Category: Theatre

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‘I love playing Fairy,’ says Lisa George on leaving Coronation Street after 13 years to return to theatre. Next wave of wand, Cinderella at Grand Opera House

Wanderful: Lisa George’s Fairy Godmother in UK Productions’ Cinderella at Grand Opera House, York

AFTER 13 years as “loud, gobby, feisty” Beth Sutherland in Coronation Street, Lisa George decided to leave soapland’s cobbles to tread the boards once more.

A decision she made in 2024, when her final episode aired last August, that now brings her to York to play Fairy Godmother at the Grand Opera House  in UK Productions’ Cinderella from December 6 to January 4 2026.

“The decision had been bubbling away because of my visual impairment,” says Lisa, who has the rare eye condition of NAION (non-arteritic anterior ischemic optic neuropathy), one that causes sudden and painless vision loss in up to 11 per cent of people.

“I first lost vision in the bottom half of my right eye [when Lisa had been hit in the eye by a rope] and then had a second occurrence in 2022 [in her left eye] and was formally diagnosed in 2023 after a year of searching for what was wrong.”

As chance would have it, when she partnered with Tom Naylor in Dancing On Ice in 2020, it turned out he was the son of Gerard Taylor, an eye specialist she had consulted in 2017.

“I don’t think people realise I have this eye condition because I don’t make a song and dance about it,” says Lisa George

For Lisa, who also had been diagnosed with Type 2 Diabetes in 2016, matters came to a head when she was watching a production of Romeo And Juliet at the Royal Exchange Theatre in Manchester last year.

“In a black-out during the performance, I suddenly thought about not being able to see,” she recalls. “I’d earned my stripes, I’d worked on Coronation Street for 13 years, and I thought, ‘if I’m going to go blind, I need to do theatre again now. I don’t just want to be known for Beth [Sutherland] . I’m going to play other roles before anything might happen to stop me’.

“The condition is stable; I can see, but I was petrified I would never work in theatre again after I was diagnosed, but I was also aware that I’d be able to have people hold my hand, or show the way with torches. There’s far more help nowadays.”

Cinderella is her second pantomime since leaving Coronation Street. “I don’t think people realise I have this eye condition because I don’t make a song and dance about it – though my script is massive!” she says.

Working with director Ellis Kerkhoven and choreographer Xena Gusthart for the first time, Lisa is “absolutely delighted to be appearing as Fairy Godmother at the Grand Opera House”. “Panto is such a special time of year, and I can’t wait to see families and friends come together to share in the magic over the festive season,” she says.

Lisa George in the poster for her role as Fairy Godmother in Cinderella, when she was announced as the first signing for the Grand Opera House pantomime for 2025-2026

As ever with commercial panto, rehearsals crack on apace. “We had ‘blocked’ the whole of the show by day three, and we’d had costume fittings, dance rehearsals and vocal rehearsals on top of that,” says Lisa.

“The very first pantomime I did we had only a week’s rehearsals. That one was with Jimmy Cricket, Linda Nolan, a young Suranne Jones and Paul Crone, ‘the roving reporter’ from Granada TV.  That was at the Tameside Hippodrome [in Ashton-under-Lyne, Greater Manchester], a  theatre that doesn’t exit anymore.  I was Dandini, the old-fashioned thigh-slapping Dandini in fishnet tights.

“We’re getting pushed out now, with the Prince Charming and Dandini roles going to men, on top of men already playing the dame. What’s left for the women?

“Dandini wasn’t my favourite role, to be fair. I have more fun as the fairy. I love playing Fairy, whether Petunia Pumpkin in Cinderella or Fairy Bowbells in Dick Whittington, both at the Oldham Coliseum, or Fairy Godmother last year at the Wyvern Theatre, in Swindon, or now Fairy Godmother in York, where it’s my first time working with UK Productions.”

“I’ve brought my steamer, my big straw, my Vitamin C tablets – and I’ll try to get plenty of sleep too,” says Lisa George of her routine for the pantomime season ahead

Producer Martin Dodd enthuses: “We are thrilled to welcome Lisa to the cast of Cinderella. She brings a huge amount of talent, warmth and star power to the stage, and we know that the audience will fall in love with her Fairy Godmother.”

Performing in pantomime, with the challenge of cold weather, loud audiences and multiple shows, is arguably theatre’s most demanding season, requiring care of body and voice. “It’s a tough call doing panto,” says Lisa. “I’ve got a nebuliser that someone told me to get last year, where you put on a mask to hydrate your throat.

“Then there’s a wide straw, a singing tube, that you blow bubbles with to help the voice. Opera singers use it. I learned about that last year as well, so I’ve brought my steamer, my straw, my Vitamin C tablets – and I’ll try to get plenty of sleep too.”

“Absolutely buzzing” about singing two key numbers in Cinderella, one in the transformation scene, the other in Act Two, Lisa is looking forward to her York debut. “Of all the tours I’ve done, I don’t think I’ve done York before,” she says. “It’s been brilliant; it’s a really lovely cast , everyone’s so talented. We’ve bonded already; everyone is just dead nice and supportive.”

UK Productions presents Cinderella, Grand Opera House, York, December 6 to January 4 2026. For tickets, go to atgtickets.com/york.

Actress Lisa George

Lisa George on her years of treading Coronation Street cobbles, 1997 to 2024

“I left in July 2024, and my last scene on screen was on August 24, after 13 years of playing [former model] Beth Sutherland, married to Kirk Sutherland [in 2015]. She was loud, she was gobby, she was feisty; a very proper lioness, protecting her son, loyal – and I think she was really funny too.

“She was a loudmouth, a hybrid of Ivy Tilsley and Janice Battersby, and I loved playing her. Those 13 years just flew by.

“I’d done Coronation Street before, playing three guest roles, and originally I was asked to do episodes as Beth. But then the producer asked me back for a trial six months, then for afull year that turned into three years, then another three years, and so on and son on! Because they didn’t have someone gobby in the factory anymore, that’s why they kept her.

“I first played a nurse in 1997 in a scene with Martin Platt, Gail’s husband. Then I was a family liaison officer for five episodes when Katy Harris, played by Lucy-Jo Hudson, killed her dad with a wrench.

“I filmed my part as a police officer when Ashley and Claire Peacock’s son was kidnapped, but those scenes were never shown after the disappearance of Madeleine McCann [in May 2007].”

Lisa George in her latest role as Fairy Godmother in UK Productions’ Cinderella at Grand Opera House, York, from December 6 to January 4 2026

Lisa George: back story

BORN on October 15 1970 in Grimsby.

Best known for playing factory worker and former model Beth Sutherland in Coronation Street from 2011 to 2024.

In 2020, Lisa skated her way to fifth place, partnering Tom Naylor, on Dancing On Ice; in 2022, she  appeared as Cabaret’s Sally Bowles in ITV’s All Star Musicals; in 2022 and 2023, she performed with fellow Corrie cast members on Britain Get Singing.

Lisa read theatre studies at Royal Welsh College of Music and Drama, Cardiff, where she won singing scholarship for three years running.

Since graduating in 1995, her credits include UK tour of Prisoner Cell Block H – The Musical, touring with Lily Savage; Dusty Springfield tribute show I Only Want To Be With You; Cinderella, with Jimmy Cricket;  Daydream Believer, for M6 Theatre Company, and Life On Mars, at Riverside Studios, London.

Further shows were: The Queens Of Country, playing Tammy Wynette;  One For The Road, playing Pauline Cain for The Torch Theatre, and producing, directing and appearing in An Evening with Kander and Ebb. Also undertook six-month run in UK tour of musical comedy Girls Night in 2010.

In pantomime, Lisa has appeared as Fairy Bowbells in Dick Whittington (Oldham Coliseum), Petunia Pumpkin in Cinderella (Oldham Coliseum) and Dandini in Cinderella (Tameside Hippodrome).

