More Things To Do in York and beyond in the months ahead and at home now. List No. 29, courtesy of The Press, York

Becky Gee, curator of Fine Art at York Art Gallery, with Michael Lyons’ 1993 sculpture Amphitrite in the Artists Garden in May 2019. Picture: Charlotte Graham

ONLINE entertainment is still ruling the Stay Home world, but more promoters are announcing shows for the summer as the recovery roadmap begins to twitch our cultural satnav. Charles Hutchinson reaches for his diary.

Last chance to see: Michael Lyons’ Ancient And Modern sculptures, York Art Gallery Artists Garden and Edible Wood

THE free display of large-scale works by late Cawood sculptor Michael Lyons behind York Art Gallery will close on April 11.

On show in his biggest ever exhibition on York soil are nine sculptures created between 1982 and 2000, inspired by nature, myth and ancient cultures, with the central space dominated by Amphitrite, a large painted steel structure evoking the sea that he fashioned in 1993.

Opened in late-May 2019, Ancient And Modern originally was booked to run until May 2020, but has remained in place through these pandemic times.

Caroline Gruber as Vashti in E M Forster’s The Machine Stops, now starting up again in a York Theatre Royal and Pilot Theatre webcast. Picture: Ben Bentley

Recommended resonant webcast of the week and beyond: The Machine Stops online

YORK Theatre Royal and Pilot Theatre’s 2016 co-production of The Machine Stops can be watched at yorktheatreroyal.co.uk/show/the-machine-stops-webcast/ until April 5.

Adapted for the stage by Neil Duffield, E M Forster’s 1909 short story is set in a futuristic, dystopian world where humans have retreated far underground and individuals live in isolation in “cells”, with all bodily and spiritual needs met by the omnipotent, global Machine. 

Director Juliet Forster says: “It’s even more striking today than it was at the time we staged it: things like human contact and human touch becoming something that’s almost taboo, things that didn’t seem relevant back in 2016 but are really, really striking and even more relevant now.”

Ensemble Augelletti: Recording for the Awaken online weekend at the National Centre for Early Music, York

Springtime celebration of music online: Awaken, National Centre for Early Music, York, Saturday and Sunday

THE NCEM’s Awaken weekend will present York countertenor Iestyn Davies and Fretwork, the all-male vocal group The Gesualdo Six, I Fagiolini and the English Cornett & Sackbut Ensemble, Ensemble Augelletti and The Consone Quartet.

The six-pack of online festivities will celebrate the sublime sounds of spring, recorded in a range of historic venues to mark “the unique association between the City of York and the exquisite beauty of the music of the past”.

Among the architectural gems will be Holy Trinity Church, Goodramgate, St Olave’s Church, Marygate, the Merchant Adventurers’ Hall and the NCEM. Full details can be found at ncem.co.uk/awaken.

Becky Lennon and Jules Risingham: Ready to host Thunk-It Theatre’s online youth theatre sessions

Online youth theatre opportunity: Thunk-It Theatre sessions with Pocklington Arts Centre

POCKLINGTON Arts Centre’s youth theatre partnership with York company Thunk-It Theatre is to continue for a second series of online drama classes.

Becky Lennon and Jules Risingham’s all-levels drama sessions for children aged six to 11 will be held on Zoom every Sunday during term-time from April 25 to May 30.

The 10am to 11am sessions for Years 2 to 6 children will include fun games, exercises and storytelling, aiming to encourage confidence building, life and social skills, creativity and positivity. Participants will work collaboratively to create a short performance that will explore storytelling. To book, go to pocklingtonartscentre.co.uk.

Abba Mania: Booked for Sounds In The Grounds at York Racecourse

Live music returns to Knavesmire: Sounds In The Grounds at Clocktower Enclosure, York Racecourse, June 25 to 27

NORTH Yorkshire impresario James Cundall’s Sounds In The Grounds is adding a new location to its picnic-concert portfolio for summer 2021.

Complying with Covid-19 guidelines, the Clocktower Enclosure of York Racecourse will play host to the Beyond The Barricade celebration of musicals on June 25, Abba Mania on June 26 and A Country Night In Nashville on June 27.

The capacity will be capped at 1,400 for the fully staged productions with LED screens on either side of the stage. Tickets are on sale at: soundsinthegrounds.seetickets.com.

Paul Winn: Co-organiser of the 2nd York Blues Festival in July

Here comes a dose of the blues: York Blues Festival, July 24, 12.30pm to 11pm

THE 2nd York Blues Festival will be held on Saturday, July 24 at The Crescent Community Venue, York, organised by Paul Winn and Ben Darwin.

No strangers to the British Blues scene, they present Blues From The Ouse on Jorvik Radio and are members of York band DC Blues.

Winn and Darwin have booked a bill of Robbie Reay; The Swamp Hoppers; Dori & The Outlaws; John Carroll; Dr Bob & The Bluesmakers; DC Blues and Nick Steed Five. Tickets are on sale at yorkbluesfestival.co.uk, thecrescentyork.com and earwormrecords.co.uk.

