“So what I’ve come up with is a bar built with scrap wood and salvaged wood  after I was donated some leftovers by a builder to create the Re-Cycle Tiki Bar, to give something back to the planet. David Burton gave me one bike, along with one from his childhood and another was provided by Recycle York, in Walmgate.

“I thought I should create a memorial, taking the term ‘Re-cycle’ to highlight the plight of cyclists who lose their lives in accidents or come off their bikes and get injured in cycle lanes.”

Artist Chalky The Yorkie with No 84 owner Julian Smith at the Tiki bar

Originally Chalky considered designing a 1950s’ bar but then settled on a colourful Tiki bar. “The primary  colours are there to match traffic lights, with red, amber, though it’s more yellow than amber, and green. I went for yellow, because it’s a more definitive colour,” he says. “The blues I use signify the pain of loss in a cycling accident.”

Incorporated in the installation too are Beaumont ceramics of exotic birds and figures, acquired from York Catering Supplies, in Walmgate, butterfly motifs, floral decorations and tinkling bells. “I like the Buddhist convention of chiming bells in remembrance of people as part of their memorial ceremonies,” says Chalky.

Welcoming Chalky’s installation, Julian says. “Chalky is part of the fixtures and fittings here. He even came around for our Christmas dinner!

It Can Happen To You – Take Care: Chalky The Yorkie’s Re-cycle memorial to cyclists

“We’re taking part in the Micklegate Arts Trail because it’s all about traders promoting local artists whose work they like, with Navigators Art giving us a platform to do that. Jasmine Foo has never exhibited  before, and  we picked her crochet work because my wife is a knitter. We’re delighted to be showing Sinead Corkery and Jude Redpath too – and Chalky’s cheeky Tiki bar is the icing on the cake.”

Inside the deli, look out too for Chalky’s day and night paintings of No 84, both featuring the family pet, Sid the dog, in the upstairs window.

Chalky The Yorkie’s painting of No 84 Sandwich Bar, Walmgate, York, at night

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What happens when you put Eric Morecambe, Tommy Cooper and Bob Monkhouse in one room? The Last Laugh ensues at Grand Opera House, York

The fez, the spectacles and the bow tie: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith

WHO will have The Last Laugh at the Grand Opera House, York, when British comedy triumvirate Eric Morecambe, Tommy Cooper and Bob Monkhouse reconvene in a dressing room in Paul Hendy’s play?

Find out from June 10 to 14 when Bob Golding, Damian Williams and Simon Cartwright take on the iconic roles in this new work by the Evolutions Productions director, who just happens to write York Theatre Royal’s pantomimes too.

“I’ve always been fascinated by what makes something – or someone – funny,” says the award-winning Hendy. “I wrote The Last Laugh to explore those questions, to examine comedy’s mechanics.  How a pause, a look, or one word can change the way a joke lands – or doesn’t.  I hope The Last Laugh brings some of the joy and laughter that these three men brought to so many.

“As you’ll see, Damian Williams is the perfect Tommy Cooper, Bob Golding embodies Eric and Simon Cartwright is Bob Monkhouse”

The Last Laugh writer-director Paul Hendy

Here the cast discusses the nostalgia and poignancy of The Last Laugh, the public response and the craft of comedy.

Do you have your own memories of Eric, Tommy and Bob?

Bob Golding: “I have strong and fond memories of all the comics. I especially remember a Christmas special where Eric & Ernie were dressed as turkeys. I was mesmerised at their ability to make not just me laugh but my parents, my younger brother and my elderly grandmother, who would chuckle and mutter “silly b***ers” under her breath.”

Damian Williams: “I have so many fond memories of these iconic men from watching them at Christmas with the family, particularly sitting with my dad watching Tommy Cooper and seeing him crying with laughter. I grew up with them and was certainly influenced by them. Tommy is the reason I got into the business.”

Simon Cartwright: “All three were iconic legends of British light entertainment and featured in positive childhood memories for me. I enjoyed watching Bob Monkhouse presenting in the very early  ’70s – I would have been six years old  – on programmes like The Golden Shot and then into the ’80s with Bob’s Full House. They are fond memories of a time that I can recall, happier family environments when we’d all watch stuff together.”