Television roles include: Emmerdale; Casualty; Holby City; City Central; Cops; Roger Roger; My Summer With Des; Coronation Street (see above); Oliver’s Travels; Manhunt; Children’s Ward and Holding The Baby.

Commercials include: Ebay, Learn Direct, KFC, Claims Direct and White Lightening Cider. The “controversial singing KFC commercial” has become infamous for receiving the most ever complaints. Radio: The Handmaiden’s Tale, BBC Radio 4, and Pick Ups.

Lisa appeared alongside Michelle Collins in BAFTA-nominated television adaptation of Jacqueline Wilson’s The Illustrated Mum, playing the role of Miss Hill.

Lisa recorded backing vocals with The Stranglers on their 1998 album Coup de Grace (Eagle Records). From 2001, she toured with 13-piece soul band The Rumble Band for four years before jumping ship to join the mighty rocking big band orchestra, The Cat Pack, recording It Ain’t What You Do, an album of jazz, jump blues, rock’n’roll and swing classics and originals in 2006. Also performed with Sheffield jump jive band The Big Heat for two years.

After supporting Little Richard and Chuck Berry with The Cat Pack in 2005, Lisa was asked to record her solo album, The Devil Said Shake, for Raucous Records as Lisa George and The Pedalos.

Lisa appeared as a guest singer in Rave On, the Buddy Holly show;  travelled the country as support act to Peter Grant and toured as backing vocalist for Joe Longthorne on his 2007/2008  You And Me tour and 2009 40th Celebration Tour.

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REVIEW: Sleeping Beauty, Stephen Joseph Theatre, Scarborough, until Dec 31 ****

Kiara Nicole Pillai’s Molly and Jacob Butler’s Dan, her best friend, in Nick Lane’s Sleeping Beauty at the SJT, Scarborough. All pictures: Tony Bartholomew

NO rest for the wicked Crepuscula in Sleeping Beauty, and no rest for Sleeping Beauty either, or Molly, as writer Nick Lane calls her in his radical reboot of Charles Perrault’s tale.

Molly, spoiler alert, will not sleep through much of Act Two,  in panto tradition, awaiting a Prince’s arrival to awake her from 100 years of deep slumber. The Prince, by the way, has been jettisoned too, replaced by best friend Dan.

Lane never goes down the obvious lane, nor indeed down familiar pantomime alleyways. He puts story first and foremost, appealing to children and the inner child in the adult alike, and rather than set-piece routines, he lets cast and audience have equal fun with how he can spin a familiar tale in new ways.

You Butter believe it: Annie Kirkman’s evil Crepuscula working in tandem with Oliver Mawdsley’s henchman Butter in Sleeping Beauty

What’s more, after 2024’s Aladdin didn’t match the peaks of Beauty And The Beast, Cinderella, Alice In Wonderland and A (Scarborough) Christmas Carol, Sleeping Beauty is Lane back at his best, pulling all the theatrical strings with his combination of thrills, spills and almost delirious silliness, topped off with big pop hits and a dance–off.

He happens to be directing the show for the first time too, no mean feat in the present circumstances when he is in the hop stage, awaiting his second hip operation as he heals from his first.

Sleeping Beauty moves between the modern world of Scarborough, or Scarborinia as Lane renames it  this year, the Dreamland of the slumbering Molly (Kiara Nicole Pillai) and the Fairy world of Perrault’s creation, occupied by Aurore, the queen (Pillai again), Clair du Lune (Amy Drake) and Crepuscula (the outstanding Annie Kirkman).

Sleeping Beauty writer-director Nick Lane in the Stephen Joseph Theatre rehearsal room

On the cusp of turning 12, Molly is Aurore’s daughter, born half fairy, half human, and so a “hairy”, as her dad is plain old human Dave (Jacob Butler). To protect her from Crepuscula’s clutches with her finger-pricking plan, she is living with Auntie Claire (Claire de Lune in human form) and Uncle Harry (Oliver Mawdsley, a tooth fairy obsessed with dental hygiene and an unfortunate track record for magic tricks going wrong).

Are you keeping up with all this minutiae? The great joy is that Lane allows it all to take shape, to work its spell, as a journey of discovery not only for Molly but for the audience tooe, everything seeping in as another pop banger bounces around the stage under Alex Weatherill’s musical direction and Dylan Townley’s composition and sound design skills.

Kirkman, wickedly good as the intemperate baddie Crepuscula, holds the aces in Act One, constantly entering Molly’s Dreamland where she keeps having the same alarming dream, the one with the Hippo-Faced Man (Mawdsley again).

Oliver Mawdsley’s Uncle Harry: Fearing another magic spell could be going wrong in Sleeping Beauty

Into this world too come the most unconventional henchmen you are likely to encounter this season: Sock and Butter, conjured from, yes, a sock and a pack of butter by Crepuscula into full-sized form that finds Kirkman’s Crepuscula wiping butter from Butter’s unwanted clench on to audience members’ knees with a gurning look of disapproval.

Molly must find her way out of Dreamland  before the 100 years are up, journeying in Act Two from Golden Miles’ happy place to the Weird Lands and finally, and most dangerously, the Nightmare Swamps.

Rather than slumbering through Act Two, like President Trump appearing to “fall asleep” at his December 2 cabinet meeting, Pillai’s Molly is centre stage and restless to leave her Dreamland, and Sleeping Beauty is so much better for awakening the world going on inside her head.

Drake’s five: Amy Drake in one of her quintet of roles in Sleeping Beauty, where she plays Auntie Claire/Clair de Lune, Amber, Fake Claire and Fluffy Robin

Lane’s cast is a delight, from Pillai’s gymnastic, livewire Molly and stern Aurore to Mawdsley’s disaster-prone Uncle Harry, Kirkman’s disdainful villain Crepuscula to Butler’s amusingly ordinary Dan and Dave and slippery Butter. Amy Drake, called on to play no fewer than five roles, is terrific throughout, full of contrasts, excellent comic timing and physical comedy too, especially as Fluffy Robin.

Audience participation is key too, divided into four to shout out separate instructions, where Lane’s new expression “Bumfroth” earns Hutchinson’s Word of the Year for 2025, a far more worthy winner than the Oxford University Press picking that “rage bait” variation on “click bait”.

Lane’s direction is fun, lively, playful, imaginative and full of momentum, matching his writing’s sense of wonder, as if entering the world of Edward Lear or Lewis Carroll.

Let’s dance:Amy Drake, left, Kiara Nicole Pillai, Jacob Butler, Annie Kirkman and Oliver Mawdsley strike a pose on Helen Coyston’s stars-and-stripes set in Nick Lane’s Sleeping Beauty

Stephanie Dattani’s choreography hits the spot too, while Helen Coyston’s set, with Molly’s bedroom on the gantry and an open-plan design on ground level for maximum movement, is complemented by costume designs suited to each of the differing worlds. Crepuscula could be out of Six The Musical; Butter and Sock, from Leigh Bowery.

Mark ‘Tigger’ Johnson’s lighting design is suitably magical, while Magritte would love the multitude of lampshades decorating the sky above.

You should not rest until you have secured a ticket for this Sleeping Beauty, and should you be wondering, Nick Lane’s world of fantastical theatre will return for Puss In Boots from December 5 to 31 next year. Box office: 01723 370541 or sjt.uk.com.

Annie Kirkman’s villainous Crepuscula putting Fairyland queen Aurore on alert in Sleeping Beauty
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Concert announcement of the week: Michael Ball, Glow UK Tour, York Barbican, September 12 2026

Michael Ball’s poster for his Glow UK Tour 2026, when he will play Yorkshire shows at Bradford Live, Sheffield City Hall, Hull Connexin Live and York Barbican

MUSICAL star and radio and TV presenter Michael Ball will promote his 23rd solo album, Glow, on next year’s 25-date tour.