Racing cert: Shed Seven will ride out at Doncaster Racecourse next May after moving post-racing gig…again

Sheds on the move…again: Shed Seven, Live After Racing, Doncaster Racecourse, May 14 2022

YORK heroes Shed Seven’s twice-postponed post-racing gig at Doncaster Racecourse will come under starter’s orders on May 14 202.

First diarised for August 15 2020, then May 15 this spring, each show was declared a non-runner under the Government’s pandemic lockdown restrictions.

Let Donny Races wax lyrical: “So don’t have your friends asking ‘where have you been tonight?’ We have ‘high hopes’ that ‘the heroes’ Shed Seven will deliver an outstanding night of music. ‘It’s not easy’ but you’d be stuck to find a ‘better days’ entertainment in Doncaster next summer.” To book raceday tickets, go to: doncaster-racecourse.co.uk/whats-on/

Graham Gouldman, second from left, will be returning to York Barbican with 10cc

Gig announcement of the week: 10cc, York Barbican, March 26 2022

10cc will play York Barbican next spring in the only Yorkshire show of their 13-date Ultimate Greatest Hits Tour.

“It’s difficult to express just how much we have missed playing live and how much we want to be back playing concerts for you,” says Graham Gouldman, the one group founder still in the touring line-up. “We look forward to seeing you all again in 2022.”

Tickets are on sale at yorkbarbican.co.uk and ticketline.co.uk.

Thunk It again as Becky and Jules’s online youth theatre returns for second term

Ready for a second term: Thunk-It Theatre youth theatre duo Becky Lennon and Jules Risingham

POCKLINGTON Arts Centre’s youth theatre partnership with York company Thunk-It Theatre is to continue for a second series of online drama classes.

In response to popular demand, Becky Lennon and Jules Risingham’s all-levels drama sessions for children aged six to 11 will be held on Zoom every Sunday during term-time from April 25 to May 30.

The 10am to 11am classes for Years 2 to 6 children will include fun games, exercises and storytelling, aiming to encourage confidence building, life and social skills, creativity and positivity by giving children a space to express themselves openly and develop connections with other young people. 

During the six-week term, participants will work collaboratively to devise and create a short performance designed to explore storytelling. 

Pocklington Arts Centre (PAC) director Janet Farmer says: “We’re delighted to be continuing our partnership with Thunk-It Theatre to bring the joy and fun of the performing arts to children at this time.

“The classes delivered so far have proved to be really popular,” says Pocklington Arts Centre director Janet Farmer

“The classes delivered so far have proved to be really popular, so we’re really looking forward to building on this success and eventually welcoming young performers through our doors for their classes, just as soon as it is safe for us to do so.”

The youth theatre was born out of a free project run by Thunk-It in January and February, delivering similar sessions online to alleviate the stress of home schooling for young people and their parents and carers. 

Becky and Jules hosted the inaugural series of youth theatre classes from February 28. “We’re so excited to continue building on the success of our first block of online drama classes and seeing this fantastic youth theatre partnership with PAC continue go from strength to strength.”

Series Two tickets are on sale at £35 per child with a sibling discount at £30. To find out more and to book a place, go to: pocklingtonartscentre.co.uk.

Alternatively, for further information, email thunkittheatre@gmail.com.

Thunk-It Theatre’s poster for term two of Thunk-It Youth Theatre

Who won the Hutch Awards in the first year of Killjoy Covid? Time to doff the cap to….

Who warranted a doffing of the Hutchinson cap in a year when the arts world faced an unparalleled struggle? Here comes the flood of recipients…

TODAY marks the first anniversary of the imposition of Lockdown, a year when killjoy Covid has cast the arts into darkness, but the artbeat refused to stop.

Here CharlesHutchPress doffs its cap to those who kept the flame alive in the 2020-2021 Hutch Awards, while scowling at a few irritations too.

Uplifting experience of the year? The first socially distanced live theatre enterprise, Park Bench Theatre, mounted by Matt Aston’s Engine House company in the Friends Garden at Rowntree Park, York.

On the bench: Matt Aston, director of the Park Bench Theatre season at Rowntree Park. Picture: Livy Potter

Three solo shows, Chris Hannon in Samuel Beckett’s First Love, Cassie Vallance in Teddy Bears’ Picnic and Lisa Howard in Aston’s lockdown play Every Time A Bell Rings, were all first class, and this venture surely will be rolled out again in Summer 2021.

Summer ventures that reminded you why culture matters, dear Rishi: Badapple Theatre’s tour of back gardens with Danny Mellor’s Suffer Fools Gladly; Alexander Flanagan Wright and Phil Grainger’s week of two-handers, full of music and poetic magic at Stillington Mill; the collaboration between the NCEM, Fulford Arms and The Crescent for a series of acoustic double bills in St Margaret’s churchyard in Walmgate; York Shakespeare Project’s Sit-down Sonnets at Holy Trinity Church, Goodramgate.