Having a laugh: Damian Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith

Without giving too much away, what happens in The Last Laugh and why does the play resonate with audiences today?

Golding:  “Well, put simply, The Last Laugh is what happens when you put three comedy legends in a dressing room and lock the door. You’ve got Tommy Cooper, Bob Monkhouse, and yours truly – Eric Morecambe – putting the world to rights, one laugh at a time.

“It’s a love letter to comedy, to friendship, and to those glorious gags that never get old (unlike us!). But it’s not just about jokes—it’s about legacy, about life, and about how laughter carries us through the darkest moments.

“Audiences are coming in expecting a chuckle and leaving with a lump in their throat – and possibly a stitch in their side. It reminds people why comedy matters, especially in today’s world where we could all do with a bit more joy and a lot more heart.”

Williams: “Watching The Last Laugh is the closest you’ll get to spending 80 minutes in the company of these great men. It’s about the art of comedy, the relationship between these three men and what’s it’s really like to be funny for a living. It’s full of laughs, nostalgia, warmth and love.”

Cartwright:  “It reflects on a time when families would sit down and watch television together. Nowadays that’s very rare because of streaming, people being dissipated around family lives and watching things on their smartphones.

“I think people do remember times when they sat down together, the halcyon days. Looking back into the ’60s and 70s, people seem to think they were happier times.”

Dressing room discussions: Damion Williams’s Tommy Cooper, Bob Golding’s Eric Morecambe and Simon Cartwright’s Bob Monkhouse in The Last Laugh. Picture: Pamela Raith

The show has played the Edinburgh Fringe, London’s West End and New York ahead of its UK tour opening in York next week.  What has been the response so far?

Golding: “Oh, it’s been an absolute riot – in the best possible way! Edinburgh? Huge laughs and standing ovations. The West End? Packed houses, five-star reviews and audiences who didn’t want to leave the theatre. And New York? Well, they absolutely loved it, even if they didn’t know who Eric was!

”We’ve had people in tears – happy ones! They have told us how much it meant to see their comedy heroes brought back to life. And the joy is infectious. Every single night has felt like a celebration, not just of these three men, but of what it means to really laugh. It’s been the experience of a lifetime.”

Williams: “The response has been amazing. It really has struck a chord with people. The comments and the reviews have been fantastic. We really didn’t know how it would be received when we started and it’s totally blown our minds.”

Cartwright: “We’ve had a remarkable reaction from the public, getting standing ovations and moving people – particularly men of a certain age becoming quite emotional. I think they can apply positives memories from their youth, and somehow connect with these comedians, triggering those thoughts and memories.

“It was also a time when comedy was a lot more innocent, and I think people appreciate that the comedians we’re representing were not particularly political or had an agenda other than being funny and making us feel good.”

In character, not caricature: Bob Golding’s Eric Morecambe, Damian Williams’s Tommy Cooper and Simon Cartwright’s Bob Monkhouse. Picture: Pamela Raith

How do you find the balance between playing a caricature and making it your own?

Golding: “I try to avoid the word ‘caricature’ as it conjures a larger-than-life interpretation of the person I’m portraying. When it comes to playing a well-known person, I think it’s all about capturing the spirit of them and avoiding cliché impressions or over-used gestures etc. I also feel that with every character I play there will always be an element of myself in it. It’s almost unavoidable.

“I’ve played Eric for over 16 years now, so I think my connection and respect for him has almost certainly become stronger and I have never lost sight of the fact that I’m merely on the coat-tail of his greatness and talent. It’s been a huge honour.

Williams: “As an actor, I wanted to play Tommy as the man he was and try to avoid just doing an impression. It’s been interesting to really study him and to learn more about who he was. The three of us have worked incredibly hard to capture them without doing a caricature.”

Cartwright:  “First and foremost, I knew Bob Monkhouse personally, so from a method-acting point of view, I can really draw on and recall what he was like off-stage, so I have that distinct advantage. These are three very vulnerable men who share the love of making people laugh, and they get there in different ways.

“It’s all about finding authenticity and truth, rather than trying to create a caricature or an impression. We’re not doing that, we’re going for truth and sentiment. I think the more we perform this, the more truth we’re finding in the words, and it’s resonating with our own personalities as well.”