“There’s probably only one thing I enjoy more than being in the studio – writing, producing and singing songs with people I love – and that’s taking it all out on the road and performing those songs, as well as all the old favourites to the audiences I love,” he says.

“I hope you enjoy the new album, and I hope you come to see us on tour next year. It’s going to be an exciting year, and I can’t wait to see you all.’’ Tickets go on general sale on Friday at 9am at https://www.yorkbarbican.co.uk/whats-on/michael-ball-2026/.

Featuring original material, Glow will be released “early next year” and will be available via the Michael Ball store at https://michaelball.tmstor.es/. Fans can pre-purchase the album now to gain exclusive tour access, starting today at 9am.

Ball will be on the road from August 26 to October 2 2026 on his Glow UK Tour, whose itinerary takes in  further Yorkshire concerts at Bradford Live on September 3, Sheffield City Hall, September 5, and Hull Connexin Live, September 6. Box office: livenation.co.uk; gigsandtours.com or michaelball.co.uk.

Michael Ball: back story

BORN in Bromsgrove on June 27 1962, Great Britain’s “leading musical theatre star” is a double Olivier Award-winning, Grammy-nominated, multi-platinum recording artist and radio and televison presenter.

For more than 40 year, he has starred in West End and Broadway musical theatre productions, winning critical acclaim, a devoted following and awards for his stage work and recording career.

His theatre credits include Edna Turnblad in Hairspray (ENO/Coliseum); Javert in Les Misérables – The Staged Concert (Gielgud Theatre & UK/Australia Arena Tour); Anatoly in Chess (ENO/Coliseum); Mack in Mack And Mabel (Chichester/UK Tour), and Sweeney Todd in Sweeney Todd and The Demon Barber Of Fleet Street (West End), winning Olivier Award for Best Actor in a Musical.

Further credits include Edna Turnblad in Hairspray (Original West End cast),  winning Olivier Award for Best Actor in a Musical; Kismet (English National Opera); Patience (New York City Opera); The Woman In White (West End/Broadway); Chitty Chitty Bang Bang (West End); Passion, The Phantom Of The Opera, Aspects of Love (West End/Broadway), and creating the role of Marius in Les Misérables (Original West End cast).

TV credits include the Victoria Wood BBC TV film, That Day We Sang, opposite his Sweeney Todd co-star, Imelda Staunton.

He presents his own show on BBC Radio 2 on Sundays. On TV, he has hosted The Michael Ball Show on ITV1, his first TV travelogue, Wonderful Wales on Channel 5 and an Easter Sunday special for the BBC.

Tours UK regularly as a concert artist, selling millions of albums over the past 40 years, as well as performing in Australia, China, USA and Japan. In 2007, he made his BBC Proms debut in An Evening With Michael Ball at Royal Albert Hall, London, marking the first time a musical theatre star had been given a solo concert at the Proms.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 51, from Gazette & Herald

Deep in conversation: Snow goes underground in A Winter Wonderland at JORVIK Viking Centre

A SNOWY reboot, festive trail, treasured exhibition and pantomime launches spell out that winter staples aplenty are up and running, as Charles Hutchinson reports.  

Time travel of the week: A Winter Adventure at JORVIK Viking Centre, York, until February 22 2026

A WINTER Adventure brings a new wintery experience to the underground York visitor attraction, where the 10th century Vikings are preparing to celebrate Yule with natural decorations hung on their houses. For the first time, visitors can peer through Bright White’s time portal into the blacksmith’s house excavated on this site in the 1970s.

They will then board a time sleigh to travel back in time around the backstreets, transformed for winter by Wetherby set dressers EPH Creative, who have covered streets and houses in a thick blanket of snow, bathed in cold blue lighting. Pre-booking is essential for all visits to JORVIK at jorvikvikingcentre.co.uk.

Christmas at The Bar Convent in York. Illustration by Nick Ellwood

Activity trail of the week: Christmas At The Convent, The Bar Convent Living Heritage Centre, Blossom Street, York, until December 22, Monday to Saturday, 10am to 5pm, last admission 4pm

DECEMBER visitors to The Bar Convent can uncover fascinating festive traditions through the centuries in a family-friendly activity trail through the exhibition that combines the convent’s history with the Advent season.

Families can enjoy finding clues, making decorations, dressing up, discovering traditions from Christmas past and much more. Look out for the traditional crib scene in the chapel. Tickets: barconvent.co.uk.

Garlands galore at An Inspired Christmas at Treasurer’s House, York. Picture: National Trust, Anthony Chappel-Ross

Festive exhibition of the week: An Inspired Christmas at Fairfax House, York, until December 21, open Saturday to Wednesday, 11am to 4pm, last entry 3.30pm

TREASURER’S House has undergone a winter transformation, where stories of its past residents come to life through handcrafted decoration as rooms are re-imagined by the National Trust with festive flair, inspired by the 17th-century house’s rich history.

Each room is styled to reflect the personalities and tales of those who once called Treasurer’s House home, from last occupant Frank Green, the visionary industrialist who gifted the property to the National Trust, to the Young family, Jane Squire, Ann Eliza Morritt, Elizabeth Montague, Sarah Scott, John Goodricke and Royal visitor Queen Alexandra. No booking is required, with free entry for National Trust members and under-fives.

The Jeremiahs: Irish folk band play York for the first time on December 3. Picture: Tony Gavin

York debut craic of the week: The Jeremiahs, National Centre for Early Music, York, December 3, 7.30pm

IRISH band The Jeremiahs have travelled extensively, including playing 26 states in the USA, performing rousing new songs and tunes in the folk genre, peppered with picks from the trad folk catalogue. Lead vocalist and occasional whistle player Joe Gibney, from County Dublin, is joined by his fellow founder,  Dublin guitarist James Ryan, New York-born fiddler Matt Mancuso and County Clare flautist Conor Crimmins. Box office: 01904 658338 or ncem.co.uk.

Malton White Star Band: Performing Brass and Voices At Christmas at Milton Rooms, Malton

Ryedale festive concert of the week: Brass and Voices At Christmas with Malton White Star Band, Milton Rooms, Malton, tomorrow, 7pm

MALTON White Star Band and Community Training Band team up with singers from Norton Primary School for the 2025 edition of Brass and Voices at Christmas. Doors open at 6.30pm. Tickets are on sale at https://donate.givetap.co.uk/f/malton-white-star-band/christmas-concert-2025 or by ringing Dave Creigh on 07766 237947.

The one and only Jesca Hoop: Playing NCEM in York tomorrow

Singer-songwriter of the week: Brudenell Presents and Please Please You present Jesca Hoop, National Centre for Early Music, York, December 4, 7.30pm

DISCOVERED by Tom Waits, invited on tour by Peter Gabriel and encouraged to relocate to the UK by Elbow’s Guy Garvey, Jesca Hoop left California for Manchester to carve out a singular path across six albums of original material. Collaborations with producers John Parish (PJ Harvey), Blake Mills (Feist), and Tony Berg (Phoebe Bridgers) have only sharpened the intricacy of her craft. Box office: thecrescentyork.com/events/jesca-hoop-at-the-ncem-york/.

Ryedale Christmas children’s show of the week: Esmerelda The Elf And Father Christmas, Milton Rooms, Malton, Saturday, 12 noon, 2pm and 3.30pm; Sunday, 10.30am, 12 noon, 2pm and 3.30pm

WHO thought it was a good idea to put Elf friend Esmeralda in charge of Christmas sweeties? Can you help her to have everything ready in time? Will any goodies be left by the time Christmas Day arrives?

Each family has its own space to sit in at this interactive show and can visit Father Christmas individually at the end. All children will receive a gift. Box office: 01653 696240 or themiltonrooms.com.