Phil Grainger and Alexander Flanagan Wright at Stillington Mill . Picture: Charlotte Graham

York is still the home of pantomime, part one: Dame Berwick Kaler’s comeback in Dick Turpin Rides Again at the Grand Opera House had to be stabled for a year, but his former home, York Theatre Royal, took panto to the people with the Travelling Pantomime, the first venture with new partners Evolution Productions, full of wit, energy, fun and mischief.

York is still the home of pantomime, part two: York Stage’s Jack And The Beanstalk at Theatre @41 Monkgate. Nik Briggs, director turned debutant writer, assembled a cast of fabulous Yorkshire talents and West End choreographer Gary Lloyd for a slick slice of “musical theatre with pantomime braces on”. The Biles Beanstalk publicity campaign was a gem too.

Josh Benson as the comic turn in York Theatre Royal’s Travelling Pantomime

Family show of the year: John Godber and his family bubble of wife Jane, actress daughter Martha and stage manager daughter Elizabeth staged his Sunny Side Up! premiere at the socially distanced Stephen Joseph Theatre, Scarborough. “Seeing all those masks, at first it felt more like being in an operating theatre, not a theatre,” said John.

Solo stage performance of the year outside York: Polymath Polly Lister, playing everyone and everything, from Gerda and Kai and a “silly Sorceress” to a Goth raven poet and a grumpy Brummie deer, in Nick Lane’s Christmas show for the SJT, The Snow Queen, transformed from a five-hander to a one-woman show under Covid restrictions and all the better for it.

Polly Lister in one of eight roles in The Snow Queen at the Stephen Joseph Theatre, Scarborough. Picture: Tony Bartholomew

Lockdown audio show of the year: Alan Ayckbourn x 2, first recording new play Anno Domino with his wife, Heather Stoney, for the summer and then continuing the multiple role-playing in a ghost story for winter nights as he revisited his 1994 play Haunting Julia, both for the Stephen Joseph Theatre, Scarborough. His master’s voice, as you have not heard him before, at 81.

Television art show of the year: Grayson Perry and wife Philippa hosting Grayson’s Art Club on Channel 4, championing people’s art with such empathy, wisdom, wit and love.

For your lockdown listening pleasure: Alan Ayckbourn recorded two plays at his Scarborough home. Picture: Tony Bartholomew

Festivals that would not lie down but embraced the virtual instead: York Early Music Festival and Christmas Festival; York Festival of Ideas; Aesthetica Short Film Festival, much lengthened online.

Reinvention of a festival at short notice for Covid times: North York Moors Chamber Music Festival, revamped by artistic director Jamie Walton to still go ahead with socially distanced audiences in a Welburn Abbey marquee with the apt theme of Revolution in August.

Comedy innovation of the year: Your Place Comedy livestreams, wherein a monthly double bill of comedians performed from their living rooms into yours.

Justin Moorhouse and Shappi Khorsandi: one of the double bills for Your Place Comedy

Organiser Chris Jones, Selby Town Council’s arts officer, rounded up ten, then a dozen,  independent Yorkshire and Humber venues to support three series of remote gigs by the likes of Mark Watson & Lucy Beaumont, Shappi Khorsandi & Justin Moorhouse and Hal Cruttenden & Rosie Jones.

Resilient spirits of the year: Chris Sherrington, Fulford Arms; Delma Tomlin, NCEM; Joe Coates and Harkirit Boparai, The Crescent; Cherie Federico, Aesthetica; Greg and Ails McGee, According To McGee; Kate Bramley, Badapple Theatre.

Samantha, with the marks from her PPE mask still visible after a shift, by Karen Winship

Statement-of-pandemic-times exhibition of the year: Karen Winship’s portraits of NHS frontline workers, first at York Art Gallery, then on the railings at All Saints Church, Pocklington. Harrowing yet life-affirming too.

Gallery launch of the year: Photographer Duncan Lomax’s Holgate Gallery in his front room in York.

Kitchen-synch drama of the year: York drag diva Velma Celli’s chic cabaret shows online from a Bishopthorpe kitchen and a riverside abode with flood water lapping at the door. Alter ego Ian Stroughair also had a ball as Flesh Creep in York Stage’s Jack And The Beanstalk.

A message to you, Rishi: York Theatre Royal pledges that York will pull together in lockdown

Sign of the times: York Theatre Royal’s morale-boosting, we’re-all-in-this-together retro lockdown poster, in Keep Calm And Carry On wartime mode, designed by marketing manager Olivia Potter

Most irritating words of the year: Ramp up; pivot; baked-in; granular; lockdown…again; uptick; Stay Alert; postponed; cancelled; closed; non-viable.

Song of the year: Bird song, although Bonnie & The Bailers’ Baby Drive ran it close.

The Howl & The Hum: album of the year

Album of the year: the always-touched-by-your-prescience-dear Human Contact by The Howl & The Hum.

Good news of the year: The ebullient Bull becoming the first York band to sign to a major record label since Shed Seven. Raise a glass to Tom Beer and co, whose album, Discover Effortless Living, will be out on Virgin EMI Records on Friday (26/3/2021).