“It’s very much a ‘feel good’ piece of theatre and a reassuringly British experience,” says Bob Golding, centre, of Paul Hendy’s play The Last Laugh. Picture: Pamela Raith

Are there any cities or venues on the tour where you will be especially excited to perform?

Golding: “I love touring! Of course, I miss my family, but I love seeing all the different theatres and feeling the energy of the different audiences.

“I think we are lucky here in the UK as it does provide many of those lovely pockets. I love the history and charm of a place like York, for example, but then also the buzz of the Glasgow nights is exciting and appealing too.

“Milton Keynes is very close to my actual home, so I will certainly look forward to being able to sleep in my own bed during that week, but overall, I am comforted by the ‘safe space’ of every theatre we visit. For an actor, the theatre is the home away from home.”

Williams: “I can’t wait to start the tour and bring it to some amazing cities. Personally, I’m looking forward to the Sheffield audiences, as it’s where I do panto every Christmas [playing the Lyceum dame], and Southend as it’s my hometown.”

Cartwright: “I’m looking forward to Sheffield – I have an affinity to Sheffield. There’s always this feeling that the audiences get warmer as you go further north, even though the temperature might get cooler outside.

“It will be interesting to try Glasgow as well – we mention the Glasgow Empire [in the play], the infamous venue where every comic failed. Will we be able to get the Glaswegian crowds to reflect warmly on our efforts? I do hope so.”

The poster for The Last Laugh, bound for York next week after playing the Edinburgh Fringe, the West End and New York

What do you hope audiences will take away from The Last Laugh:  not only laughter, but maybe something deeper too?

Golding: “What we’ve certainly found with The Last Laugh is that people of a certain age have left in a bit of an emotional state after enjoying the play. They’ve laughed and they’ve cried as I think it awakens a more innocent time in our youth when elder family members were still with us, and possibly reminds us of what those times mean to us.

“The laughter hopefully evens out the more poignant and sadder feelings though. It’s very much a ‘feel good’ piece of theatre and a reassuringly British experience.”

Williams: “What we’ve learnt so far is that the audiences are totally transported back to a time when they sat as a family and watched these great comedians on the TV. We can totally feel the love from the audience as soon as the play starts. You’ll be laughing one minute and crying the next. You’ll learn more about these men and what it was really like to be them. “

Cartwright:  “I hope that audiences take away a new and fresh insight into the three comedians. I hope that a younger generation, who might not have seen the comedians before, discover them and walk away with an interest, and we ultimately keep their memories alive. I hope for the older generations we’re a warm reminder of a bygone age, the golden age of British comedy.”

The Last Laugh, Grand Opera House, York, June 10 to 14, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees. In the second half, a Q&A session will enable audience members to put their questions to the cast. Box office: atgtickets.com/york.

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REVIEW: New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, until Saturday *****

New Adventures in Matthew Bourne’s The Midnight Bell. Picture: Johan Persson

YORK had to wait 30 years for a first visit by Matthew Bourne’s dandy dance company. That came in March 2017 with Early Adventures, when he vowed to return in his post-show Q&A.

True to his word, he did so in October 2021 with another mid-scale touring work on his world premiere tour of The Midnight Bell, and now he does again with the same show in a case of For Whom The Midnight Bell Tolls Twice.

No complaints here, nor from the exhilarated, enraptured full house on the first night. Some of the original cast remains, joined by actor-dancers steeped in his dance dramas.

Not a word is said in The Midnight Bell, but evocative 1930s’ music abounds – dancers miming in character to the oh-so very English Al Bowlly, Elisabeth Welch and Leslie A. “Hutch” Hutchinson’s male interpretation of George and Ira Gershwin’s The Man I Love – to complement Terry Davies’s nightlife score and Paul Groothuis’s  supreme sound design, ear-piercing tinnitus screeching, rain dancing on the roof, et al.

Inspired by the novels of Gaslight playwright Patrick Hamilton, Bourne’s storytelling through dance is so expressive that he creates a narrative language in visual form. You find yourself drawn to each character’s path as seamlessly as that story moves from beautifully framed scene to beautifully framed scene on a typically wondrous set design by Lez Brotherston, replete with the ever-changing London skyline that matches the mood of the scene.