Bec Silk’s Robin Hood and writer Martin Vander Weyer’s Dame Daphne in 1812 Theatre Company’s pantomime Robin Hood’s Helmsley Adventure

Ryedale pantomime opening of the week: 1812 Theatre Company in Robin Hood’s Helmsley Adventure, Helmsley Arts Centre, Saturday, 2.30pm and 7.30pm; Sunday, 2.30pm; December 9 to 12, 7.30pm; December 13, 2.30pm and 7.30pm; December 14, 2.30pm

HELMSLEY Arts Centre artistic director Natasha Jones directs company-in-residence 1812 Theatre Company in this traditional panto with a Knock Knock Joke Contest, scripted by Martin Vander Weyer.

Robin Hood will be rescuing the lovely Maid Marian from the wicked Sheriff of Pickering, while Black Swan landlady Dame Daphne will lead the merriment and mayhem. Knock Knock! Who’s there? Daphne! Daphne who? Daph-nitely book early to avoid disappointment on 01439 771700 or at helmsleyarts.co.uk.  

Hannah King’s Peter Pan in Rowntree Players’ The Pantomime Adventures Of Peter Pan at Joseph Rowntree Theatre, York

Putting ‘Pan’ into pantomime: Rowntree Players in The Pantomime Adventures Of Peter Pan, Joseph Rowntree Theatre, York, Saturday, 2pm and 7.30pm, Sunday, 2pm and 6pm; December 9 to 12, 7.30pm; December 13, 2pm and 7.30pm

JOIN Wendy, John and Michael as they fly with Peter Pan to the fantastical world of Neverland in Howard Ella and Gemma McDonald’s pantomime for Rowntree Players. Cling on to your seats as Peter and the Lost Boys do battle with Jamie McKeller’s rather nasty Captain Hook and his even nastier bunch of pirates. Fear not as Nanny McFlea and her ever eager apprentice Barkly are on hand to assist in the most ridiculous of ways. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Michael Ball: Glowing at York Barbican next September

Concert announcement of the week: Michael Ball, Glow UK Tour, York Barbican, September 12 2026

MUSICAL star and radio presenter Michael Ball will promote his 23rd solo album, Glow, on next year’s 25-date tour. “There’s probably only one thing I enjoy more than being in the studio – writing, producing and singing songs with people I love – and that’s taking it all out on the road and performing those songs as well as all the old favourites to the audiences I love,” he says.

“It’s going to be an exciting year, and I can’t wait to see you all.’’ Tickets go on sale on Friday at 9am at https://www.yorkbarbican.co.uk/whats-on/michael-ball-2026/.

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More Things To Do in York and beyond as snow blanket covers JORVIK. Here’s Hutch’s List No. 51, from The York Press

The deep freeze: Snow goes underground in A Winter Wonderland at JORVIK Viking Centre

A FESTIVE trail, treasured exhibition and snow reboot, pantomime and A Christmas Carol spell out that winter staples aplenty are up and running, as Charles Hutchinson reports.  

Time travel of the week: A Winter Adventure at JORVIK Viking Centre, York, until February 22 2026

A WINTER Adventure brings a new wintery experience to the underground York visitor attraction, where the 10th century Vikings are preparing to celebrate Yule with natural decorations hung on their houses. For the first time, visitors can peer through Bright White’s time portal into the blacksmith’s house excavated on this site in the 1970s, seeing what it would have been like to live there.

They will then board a time sleigh to travel back in time around the backstreets, transformed for winter by Wetherby set dressers EPH Creative, who have covered streets and houses in a thick blanket of snow, bathed in cold blue lighting. Pre-booking is essential for all visits to JORVIK at jorvikvikingcentre.co.uk.

Christmas at The Bar Convent. Illustration by Nick Ellwood

Activity trail of the week: Christmas At The Convent, The Bar Convent Living Heritage Centre, Blossom Street, York, until December 22, Monday to Saturday, 10am to 5pm, last admission 4pm

DECEMBER visitors to The Bar Convent can uncover fascinating festive traditions through the centuries in a family-friendly activity trail through the exhibition that combines the convent’s history with the Advent season.

Families can enjoy finding clues, making decorations, dressing up, discovering traditions from Christmas past and much more. Look out for the traditional crib scene in the chapel. Tickets: barconvent.co.uk.

Garlands galore at An Inspired Christmas at Treasurer’s House, York. Picture: National Trust, Anthony Chappel-Ross

Festive exhibition of the week: An Inspired Christmas at Fairfax House, York, until December 21, open Saturday to Wednesday, 11am to 4pm, last entry 3.30pm

TREASURER’S House has undergone a winter transformation, where stories of its past residents come to life through handcrafted decoration as rooms are re-imagined by the National Trust with festive flair, inspired by the 17th-century house’s rich history.

Each room is styled to reflect the personalities and tales of those who once called Treasurer’s House home, from last occupant Frank Green, the visionary industrialist who gifted the property to the National Trust, to the Young family, Jane Squire, Ann Eliza Morritt, Elizabeth Montague, Sarah Scott, John Goodricke and Royal visitor Queen Alexandra, wife to King Edward VII. No booking is required, with free entry for National Trust members and under-fives.

Guy Masterson’s Ebenezer Scrooge in A Christmas Carol, on tour at Theatre@41, Monkgate, York

Festive ghostly return of the week: Guy Masterson in A Christmas Carol, Theatre@41, Monkgate, York, today, 2pm 7.30pm

HEADING back to Theatre@41 for the fourth time, Olivier Award winner Guy Masterson presents Charles Dickens’s Christmas fable anew, bringing multiple characters to vivid life as ever, from Scrooge and Marley to the Cratchits and the Ghosts of Christmas Past, Present and Yet To Come. 

Be dazzled, be enchanted by a performance destined to linger long in the memory. “It’s guaranteed to get you into the Christmas Spirit – in many  more ways than one,” says Masters. Box office: tickets.41monkgate.co.uk.

Ellie Gowers: Songs exploring distance, longing and identity at Rise@Bluebird Bakery

Ecological songs of the week: Ellie Gowers, Rise@Bluebird Bakery, Acomb, York, Sunday, 8pm, doors 7.30pm

WARWICKSHIRE singer-songwriter – and Morris dancer to boot – Ellie Gowers blends contemporary acoustic sounds with the storytelling traditions of folk. Her 2022 debut album Dwelling By The Weir addressed ecological themes and her 2024 EP You The Passenger received airplay on Mark Radcliffe and Stuart Maconie’s BBC 6Music show.

Her influences range from Mipso to Jeff Buckley is songs that explore distance, longing and identity. An extended version of the EP arrives this autumn 2025. Easingwold singer-songwriter Gary Stewart supports. Box office: bluebirdbakery.co.uk/rise.

St Agnes Fountain: Promoting new Christmas album Flakes & Flurries at NCEM, York

Folk gig of the week: Black Swan Folk Club presents St Agnes Fountain, National Centre for Early Music, York, December 1, 7.30pm

AFFECTIONATELY known as “the Aggies”, Chris While, Julie Matthews and Chris Leslie bring their Christmas cheer to the NCEM, presenting carols with a curve. They celebrate 25 years together with material from new festive album Flakes & Flurries (Fat Cat Records), old Aggie classics and a doff of the fedora to founder member David Hughes, who died in 2021. Box office: 01904 658338 or ncem.co.uk.

Name of the dame: Robin Simpson will be playing Nurse Nellie in Sleeping Beauty at York Theatre Royal

Pantomime opening of the week: Sleeping Beauty, York Theatre Royal, December 2 to January 4 2026

THEATRE Royal creative director Juliet Forster directs returnee dame Robin Simpson’s Nurse Nellie, Jocasta Almgill’s Carabosse, Tommy Carmichael’s Jangles, CBeebies star Jennie Dale’s Fairy Moonbeam, Aoife Kenny’s Aurora and Harrogate actor Christian Mortimer’s Prince Michael in Sleeping Beauty.