Frustration of the year: The much improved second iteration of the York Mediale, the festival of digital media arts, defied budget cuts only to be cut short by Lockdown 2, meaning many missed out on the Kit Monkman-led art installation People We Love at York Minster and the Human Nature triptych of installations at York Art Gallery. It must be hoped People We Love can be revived.

People We Love: Kit Monkman’s Covid-curtailed installation at York Minster

Missed most: Interaction; connection; communication; banter; bursts of cheers and applause and…spontaneity.

Gone but not forgotten: Martin Witts’s Great Yorkshire Fringe; poet, writer, storyteller, blogger and performer Adrian Spendlow; Café Concerto, in High Petergate, York; York City at Bootham Crescent.

The Machine Stops starts again, now online from York Theatre Royal and Pilot Theatre

Caroline Gruber (Vashti), Maria Gray (Machine 2) and Gareth Aled (Machine 1) in The Machine Stops. Picture: Ben Bentley

YORK Theatre Royal and Pilot Theatre’s co-production of The Machine Stops will be available to watch online from tomorrow (23/3/2021) to April 5.

E M Forster’s 1909 short story is set in a futuristic, dystopian world where humans have retreated far underground and individuals live in isolation in “cells”, with all bodily and spiritual needs met by the omnipotent, global Machine. 

Adapted by Neil Duffield, The Machine Stops premiered in the York Theatre Royal Studio in  May and June 2016 at the outset of a three-venue run and was revived there in February 2017 before embarking on a national tour of nine venues. 

Forster’s stage premiere won the Stage Production of the Year in the 2016 Hutch Awards. “In the year when Phillip Breen directed the York Minster Mystery Plays on the grandest scale and York Theatre Royal re-opened with Bryony Lavery’s new adaptation of Evelyn Waugh’s Brideshead Revisited, it wasn’t the expected big hitters that left the deepest impression,” Hutchinson said in The Press, York.

“Instead, an obscure EM Forster sci-fi work, The Machine Stops, became a play for our times in the hands of the Theatre Royal associate director Juliet Forster and Pilot Theatre in the Theatre Royal Studio.

Karl Queensborough as Kuno in The Machine Stops. Picture: Ben Bentley

“Amid the stench of Brexit and Trump intolerance, here was a cautionary story of science friction and human heart told superbly artistically by a cast of four, writer Neil Duffield and electronic composers John Foxx and Benge with humanity’s worst and best attributes thrust against each other.”

Move forward to 2021, to the reflective words of director Juliet Forster, York Theatre Royal’s creative director, who says: “Over this last year, I have thought about this piece many times as the world around us seemed to grow more and more like the incredible world that E M Forster imagined.

“And it’s even more striking today than it was at the time: things like human contact and human touch becoming something that’s almost taboo, things that didn’t seem relevant back in 2016 but are really, really striking and even more relevant now.”

Esther Richardson, Pilot Theatre’s artistic director, says: “When we produced The Machine Stops in 2016, it already seemed an eerily prescient piece of work. A story-world in which humans have become isolated from one another and living underground, communicating only through screens, offered an engaging space for reflection on perhaps the pitfalls of how our relationship with technology had been evolving.

“To be able to explore this in a live theatre space with an audience gathered together in person and with their technology switched off made it all the more dynamic a tale.

Pilot Theatre artistic director Esther Richardson. Picture: Robert Day

“It’s fantastic that, having spent the last year in different forms of isolation and on screens, we have the opportunity to share this great production, which will now sing with new meaning, meeting a new audience in a new context.”

The Machine Stops features a soundtrack composed by John Foxx, electronic music pioneer and founder of Ultravox, and analogue synth specialist Benge. The production was directed by Forster and designed by Rhys Jarman, with lighting design by Tom Smith and movement direction by Philippa Vafadari.

It stars Caroline Gruber as Vashti, Karl Queensborough as Kuno, Maria Gray as Machine/Attendant and Gareth Aled as Machine/Passenger.

The filmed recording was edited by Ben Pugh and will be released online with kind permission granted by the E M Forster estate.  

Analysing the reasons why The Machine Stops transferred so convincingly to the stage, Juliet suggested in 2017: “When you use human beings to the height of their potential, theatre is at its most interesting; when you realise the incredible ability of human body; but at the same time, you can’t shoehorn that into a play. Here, though, to represent the Machine through movement, it absolutely suited it.

York Theatre Royal creative director Juliet Forster

“It also helped that we had the finest soundtrack for a play in living memory, composed by John Foxx and Benge.”

That soundtrack went on to form much of the music on the John Foxx And The Maths album, The Machine, released in 2017 on the Metamatic Records label with artwork by Jonathan Barnbrook, the designer for David Bowie’s last two studio albums, 2013’s The Next Day and 2016’s Blackstar.

The Machine Stops will be available to view for free at pilot-theatre.com/webcast, kick-started by the online premiere at 7pm tomorrow. York Theatre Royal and Pilot Theatre welcome donations from viewers, with all contributions being split equally.

What was Charles Hutchinson’s verdict in May 2016?