Even the Magritte-style multitude of suspended window frames, the ever-populated bed and the pub bar move with the graceful swish of choreography. Bourne applies wit too: a red telephone box is represented by only the Telephone neon sign and the top of the box; the phone itself is pulled discreetly from the jacket of waiter Bob (Andrew Monaghan).

Brotherston’s costume designs are fabulous too. From lines and contours to hats and correspondent brogues, here is such elegance to meet Bourne’s eloquence in sensuous movement.

Set in The Midnight Bell pub, the surrounding bedsitland, rooms to rent, gated park, members-only club and cinema seats of London, Bourne’s work is billed as a “dance exploration of intoxicated tales from darkest Soho, delving into the underbelly of early 1930s’ London life”.

Devised and directed by Bourne, he peoples the tavern with a lonely hearts’ club of drinkers and staff; troubled souls more at the unhappy hour, rather than happy hour, stage of intoxication.

All have a drink in one hand, slammed down on tables at the outset. All are looking for a refill as much of the heart as the glass, or at least some form of connection, but will they be sated or are they destined for the loneliness of the lovelorn?

What couplings will end up in that bed in cleverly overlapping storylines involving a young prostitute, Jenny Maple (Ashley Shaw), the waiter, the barmaid Ella (Bryony Pennington) and the oddball regular Mr Eccles (Danny Reubens)?

On to the not-so-merry-go-round spin the bespectacled lonely spinster Miss Roach (Michela Meazza); the pickpocket cad Ernest Ralph Gorse (Glenn Graham); the out-of-work actress Netta Longdon (Cordelia Braithwaite), and the schizophrenic, tinnitus-troubled, tortured romantic George Harvey Bone (Alan Vincent).

The forbidden The Man I Love storyline entwines West End chorus boy Albert (Liam Mower) with new customer Frank (Edwin Ray), taking risks in that repressed era, captured in Bourne’s most sublime, serpentine choreography of this remarkable show.

Bourne calls these stories of requited and more often unrequited love in restlessly on-edge London “bitter comedies of longing, frustration, betrayal and redemption”. “Bitter comedies” could not put it better, the humour being as dark as London porter in this neon-lit world, but all life is here, sad, bad, mad, yet hopefully happy hereafter too, stamped with the distinctive Bourne identity, as full of panache as punch.

After Emma Rice’s take on Alfred Hitchcock’s North By North West and Gary Oldman’s residency in Krapp’s Last Tape, and now The Midnight Bell, York Theatre Royal is having a cracking 2025, as bright as Bourne’s dance hall mirror ball that dances with delight.

New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, tonight and tomorrow (6/6/2025) at 7.30pm; Saturday, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Choreographer Sir Matthew Bourne will be in conversation with Theatre Royal chief executive Paul Crewes after tomorrow’s performance (6/6/2025).

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York Pride prepares for biggest LGBT+ festival yet on Saturday on Knavesmire – and look out for Georgian fan language

Angels Of The North: Headline act on the main stage at York Pride on Knavesmire on Saturday

NORTH Yorkshire’s largest LGBT+ celebration and York’s biggest free one-day festival,  York Pride 2025, takes to the streets for its biggest, boldest and most fabulous event yet on Saturday.

“We are so proud to stand together in love, solidarity and Pride,” says chair Greg Stephenson. “As we celebrate this weekend, we must also reflect. Around the world – and here in the UK ­– our trans and non-binary community is under increasing attack, facing rising hate, hostile attack, and systemic challenges.

“At York Pride, we stand proudly and unequivocally with our trans and non-binary siblings. You are loved, you are valued, and you are welcome here.

“Pride has always been a protest as well as a celebration. We march not just for ourselves, but for those who cannot.  We raise our voices for those still silenced. And we will continue to champion inclusion, equality and visibility for all members of our LGBT+ family.”

In 2024, more than 17,500 people filled the city streets for a record-breaking York Pride, and once more the festival promises to be bold, inclusive and joyful in 2025, led off by the Pride Parade that will follow a new path through the streets with an updated starting point on Parliament Street at midday.