Written once more by Paul Hendy, the Theatre Royal’s festive extravaganza is co-produced with award-winning Evolution Productions, the same team behind All New Adventures Of Peter Pan, Jack And The Beanstalk and last winter’s Aladdin. Box office: 01904 623568 or yorktheatreroyal.co.uk. 

Mark Thomas in Ed Edwards’s play Ordinary Decent Criminal at York Theatre Royal Studio. Picture: Pamela Raith Photography

Recommended but sold out already: Paines Plough presents Mark Thomas in Ordinary Decent Criminal, York Theatre Royal Studio, December 2 and 3, 7.30pm

MEET recovering addict Frankie, played by political comedian Mark Thomas in his second acting role for playwright Ed Edwards after England & Son in 2023. In Ordinary Decent Criminal’s tale of freedom, revolution and messy love, Frankie has been sentenced to three and a half years in jail for dealing drugs. 

On his arrival, none of his fellow convicts are what they seem, but with his typewriter, activist soul and sore lack of a right hook, he somehow finds his way into their troubled hearts, and they into his. In the most unexpected of places, Frankie discovers that the revolution is not dead, only sleeping. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

The Jeremiahs: Irish folk band play York for the first time on December 3. Picture: Tony Gavin

York debut craic of the week: The Jeremiahs, National Centre for Early Music, York, December 3, 7.30pm

IRISH band The Jeremiahs have travelled extensively, including playing 26 states in the USA, performing rousing new songs and tunes in the folk genre, peppered with picks from the trad folk catalogue. Lead vocalist and occasional whistle player Joe Gibney, from County Dublin, is joined by his fellow founder,  Dublin guitarist James Ryan, New York-born fiddler Matt Mancuso and County Clare flautist Conor Crimmins. Box office: 01904 658338 or ncem.co.uk.

The one and only Jesca Hoop: Playing NCEM on December 4

Singer-songwriter of the week: Brudenell Presents and Please Please You present Jesca Hoop, National Centre for Early Music, York, December 4, 7.30pm

DISCOVERED by Tom Waits, invited on tour by Peter Gabriel and encouraged to relocate to the UK by Elbow’s Guy Garvey, Jesca Hoop left California for Manchester to carve out a singular path across six albums of original material. Collaborations with producers John Parish (PJ Harvey), Blake Mills (Feist), and Tony Berg (Phoebe Bridgers) have only sharpened the intricacy of her craft.

Now she has released Selective Memory, an unplugged reworking of 2017’s Memories Are Now, recorded live at home with bandmates Chloe Foy and Rachel Rimmer for Last Laugh Records. Box office: thecrescentyork.com/events/jesca-hoop-at-the-ncem-york/.

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REVIEW: Riding Lights Theatre Company in Christmas Inn Trouble, on tour, then Friargate Theatre, York, Dec 20 to 24 ****

Jared More and the more-and-more-roles-playing Katie Coen in Riding Lights Theatre Company’s alternative Nativity play, Christmas Inn Trouble. All pictures: Tom Jackson, Jackson Portraiture

CHRISTMAS Inn Trouble is Riding Lights’ second festive show since the York faith theatre practitioners’ 2024 re-launch and the first since artistic director Paul Birch and executive director Oliver Brown teamed up as co-chief executive officers.

As is customary, Riding Lights are heading off around the country, this time taking in Barrow-in-Furness, Mold, Bulwell, Lliswerry, Cheltenham, Chiswick, Hadleigh, Colchester, South Benfleet, St Albans and closer to home, Easingwold, before a five-day finale back home at their Friargate Theatre headquarters.

First up was a brace of performances at St Peter’s Church, Norton, playing to 600 children from Norton Community Primary School, perched two child per chair, in the afternoon before a public show at 5pm, when plenty of children were present again, introduced with delightedly expressive enthusiasm by Reverend Jenny Buckler, who moved to God’s Own Country from Somerset in 2021.

Last winter, Birch wrote A Christmas Cracker, his first play since taking the Riding Lights reins, rooted in the transformative power of storytelling, delivered with Birch’s trademark comedy plus puppetry aplenty.

Katie Coen’s shepherd in Christmas Inn Trouble

Description and detailed plot progression played a stronger hand than visual, magical wonder under Erin Burbridge’s direction. This time, Birch is in the director’s chair, at the helm for Rachell Price’s fast-moving, fun, physical, fizzing two-hander for all the family that is a definite upgrade on A Christmas Cracker in its comedic impact while being as strong as ever on delivering “a magical new twist on the Nativity that turns the traditional tale on its head”.

After soothing the white-noise technical gremlins that stopped the start in its tracks – handled  with admirable aplomb by cast members Katie Coen and University of York-educated Jared More – the hour-long show quickly finds its rhythm as bother aplenty afflicts The Bethlehem Inn and Spa.

The taps are leaking, the rats, squeaking, the rooms, fit to burst as the Bible story meets Fawlty Towers in the sparring of More’s hotel manager and the multi-role playing Coen’s dogsbody, doing all the graft. If she is more Polly than Sybil, More definitely has the flavour of Basil, from moustache, gait and height to oversized tie, temperament and oleaginous air.

His performance, however,  is not mere Fawlty pastiche. Instead, he makes his manager a befuddled, exasperated character of his own as he awaits the arrival of a special guest.

Over-stretched: Jared More’s manager tries to handle multiple phone calls when the inn is already fully booked for Christmas

Given the date, we know who that “guest” might turn out to be, even if the manager is none the wiser, as all the clues build up in Coen’s portfolio of characters, turning herself into a grouchy, rascally Roman guard, Joseph (good with a hammer and wood), Mary (only too happy to take over the cow shed), a shepherd and a “Professor”, Price’s variation on the (un)Wise Men.

All are played with comic zest, all the better for Coen’s interaction with More that clicks instantly. They make for a highly humorous double act, but More reveals another side when, spoiler alert, cradling the baby.

Writer Price is alive to the power of puppetry and pooping noises being guaranteed to bring the young house down, and how they laugh at a cheeky donkey popping out of the myriad cupboards doors to bite More on the backside or grab and eat his bookings diary. The more the donkey does so, the louder the laughs grow. Likewise, the squelching boots of Coen’s shepherd are irresistibly comical, the more she walks.  

Caitlin Mawhinney’s set is colourful and playful. The Spa sign is a loose-fitting add-on for a new facility, sure to fall off; the manager’s desk revolves around the stage at pace; the phone is sky blue, old-fashioned, but with a modern ring tone for the children to recognise. In the tradition of farce, two doors are in constant use; the cupboard ones even more so.

Riding Lights Theatre Company’s co-chief executive officers Oliver Brown and Paul Birch, director of Christmas Inn Trouble

“Our aim is to make theatre make a difference by creating unforgettable, entertaining theatre in response to current issues and the hopes and fears of the world we share,” says Brown. Christmas Inn Trouble does exactly that, not in a preachy, heavy-handed way, but with lightness and a sense of wonder at the abiding message of the magical Christmas story.

Mawhinney’s set and costume design are a joy, complementing the tone of Price’s storytelling with a palette of matching pleasures, while Patrick Burbridge’s songs are as much fun for the performers as they are for the audience.

Christmas Inn Trouble lives up to its vow to “bring you the Nativity like you’ve never seen it before!”, setting up families so joyfully for Christmas Day.

Riding Lights Theatre Company in Christmas Inn Trouble, The Galtres Centre, Easingwold, December 13,  2pm; Friargate Theatre, Lower Friargate, York, December 20, 1.30pm and 4pm, December 21 to 24, 11am, 1.30pm and 4pm. Box office: Easingwold, https://www.ticketsource.co.uk/booking/select/mbbjvlpojddg; York, 01904 655317 or ridinglights.org/christmasinntrouble.