The Machine Stops, York Theatre Royal/Pilot Theatre, York Theatre Royal Studio

Caroline Gruber as Vashti in The Machine Stops. Picture: Ben Bentley

IN between those two pillars of early 20th century English literature, A Room With A View in 1908 and Howards End in 1910, E M Forster wrote a science-fiction short story, apparently in response to the outpourings of H G Wells.

It was pretty much ignored until being included in an anthology in the 1930s, but now it should take its rightful place alongside the prescient works of Aldous Huxley and George Orwell.

York Theatre Royal associate director Juliet Forster has cherished wishes to present it since 1999, and at last everything has fallen into place in a brilliant re-opening show in The Studio.

Forster and Forster makes for a perfect combination, assisted by her choice of writer, the experienced Neil Duffield; electronic musicians John Foxx and Benge in their first theatre commission, and designer Rhys Jarman, whose metallic climbing frame stage and hexagonal floor tiles could not be more fitting.

Centre stage is Vashti (Caroline Gruber), soft-boned, struggling to walk and wrapped in grey swaddling wraps, as she embraces her new, post-apocalyptic, virtual life run by The Machine, in the wake of humans being forced underground to self-contained cells where everything is brought to you: food, ambient music; lectures; overlapping messages.

Gareth Aled as Machine 1 in The Machine Stops

No windows; no natural day and night; no physical communication; all you need is at the touch of the screen beside you as technology rules in this dystopian regime. It is the age of the internet, conference calls and Skype, the age of isolation (and the teenage life), foretold so alarmingly accurately by Forster.

In the best decision by Juliet Forster and the writer, they have decided to represent the omnipresent Machine in human form, cogent cogs that slither and slide and twist and turn acrobatically, responding to Vashti’s every request, with an urgent physicality that has you worrying for the health and safety of Maria Gray and Gareth Aled.

Not that The Machine is merely compliant. Just as Winston Smith rebels in Orwell’s 1984, Vashti’s son Kuno (Karl Queensborough), on the other side of the underground world, craves breaking out into the old world above the artificial one, to breathe real air, see the sky, feel the sun on his face, but The Machine will do its utmost to prevent him.

Queensborough’s physical performance, as the desperate Kuno puts himself at risk, is even more remarkable than the gymnastic Machine double act, as he hurls himself around the frames.

Forster’s production has bags of tension, drama, intrigue, and plenty of humour too, especially when Gray and Aled transform into a plane attendant and passenger. Throughout, the Foxx and Benge soundtrack hits the right note, futuristic and mysterious, yet noble too when Kuno makes his move.

Nothing stops The Machine Stops: it is 90 minutes straight through, a story of science friction told superbly artistically with humanity’s worst and best attributes thrust against each other.

Review copyright of The Press, York

Emilie Knight moves to director for York Shakespeare Project’s 2021 Sonnet Walks

Knight’s move: Emilie Knight will direct York Shakespeare Project’s Sonnet Walks in 2021 after playing Covid Nurse in Sit-down Sonnets at a socially distanced Holy Trinity Church, Goodramgate, York, in September 2020. Picture: John Saunders

YORK Shakespeare Project has appointed Emilie Knight to direct the 2021 Sonnet Walks in a plan to resume open-air theatre in York as soon as conditions allow. 

Anticipating the granting of Government permission for outdoor events, but awaiting confirmation on what level of social distancing will be required, YSP is delighted to make the appointment. 

“We want to hit the ground running just as soon as we’re permitted to,” says York Shakespeare Project (YSP) committee member Tony Froud.

YSP will make an announcement on performance dates and the audition process for Emilie’s production later in the spring.

Emilie is well acquainted with the Sonnet Walks, having appeared in three productions. First performing as a Sting-obsessed sonneteer in 2018 an d as Mother of the Bride and guide the following year, she found playing Covid Nurse in last year’s Sit-down Sonnets at Holy Trinity Church, Goodramgate, was “one of the most affecting roles I’ve ever played”. 

York resident Emilie has made regular appearances with the Knaresborough Players and was involved in the York community projects Blood + Chocolate on the city streets in 2013 and Everything Is Possible: The York Suffragettes at York Theatre Royal in 2017.

Interested in all aspects of theatre, not least costume and tech, Emilie says it was only a matter of time before she would turn her attention to directing: “This is a new adventure for me and I’m thrilled to have been chosen to direct this year’s Sonnets production. 

Sting in the tale: Emilie Knight in York Shakespeare Project’s 2018 Sonnet Walks. Picture: John Saunders

“I’m very grateful to the YSP committee for entrusting me with this important feature of the canon.  I look forward to the challenge and hard work involved as I know it will be hugely rewarding. 

“I was made so welcome when I joined YSP, have learnt so much and have had so much fun.  I want others to share that experience too.”  

The Sonnet Walks were first performed by YSP in 2014, and since their revival in 2017 they have become an annual event. Until 2020, they took the form of a walk around the streets and snickelways of York, allowing audience members to meet a series of colourful local characters, each with a lively tale to tell and a Shakespearean sonnet to recite.

Last September, Covid-safe restrictions saw the format adapted to the Sit-Down Sonnets, with audience and cast members all socially distanced in the atmospheric setting of the Holy Trinity churchyard.