On Knavesmire, the festival’s main stage will be headlined by Angels Of The North (6pm) and on the bill too will be Ryan Petitjean (1.10pm), tribute act Pet Shop Boys, Actually (1.35pm), Marcus Collins (2pm), Eva Iglesias (2.30pm), York drag superstar Janice D (3.35pm), La Voix (4pm), West End queen Kerry Ellis (5.15pm), The Cheeky Girls (5.35pm) and plenty more. Find the full line-up at yorkpride.org.uk/line-up.

Look out too for the Cabaret Stage, featuring PJ Taylor, Emily Moran,  Ferne Ando, Oliver James Perkins, Malin Fox, Queer Arts Rainbow Choir, The Drag Lord Victorious, Miss Kitty Lee, Coldhell, Liv Harper and 5.45pm headliners The Movement Project. 

Knavesmire will play host to a multitude of main arena stalls and tents, including the York Pride Quiet Tent, City of York Council, the Diocese of Middlesbrough LGBT Outreach, York Mind, Amnesty International York, Christians At Pride In York, Sherlock Holmes’ Imaginarium, Barnardo’s North Fostering and Adoption and York St John University.

In a new addition for 2025, York Trans Pride will have a dedicated space to celebrate trans lives through visibility, community and empowerment, supported by Generate, York LGBT Forum, The Portal Bookshop, Know York LGBT and York Pride.

Queer Arts York will play host to the Queer Arts LGBT+ Community Arts Space hub, celebrating creativity, self-expression and community connection. Expect a joyful mix of arts and crafts activities, a participatory mural, interactive workshops and creative drop-ins and moments of performance, movement and expression.

The Pride day will conclude with an Official Pre-After Party with Charra Tea, from RuPaul UK Drag Race, from 7.30pm at Yates York and the Official AfterParty at Ziggy’s (bar and lounge  from 7pm; downstairs from 10m to 4am).  

York drag act Ginger Slice and York Mansion House duty manager Rio Sambrook demonstrating Georgian fan language in the Guildhall council chamber. Look out for their demonstration at York Pride

Among the festival highlights, Rio Sambrook, York Mansion House duty manager and chair of City of York Council’s staff LGBT+ network, will be giving a demonstration of Georgian fan language to drag performer Ginger Slice at the Georgian Festival stall between 1pm and 6pm.

“Fan language was a secret code of postures and motions for communicating by using a fan, central to Georgian ball culture, as a rebellion against the repression of young women and controlling of speech and lack of a voice,” says Rio, who will be dressed in Georgian inspired costume on Saturday.

“It was a time when young women’s voices were suppressed and they couldn’t speak freely, and it’s now had a strong resurgence in the LGBTQIA community and has a strong association with drag and Pride events.”

In the mid-20th century, gay people had their own secret language, spoken during a time of oppression. “Polari” was a way to communicate discreetly with each other when homosexuality was illegal – and later too when decriminalised but hostility remained widespread in society.

“Polari is an historic mix of language that was developed by sailors, who would have spoken the language at ports,” says Rio. “It was also used by Kenneth Williams [and Hugh Paddick] for  the characters Julian and Sandy on the BBC radio show Round The Horne in the 1960s.

“Its use ended because of that, but when Princess Anne told photographers to “naff off” after falling off a horse, ‘naff’ was originally a Polari word.”

Ginger Slice chips in: “‘Drag’ originates as a Polari word too, standing for Dressed As A Girl.” Ginger, a South Yorkshire-born photographer and graphic designer, now settled in York, will be donning her 90s’ Girl Power finery at the weekend in her nod to Ginger Spice.

“There are different moves with the fan to indicate love,” says Ginger. “The full fan, spread out like a peacock, is saying ‘I’m available’. It all starts with eye contact and the fan language takes over.

“In a world obsessed with language, with so many words for everything, it’s fascinating when you take all the words out of it for sign language, because we sometimes have to try to communicate in a way that others won’t understand.”

Rio adds: “If you are trying to fix up a meeting, showing three points of the fan will indicate 3pm. If you hold the fan with the back showing, it means, ‘I never want to see you again’.  A closed fan, placed against the chest, indicates you’re in love.”

Further symbols come into play too. “It could be the colour of the handkerchief you are wearing, or which back pocket you’re wearing it in,” says Ginger. “They are like the emojis of their time.”