Behind you: The scene-stealing donkey brings a smile to Katie Coen’s Professor, one of the (un)Wise Men by another name in Christmas Inn Trouble

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How Nick Lane is reawakening Sleeping Beauty in dreamland at the SJT with a girl called Molly and a Prince jettisoned for Dan

Having a laugh: Writer-director Nick Lane enjoying rehearsals for his variation on Sleeping Beauty at the SJT, Scarborough. Picture:Tony Bartholomew

REGULAR Christmas show writer Nick Lane is making his Stephen Joseph Theatre directorial debut with Sleeping Beauty, joined in the rehearsal room by actors Jacob Butler, Amy Drake, Annie Kirkman, Oliver Mawdsley and Kiara Nicole Pillai. 

“Have you ever had one of those dream?” he asks. “You know the ones, the one where you’re running but you can’t get anywhere? Or the one where you really, really need the loo but people keep getting in your way?

“What about the dream where you get cursed by a wicked fairy to prick your finger on your 12th birthday and fall asleep for 100 years?

“Not had that one? Molly has. She’s been having it a lot recently. Her 12th birthday is just around the corner. The day before Christmas Eve, in fact.”

Her Auntie keeps saying “One more sleep”. “But if Molly’s not careful, she could end up having have the longest and craziest sleep of her life!” says Nick, introducing his typically unconventional take on a familiar tale, one that opens at the SJT tomorrow.

“I didn’t want to do that Sleeping Beauty – even when she is awake, she has no agency and she’s barely in it!” he says. “So I’ve found a way of subverting it, where she will not just spend the second half asleep in a bed. She will in fact be in a dream world, so she will be ‘asleep’ but we will see her dream world.”

Nick has “tried to remain second cousins with the original Charles Perrrault story”. “The Wicked Fairy wants Fairyland for herself, and so sending ‘Sleeping Beauty’ to sleep is part of the gambit of leveraging Fairyland for herself.

“In the original story, the Wicked Witch wanted to kill Sleeping Beauty, but you’re not going to get many laughs if you kill her, so we change it to tricking her into being asleep in Dreamland.”

Nick continues: “What we’ve done is play around with the idea that there are three different types of dream: the Golden Miles of happy dreams; the Weird Lands, and the Swamp of nightmares.

“Our Sleeping Beauty, Molly, has to navigate her way from one place to another to find her way out of Dreamland to save us from an authoritarian fairy.

“The journey, and the order of that journey is integral to the plot, as she journeys through nice dreams, weird dreams and awful dreams.”

Nick’s Sleeping Beauty is “just an ordinary girl called Molly”. “She lives with Auntie Claire and Uncle Harry, she’s about to turn 12, and she’s been having these strange dreams about pricking her finger,” he says.

“The idea is that Molly is half-fairy, half human, otherwise known as ‘Hairy’. Being brought up by her aunt and uncle, she doesn’t know that her mother’s the Queen of the Fairies but her dad is a mere human, a bloke called Dave, living in Scarborinia.”

Auntie Claire is in fact Clair de Lune; the authoritarian fairy is called Crepuscula and her mother is Aurore. “Their names are all to do with light: dawn light, twilight and night light,” says Nick.

“Our Crepuscula is a fairy supremacist who believes that humans have no place in Fairyland, and Aurore had no right to bring her daughter there as Crepuscula believes she should be ruling Fairyland.”

Out goes the usual Prince of the story too, replaced by plain old Dan, while Nick creates two henchmen characters, Sock and Butter, out of…a sock and a pack of butter.

He loves steering clear of the conventions of pantomime to create his own form of boisterous, madly inventive Christmas show. “The thing is, because they’re such well-known stories, pantomime does a good job of making them silly while still trying to stick to the story, but I have always thought, ‘why not try to do something different with the story, like making Aladdin rubbish at magic,” he says.

“This time I thought, ‘what if Sleeping Beauty  could be ‘awake’ and make her way out through the 100 years’.”

Nick continues: “Pantomime tends to be a lot of mucking about and not enough storytelling, so I’m not a big fan of it. It doesn’t do a lot for me. I know it’s the only time that some people go to the theatre, but panto done badly is merely mucking around, when it needs to be more than that. What I do is kids’ stories but hopefully with adult appeal too – and kids are smarter than we think.”

As for Helen Coyston’s set design, Nick says: “Scarborinia is a kind of modern-day Scarborough, while Dreamland is more weird, with Sock and Butter living there, and it looks amazing. Like a quilt, all soft and lovely!”

Sleeping Beauty stays awake at Stephen Joseph Theatre, Scarborough, from November 29 to December 31. Box office: 01723 370541 or sjt.uk.com.

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Mark Thomas and Ed Edwards go behind bars for Ordinary Decent Criminal’s take on prison life and political reawakening

“I want the audience to feel like they haven’t been to the theatre but have been through an experience, like they’d been beaten up by it!” says Mark Thomas of Ordinary Decent Criminal. Picture: Pamela Raith Photography

POLITICAL comedian, activist and actor Mark Thomas reunites with playwright and ex-offender Ed Edwards to perform Ordinary Decent Criminal at York Theatre Royal Studio on December 2 and 3.

Directed by Paines Plough joint artistic director Charlotte Bennett, who cut her theatrical teeth at the Theatre Royal’s TakeOver festival, Edwards’s tale of freedom, revolution and messy love tells the story of Frankie, a recovering addict sentenced to three and a half years in prison for dealing drugs in the 1990s after the Strangeways Prison Riot. All done and dusted in 70 intense minutes without an interval.

On arrival, Frankie finds that none of his fellow convicts are what they seem, but with his typewriter, his activist soul and his sore lack of a right hook, he somehow burrows his way into their troubled hearts, and they into his. In the most unexpected of places, he discovers that the revolution is not dead, only sleeping.

“It’s a play about a political reawakening,” says Edwards, who also wrote the Edinburgh Fringe First-winning A Political History Of Smack And Crack and England & Son. “It’s about a character who swallowed their political commitment after the fall of the Berlin Wall and the collapse of the Soviet Union, where it seems to him that all hope of political progress in the world has died. It’s also about seeing that the fight has to go on, with or without hope.”

Edwards served three and a half years in jail himself many moons ago. “A play has to have some sort of spark, so the spark for this was writing about those experiences and trying to make some sense out of them, which I hadn’t done for 30 years.”

How did Edwards come to collaborate with Thomas? “Mark saw my play The Political History Of Smack And Crack and really enjoyed it,” he says. “We met a couple of times after that and got on really well. Eventually, I wrote to him and asked if I could write something for him.

Ordinary Decent Criminal playwright Ed Edwards and comedian-actor Mark Thomas

“He said ‘yes’, and then we didn’t do that idea. We did something else – England & Son – that emerged from our conversations. Ordinary Decent Criminal is the follow-up to that.

“When you’re writing a play for Mark Thomas, you’re looking for the laughs, and Mark will always make them work.”

Thomas, whose tour of Ordinary Decent Criminal has brought him to the Stephen Joseph Theatre, Scarborough, Selby Town Hall and Leeds Playhouse already, now returns to York Theatre Royal Studio, where he performed England & Son in September 2023.

“I love Ed, I properly love him. He is my brother and my comrade,” he says of Edwards. “He’s a brilliant man, a really lovely bloke, and we communicate in a really meaningful way as colleagues. He’s so funny. He comes up with gags all the times.

“Like when I was about to go on stage at Paines Plough in England & Son, he suddenly appeared next to me to say he had this idea to change a line, when I was waiting for the lighting cue to start.”

Thomas recalls telling Edwards to “go away in brusque monosyllabic language”. “I walked on stage, I did do the new line, and afterwards he came up and said ‘I shouldn’t have done that to you’, but the line worked, and the way we work is not as structured as others might work in the theatre,” he says.