YSP is confident York audiences are crying out for the resumption of live theatre. “With theatres closed since March, last September’s Sit-Down Sonnets were hugely welcomed by actors and audience members alike,” says Tony Froud.

“We’re hoping for the same response for live performance this year.  By appointing Emilie now, we’re making sure that it will happen immediately guidance permits.”

Meanwhile, YSP is “hoping to revive” its production of Macbeth, postponed by Lockdown 1 ten days short of its first night in March 2020. Watch this space for any updates.

New dates confirmed for The Greatest Play In The History Of The World…at York Theatre Royal and Hull Truck Theatre

“A beautiful play, a love story, but a universal one about learning in time what matters in the end, about leaving a mark,” says actor Julie Hesmondhalgh of husband Ian Kershaw’s The Greatest Play In The History Of The World…

GREAT news on The Greatest Play In The History Of The World for York Theatre Royal and Hull Truck Theatre audiences: revised dates are in place for Julie Hesmondhalgh’s one-woman show.

The debut tour of Ian Kershaw’s multi award-winning play should have opened at Hull Truck from January 29 and played York from February 16 to 20 as part of The Love Season. Lockdown 3 forced a delay, however, but now History will be made at York Theatre Royal from June 1 to 5 and at Hull Truck from June 7 to 12.

Tickets will go on sale in April at yorktheatreroyal.co,uk or 01904 623568 and at hulltruck.co.uk or 01482 323638, with the release dates yet to be announced.

Produced by Tara Finney Productions in association with Hull Truck Theatre, the tour will begin at the Stephen Joseph Theatre, Scarborough, from May 18 to 22. All tour performances will be socially distanced with Covid-safe measures in place.

Winner of The Stage Edinburgh Award in 2018, The Greatest Play In The History Of The World…takes a heartfelt journey that starts and ends in a small, unassuming house on a quiet suburban road, as Coronation Street and Broadchurch alumnus Julie narrates the story of two neighbours and the people on their street, navigating her way through the nuances of life, the possibilities of science and the meaning of love.  

Premiered at the Traverse Theatre at the 2018 Edinburgh Fringe, the debut production transferred to Manchester’s Royal Exchange Theatre Studio in September 2018 and to London’s West End in December 2019. Now, the show has been adapted for the 2021 tour in light of these Covid times and performances will be housed in the larger performance spaces of each theatre.  

Julie Hesmondhalgh: “Navigating her way through the nuances of life, the possibilities of science and the meaning of love”

The show is written by Julie’s husband, the Bruntwood Award-winning Ian Kershaw, who has written for Coronation Street, Cold Feet and Shameless, and reunites her with award-winning director Raz Shaw after working together on Margaret Edison’s Wit at the Royal Exchange in 2016.

Explaining the play’s genesis, Julie says: “I had a notion, a romantic notion, that Ian should write a one-woman show for me and we could tour it together into our dotage, like travelling troubadours (or something).

“A couple of Christmases ago, he kept disappearing to the cellar for an hour at a time, wrapping presents maybe, I thought. And then he presented me with this lovely thing: a beautiful play, a love story, but a universal one about learning in time what matters in the end, about leaving a mark.”

Let the show begin: a man wakes in the middle of the night to discover that the world has stopped. Through the crack in his bedroom curtains, he can see no signs of life at all, other than a light in the house opposite where a woman in an over-sized Bowie T-shirt stands, looking back at him. Over to you, Julie, from May 18.

Tickets for the SJT run are available at sjt.uk.com.

Yorkshire performance dates:

Stephen Joseph Theatre, Scarborough, May 18 to 22, 7.30pm; 1.30pm, Thursday; 2.30pm, Saturday.

York Theatre Royal, June 1 to 5, 8pm; 3pm, Thursday and Saturday.

Hull Truck Theatre, June 7 to 12, 7.30pm; 2.30pm, Thursday and Saturday.

Jessa and Mick Liversidge team up with Helmsley Arts Centre for Fields & Lanes song and poetry livestream tomorrow

Field work: Actor Mick Liversidge and singer Jessa Liversidge take the country air

EASINGWOLD singer Jessa Liversidge and husband actor Mick Liversidge will present the Fields & Lanes Livestream show from Helmsley Arts Centre tomorrow night (13/3/2021).

“Mick and I have been working on a collaborative project with the arts centre all about engaging communities creatively,” says community singing leader and music tutor Jessa. “Now, we’ve recruited some more field singers and outdoor performers to join us virtually for our performance at 7.30pm.”

Since the first Coronavirus pandemic lockdown in March 2020, Jessa and Mick have taken to performing outside to lift spirits and cheer those stuck inside. While Jessa sings in fields, Mick recites poetry down country lanes, and together they have devised Fields & Lanes, a celebration of poetry and song as well a celebration of the great outdoors.

Mick and Jessa perform with no accompaniment, their sincere and heartfelt delivery letting the poems and songs speak for themselves.

Last Saturday, Jessa notched her 50th “field sing”: a Saturday morning routine for the past 50 weeks wherein she “gets up and performs a song outdoors”.