“We have a good argument, but good ones about art and ideas and ideology,” says Mark Thomas of his working relationship with Ed Edwards. Picture: Tony Pletts

“Ed has said that when I do stand-up he liked how I do impersonations that become characters very quickly, so he has written the scripts with Mark Thomas in mind. I love how he doesn’t waste time [in his writing]; he just gets on with it, so it feels like we can snap in and out of things.”

Thomas has found that he improvises less in theatre, where he is drawn to its emotional depth and power, allied to the fast pace and economy of his stand-up. “I’m 62, I’m officially five years from retirement, and on November 19 I celebrated my 40th anniversary as a professional performer, and what I love is that I’m still learning stuff; still finding new ways of doing things,” he says.

“I’m working with people who are teaching me new things, and for me, that’s wonderful because what’s the point if you get to the point where you say, ‘No, I’ll just do the same old stuff’. All of this is a delight to me, and Ed is such a unique voice as there’s no-one else that has his insightful passion.

“We have a good argument, but good ones about art and ideas and ideology, and I love that when Ed and I started working on England & Son, we worked with prisons on addiction recovery – and that work continues, taking shows into prisons.”

Thomas continues: “The prisoners will give you a little push, asking ‘have you been inside?’. ‘No, but the writer has’. ‘Have you ever had an addiction?’. ‘Yeah, but not now’ [Thomas has talked of having past issues with alcohol addiction, but is sober now, while Edwards is a recovering drug addict].

“They’re looking for bull****, so you do the show, and what’s fascinating is that the reaction is immediate. It just pours out of them, and a number of them have been inspired to write their own stories, so you feel you’ve won.

“Theatre opened up a world that I didn’t think was available to me,” says Mark Thomas. Picture: Pamela Raith Photography

“We’ve worked with the Synergy Theatre Project too, who work with prisoners, workshopping and doing performances of shows about prison life.”

Thomas has enjoyed working with director Charlotte Bennett. “She’s magnificent,” he says. “What she’s great at, she’s absolutely brilliant at, is making you look at things anew, and you think, ‘oh, I’ve just been skipping over this’!

“It’s all about the work, and she’ll ask you things where you’ll say ‘I hadn’t thought of that’. What she’s good at too is pace, how it works, how it needs to shift, where you’ll investigate the overall shape of the show.

“Creating roles, how each character moves, she’ll look at the musicality of each character, which is fascinating, so it’s all been really refreshing, thinking ‘Ok, we can do it this way’.”

Thomas has drawn theatregoers, comedy fans and newcomers alike to the show. “What’s exciting is like when we were in Plymouth, a bloke said he was working on a construction site and was supposed to be going home but would now be there till Wednesday and didn’t know what to do in the evening, but he’d seen me do stand-up though he he’d never been to a theatre show…and he came!” he says.

“It’s that thing of ‘Don’t tell them it’s theatre’, and when I talked with Ed about the show, I said, I want them to feel like they haven’t been to the theatre but have been through an experience, like they’d been beaten up by it!”

Theatre and performance changed Mark Thomas’s life. “It opened up a world that I didn’t think was available to me, and that’s how I’ve always been, how I’ve always appreciated it since then,” says this son of a self-employed London builder.

Mark Thomas in Ed Edwards’ England & Son, which played York Theatre Royal Studio in 2023. Picture: Alex Brenner

“The first theatre performance I remember seeing was Spike Milligan playing Ben Gunn in Treasure Island, running around chucking cheese at a mermaid! I want people to come to this show [Ordinary Decent Criminal] and say it’s like nothing they’ve seen before.

“Theatre has this amazing way of making you feel and think something that you didn’t know or feel before; it gives you the chance to experience something that connects you with other people.”

Thomas suggests Ordinary Decent Criminal is more hopeful than England & Son. “It’s hopeful, and what this one does is show someone charting a course through obstacles in a way that England & Son didn’t,” he says.

“You see Frankie trying to find a way through all the dilemmas while keeping something of himself. There are lots more characters in this one too, and what’s great is that no-one is totally bad, whereas in England & Son, the dad was a dark, dark force. No-one is all bad, though every one of them is flawed.

“I love how the characters don’t punch down. It’s just as physical as England & Son, but Charlotte has brought environments to the set. I joke that it’s my IKEA Barbara Hepworth!”

Settled into the tour’s flow, Thomas concludes: “I actually think it’s a better show than England & Son. We’ve taken a step forward, and I think Ed would agree with that.”

Paines Plough, Live Theatre, Theatre Royal Plymouth and Ellie Keel Productions, in association with Synergy Theatre Project, present Ordinary Decent Criminal, York Theatre Royal Studio, December 2 and 3, 7.30pm. Age recommendation: 16 plus. Tickets update: sold out; for returns only, ring 01904 623568 or visit yorktheatreroyal.co.uk.

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What’s On in Ryedale, York and beyond. Hutch’s List No. 50, from Gazette & Herald

James Swanton: Returning to York Medical Society with his Dickensian ghost stories

FROM Dickensian ghost stories and Gothic tales to mischievous mice and a festive talent showcase, ’tis the season to be out and about, reports Charles Hutchinson.

Storyteller of the week: James Swanton presents Charles Dickens’ Ghost Stories, York Medical Society, Stonegate, York, until Sunday

YORK storyteller supreme and Gothic actor James Swanton returns to York Medical Society with two of Dickens’ seasonal ghost stories: The Haunted Man, a neglected Gothic classic (November 27, 7pm) and A Christmas Carol, Scrooge’s saga (November 28, 7pm, and November 30, 2pm and 6pm).

“Their words unlock a world teeming with chain-rattling spectres, with dark and shadowy doubles, with Ghosts of Christmases Past and Present and Yet To Come,” he says. “These tales chill the marrow and tickle the funny bone, but always they enchant, as only the works of a master storyteller can.” Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

Steve Tearle: Directing NE Theatre York in Charlie And The Chocolate Factory

Musical of the week: NE Theatre York in Roald Dahl’s Charlie And The Chocolate Factory, Joseph Rowntree Theatre, York, tonight to Friday, 7.30pm; Saturday, 2.30pm and 7.30pm

DIRECTED by Steve Tearle, this musical will take you to a world of pure imagination in Roald Dahl’s devilishly delicious tale of young golden ticket winner Charlie Bucket entering the scrumptious chocolate factory. There, he and his grandpa Joe, along with five more children, will meet the mysterious confectionary wizard Willy Wonka for an adventure like no other.

“The story of chocolate is at the very heart and history of this amazing city and it is only fitting that NE Theatre York brings Charlie And The Chocolate Factory to York,” says Tearle. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Rebecca Vaughan: Telling haunting tales of the festive season at Theatre@41

Frailties of human nature of the week: Dafyd Productions in Christmas Gothic, Theatre@41, Monkgate, York, Thursday, 7.30pm

REGULAR York frequenters Dafyd Productions return with Christmas Gothic, an invitation to enter into the Christmas spirit as spectral woman (Rebecca Vaughan) tells haunting tales of the festive season, lighting a candle to the frailties of human nature and illuminating the chilling depths of bleak wintry darkness. Box office: tickets.41monkgate.co.uk.

Tucking into the cheese at A Christmas Mousequerade at Fairfax House

Mischievous mice takeover of the week: A Christmas Mousequerade at Fairfax House, Castlegate, York, until January 4 2026

FAIRFAX House’s much-loved Christmas display returns for 2025 with a new theme of A Christmas Mousequerade, combining more mice than ever before in the “ultimate 18th century house party”.

A multitude of mice is dressed in hand-crafted and exquisitely miniature Georgian finery, custom made by Fairfax House volunteers, as you step into the glittering world of Georgian York and join the Fairfax family’s preparations for the most spectacular ball of the season. Tickets: https://fairfaxhouse.co.uk/event/christmas-at-fairfax-house/.