“Over 50 songs now as some weeks I have done two,” she says, and you can watch that performance as she lists all the songs at https://www.facebook.com/JessaLiversidgeSinger/videos/207646327454590/ or on YouTube at https://youtu.be/a8bzyhocd-U.

“I might delay the field sing a bit if it’s snowing or raining, or I’ll shelter under a tree, but I find doing these songs really beneficial for me; doing it every week, having that fixed in my diary, knowing I need to do it on a Saturday morning,” Jessa says.

Mick, a professional actor on stage and screen for six years, and Jessa also performed a socially distanced Fields & Lanes Under The Willow Tree at Easingwold Community Library on a September Sunday afternoon and for Joseph Rowntree Theatre volunteers when testing the York theatre’s Covid-safety regime last October.

Mick LIversidge recording one of his Fields & Lanes poems in lockdown

Buoyed by the response to their outdoor pursuits, Jessa and Mick teamed up with Helmsley Arts Centre (HAC) to offer the Ryedale and wider community the chance to join the Fields & Lanes family in remote workshops.

“You will have the chance to develop singing or recitation skills and work towards your own pre-recorded performance, which will be featured in the livestream Fields & Lanes show on March 13,” read the invitation to recruits on the HAC website.

Places were strictly limited, enabling Jessa and Mick to work with both small groups and individuals on February 27 and March 6. Participants also received support, feedback and guidance from Jessa or Mick in between sessions and they are entitled to a gratis ticket for tomorrow’s livestream.

“We’ve found that singing and performing poetry outside has been both therapeutic and uplifting during these challenging times,” says Jessa. “We’ve enjoyed everything that comes with performing in the open air: the bird song, the fields, the winds, and we wanted to help others take part and feel the benefits.

“We’re thrilled to be working with Helmsley Arts Centre, who have provided the funding for a project to demonstrate how music and poetry can connect the community through creativity, and we’re delighted with the wide range of performers who have joined us, from seasoned professional performers to hobby singers and poets.

“In the workshops and individual sessions over the two weekends, we’ve worked on field singing and outdoor recitation techniques and created some collaborative performances. As a result, members of these groups will be appearing with us in the livestream via pre-recorded video.”

Tomorrow’s livestream viewers can expect a wide-ranging show featuring poetry from William Wordsworth to Spike Milligan, Lord Byron to D H Lawrence, and songs from folk standards to pop favourites and gospel classics, The Beatles to Bill Withers, Cilla Black to Carole King.

Poetry collaborators in tomorrow’s livestream are Bill Laverick, Helen Wilson and Maurice Crichton, from York Shakespeare Project and York Settlement Community Players, and Ted Naisbitt, from Sowerby, near Thirsk, performing one of his own poems, My Lakes, inspired by Wordsworth.

Helen Wilson, performing at last summer’s Sitdown Sonnets, presented by York Shakespeare Project at Holy Trinity Church, Goodramgate, York. Tomorrow she is taking part in the Fields & Lanes livestream

Mick worked with Bill, Helen, Maurice and Ted, each taking a verse from Wordsworth’s Daffodils and Sir John Betjeman’s Business Girls, reciting both on Zoom and in the open air.

New field singers taking part are Sinead Livingston, Mary Bourne, Madeleine Cordes, Gary Cordes, Cat Ellis, Caitlin Ellis, Sarah Boyle and Bill Laverick.

“They’re spread across the country from Essex to the North East,” says Jessa. “One of the positives of these times has been being able to work with people from all over the place!

“Sinead, Mary and Madeleine are all singing leaders, who I’ve been liaising with over the past year, all liking the idea of singing outside, and it’s been really great to have such high-quality people to work with.

“Mary runs choirs in Kingston and writes songs, and she’s been a friend for a couple of years. We’ve recorded a duet called My Call, where I recorded my part outside and as she’s ‘Choir Leader In A Kayak’, she’s done her part from a kayak.”

Introducing more of tomorrow’s remote singers, Jessa says: “Cat and Caitlin are a mother and daughter from Easingwold; Cat is in one of my choirs and I teach Caitlin. Sarah Boyle is a ‘hobby singer’ from York who’s joined one of my choirs, and Madeleine and Gary Cordes run a talent agency in Essex.

“In the first workshop, we did Stand By Me and The Water Is Wide, with me editing the virtual performances together and then last Saturday we worked on individual song choices.”

For tomorrow’s livestream, “bubble couple” Mick and Jessa will be performing live and alone in Helmsley Arts Centre, where the pre-recorded songs and poems will be projected on a screen.

“We’ve found that singing and performing poetry outside has been both therapeutic and uplifting during these challenging times,” says Jessa

The 7.30pm show marks a return to Helmsley Arts Centre for Jessa, after performing three of her one-woman shows there: ’Til The Boys Come Home, Some Enchanted Sondheim and Songbirds.

She has been a freelance singer and singing leader for the past 12 years, completing high-level training on performance, singing teaching and musical direction with Vocal Process and qualifying as a Vocal Health First Aider.