Poetry gig of the week: Stairwell Books presents Poetry For All, National Centre for Early Music, York, Friday, 7.30pm

THIS annual event is designed to remove as many barriers as possible from enjoying live poetry events. All poems are projected on a screen, and BSL (British Sign Language) interpreted by Dave Wycherley and Vicci Ackroyd in a venue with fab acoustics and level access throughout.

Headliners Dominic Berry and Pete Kalu will be supported by five York poets, co-hosted by Fay Roberts and Rose Drew. Service dogs are welcome; entry for carers is free. VI tarot card reader Gillian Avart will read your potential future. Look out for special guests too. Box office: 01904 658338 or ncem.co.uk.

Kevin Daniel: Relatable storytelling at Milton Rooms, Malton. Picture: Steve Best

Ryedale comedy gig of the week: Hilarity Bites Comedy Club, Kevin Daniel, Paul Tonkinson and Stephanie Laing, Milton Rooms, Malton, Friday, 8pm

KEVIN Daniel combines a commanding stage presence with relatable storytelling and jokes aplenty. Paul Tonkinson, Yorkshireman, marathon runner and two-time Time Out Comedian of the Year, is noted for his effervescent physicality and skilful impressions, bringing alive exuberant, tender comic reflections of love, family and the day-to-day idiosyncrasies of 21st century living.

“Goofy and peculiar” host Stephanie Laing, an Edinburgh Fringe regular since 2010, fuses silliness, filth and unusual observations, underpinned by a disarming honesty and charming vulnerability. Box office: 01653 696240 or themiltonrooms.com.

The Catenary Wires team up with poet Brian Bilston at Pocklington Arts Centre

Poetry-and-song union of the week: Brian Bilston & The Catenary Wires, Pocklington Arts Centre, Friday, 8pm

POET Brian Bilston started out by sharing his brief, direct, and witty poems online and now has more than half a million followers on social media. The Catenary Wires comprise Amelia Fletcher, Rob Pursey and Ian Button, who also play as Heavenly, whose T-shirt Bilston was spotted wearing at one of his gigs.

Word reached Fletcher and Pursey,  introductions were made, friendships were formed, and the Sounds Made By Humans album took shape: a collection of songs, where words and music have become intertwined. Friday’s first half features a solo spoken-word set by Bilston and a music set by The Catenary Wires; in the second, they unite to perform tracks from the album. Box office: 01759 301 5 or pocklingtonartscentre.co.uk.

Poet Brian Bilston

Talent showcase of the week: HAC Studio Bar Festive Open Mic, Helmsley Arts Centre, Saturday, 7.30pm

HELMSLEY Arts Centre plays host to a cosy evening for creatives to share their talents in the relaxed and friendly environment of the Studio Bar. Mulled wine and mince pies are on the menu and festive tunes will be the order of the day.

This Open Mic is a comfortable space for both seasoned performers and those taking the stage for the first time, as well as anyone who wants to enjoy a drink from the bar and be entertained by Ryedale talent. No need to book to listen or perform, just turn up.

Jake Lambert: The Sunshine Kid with bright ideas at Pocklington Arts Centre

Debut tour of the week: Jake Lambert, The Sunshine Kid, Pocklington Arts Centre, Saturday, 8pm

RAPIDLY rising stand-up comic Jake Lambert has chalked up more than 500 million views of his online videos featuring his gag-filled storytelling. Having supported Michael McIntyre on his worldwide tour, he is undertaking his inaugural international tour with his show The Sunshine Kid, selling out across the UK, Europe and Australia. Box office: 01759 301 5 or pocklingtonartscentre.co.uk.

Thornton Le Dale Ukuleles: Christmas concert at Kirk Theatre

Christmas Singalong of the week: Thornton Le Dale Ukuleles and Scoble and Friends, Kirk Theatre, Pickering, December 4, 7.30pm

THORNTON Le Dale Ukuleles’ Christmas Singalong is divided into two parts, kicking off with Scoble and Friends, a small group of talented singers and musicians.

Thornton Le Dale Ukuleles, the brainchild of leader John Scoble, will fill the stage with 40 players. Scoble provides tuition free of charge, while singer-songwriter David Swann gives lessons too. The group performs all genres of music, but virtually no George Formby, playing the melody as well as strumming and complementing ukuleles with other instruments. Box office: 01751 474833 or kirktheatre.co.uk.

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Riding Lights set off on festive tour of Christmas Inn Trouble. Friargate Theatre shows follow from December 20 to 24

Jared More and Katie Coen in Riding Lights Theatre Company’s Christmas Inn Trouble. Picture: Tom Jackson, Jackson Portraiture

RIDING Lights Theatre Company launches its 2025 festive show, Christmas Inn Trouble, at St Peter’s Church, Malton, today at 5pm.

Billed as “a magical new twist on the Nativity”, the York Christian theatre practitioners’ follow-up to last winter’s A Christmas Cracker is written by Rachel Price and directed by artistic director Paul Birch.

 Set to bring Yuletide joy to families in Yorkshire and beyond, Christmas Inn Trouble promises to “turn the traditional tale on its head”.

Bother aplenty is afflicting The Bethlehem Inn and Spa, where taps are leaking, the rats are squeaking and the rooms are fit to burst. So many guests have arrived that parking your camel is impossible and, if things were not bad enough already, a rascally Roman soldier has come to make sure everything is above board.

Management problems for Jared More in Christmas Inn Trouble. Picture: Tom Jackson, Jackson Portraiture

“Join Riding Lights as we bring a Christmas comedy filled with silly shepherds, some very (un)wise men and a young family who have no idea what they have let themselves in for,” says says Oliver Brown, Riding Lights’ executive director and co-chief executive officer.

“Christmas Inn Trouble is a fast and friendly festive farce and the perfect way to start your holiday cheer! It’s a funny slapstick comedy perfect for telling the story of the Nativity to primary-school aged children and their families.”

Riding Lights is one of Great Britain’s most productive and long-established independent theatre companies. Founded in York in 1977, the company continues to take innovative, accessible theatre into all kinds of communities far and wide.

Katie Coen’s shepherd in Rachel Price’s play Christmas Inn Trouble. Picture: Tom Jackson, Jackson Portraiture

“Our aim is to make theatre make a difference by creating unforgettable, entertaining theatre in response to current issues and the hopes and fears of the world we share,” says Oliver.

Christmas Inn Trouble will be performed by a cast of Jared More and Katie Coen, with set and costume design by Caitlin Mawhinney and compositions and sound design by Patrick Burbridge.

The tour will take in Barrow-in-Furness, Cumbria; Mold, North Wales; Bulwell, Nottinghamshire; Lliswerry, South Wales; Cheltenham, Gloucestershire; Chiswick, West London; Hadleigh, Colchester and South Benfleet, all Essex; St Albans, Hertfordshire, and, closer to home, The Galtres Centre, Easingwold, concluding the travelling itinerary on December 13 at 2pm.

Behind you! Donkey brings a smile to Katie Coen’s (Un)wise Man in Christmas Inn Trouble. Picture: Tom Jackson, Jackson Portraiture

On the home front, Christmas Inn Trouble will play Riding Lights’ headquarters, Friargate Theatre, Lower Friargate, York, on December 20, 1.30pm and 4pm, then December 21 to 24, 11am, 1.30pm and 4pm.

“We are so excited to bring this fantastically fun and joyful show to the Friargate Theatre this festive season,” says Oliver. “It’s jam packed with puppets, magic, song and story, bringing you the Nativity like you’ve never seen it before!”

Riding Lights prides itself on offering “affordable and accessible arts experiences to everyone”,  so tickets for Christmas Inn Trouble are priced accordingly at £12.50 each or £40 for four people.

To book tickets for the York dates, visit ridinglights.org/christmasinntrouble or call the box office on 01904 655317. Easingwold tickets are on sale at https://www.ticketsource.co.uk/booking/select/mbbjvlpojddg.

Riding Lights Theatre Company’s poster for the festive tour of Christmas Inn Trouble