“From youth choirs and dementia-friendly groups to community choirs and private lessons, my sessions all have an encouraging atmosphere and a positive, inclusive ethos,” she says.

“I’m continuing to run my singing groups online – Singing For All and Community Singers Online, as well as the live YMHSing sessions for the York Music Hub – and I’m always looking for more singers of all abilities to join in.

“One new singer recently said, ‘you fill the screen with fun and enjoyment’ and I’d love to reach a few more of these people.” 

As testament to her teaching skills, Jessa has been nominated for two 2021 Music and Drama Education awards on March 24 for her inspiring work with singers of all ages in the Covid-19 pandemic.

“Quite an honour and a big surprise!” she says. “I’ve no expectations of winning but will glam up and tune into the ceremony on the 24th anyway!”

Jessa is shortlisted for the #goldstars Award, for any teacher who has shown particular flair, creativity or compassion during this past year, and the Francesca Honley Inspiration Award, which honours an individual who has had a hugely inspirational impact on students of any age in their music-making. 

Outdoor pursuits: Mick Liversidge and Jessa Liversidge head out for a song and a poem in the Yorkshire air

“The person who nominated me mentioned the wide range of ways I have adapted and created different ways of inspiring people of all ages through singing, including the live sings and Zoom choirs for York Music Hub, song and music videos, live singing for all and field sings,” says Jessa, as she looks forward to listening to the 6pm online ceremony at https://www.musicdramaedawards.com/.

Looking ahead, Jessa says: “I’m definitely going to continue with the choirs online. I even have participants from Milton Keynes, Rochdale, Bedfordshire, and I’ve been able to engage in various ways, along with continuing my ‘real’ groups.

“I feel loyal to them all, so when lockdown eases under the Government ‘roadmap’, I’ll do hybrid ‘Room and Zoom’ sessions. I did one in October, which I enjoyed, though it is quite exhausting trying to do two things at once!”

Reflecting on 12 months under the pandemic cloud, Jessa says: “I’m really happy with the way I’ve managed to grow and create this past year despite everything, or actually out of necessity due to everything.

“I’ve developed a lot of skills, like a lot of people like me have. I’ve really enjoyed it, picking up technical skills, such as learning how to synch up people singing separately for streaming. It’s quite time consuming but I think it’s worth it, recording people standing alone in a field but then seeing themselves in a group online.”

Jessa is proof positive that singing is good for the soul, for physical health, for mental wellbeing. “Singing just lifts you and takes you somewhere else,” she says in her break from her online “three hat day” for this interview.

“Singing keeps me going. Today [8/3/2021] I’m running a Singing For All session; teaching a couple of pupils and doing a York Music Hub session at four o’clock, so I’ll be buoyant all day!”

Tickets for tomorrow’s 7.30pm livestream cost £8 per household. To book, go to: https://www.helmsleyarts.co.uk/whats-on/fields-and-lanes-livestream-from-hac.

All the Fields & Lanes poems and songs performed by Mick and Jessa outdoors can be found at the Fields & Lanes Facebook page, https://www.facebook.com/fieldsandlanes/.

Alex Wright, Phil Grainger and Oliver Tilney combine on Half Man//Half Bull ancient myth songs to be experienced at home UPDATED 11/3/2021

On song: Phil Grainger in a recording session for Half Man//Half Bull

THE Flanagan Collective and Gobbledigook Theatre had to cut short their 18-month international tour last March, the pandemic forcing Alexander Wright and Phil Grainger to fly back to North Yorkshire from Australasia.

A year later, however, a brand-new work, created in tandem with fellow theatre-maker Oliver Tilney, arrives in the form of Half Man//Half Bull, a narrative-led double album of two ancient myths and 20 original tracks to be “experienced at home”.

Fusing spoken word, electronica and soul, Half Man//Half Bull retells the interlinking myths of Theseus & The Minotaur and Daedalus & Icarus, presented in a listening pack designed by Lydia Denno that will be sent out in the post.

“We wanted people to be able to hold a beautiful piece of art in their hand, like holding an album cover, so Lydia’s artwork is part of the whole experience,” says Alex. “We also want people to carve out a bit of proper time to really listen to the work, rather than listening to it for the first time when you’re doing the washing-up or while you’re cooking.

“We’re also asking you to reach out to connect with other people by sending out postcards, and there are four cards from the listening pack to hide around your community too. You could even give someone a call, knock on someone’s door and say hello.

“The two stories say a lot about isolation, so it feels good to do something that’s an antidote to that. We didn’t set out to tell a story about this time of Covid lockdowns, but it just seems to have seeped into it.”

Lydia Denno’s artwork for Half Man//Half Bull

Over the past few years, Alex and Phil, friends since Easingwold schooldays, have taken their international award-winning shows Orpheus, Eurydice and The Gods The Gods The Gods to packed rooms across Britain, Australia, New Zealand, Bali and New York, performing an enthralling, electrifying brand of spoken word and live music.

Once back home, they teamed up with long-time collaborator Oliver Tilney – he played Jay Gatsby in Wright’s adaptation of The Great Gatsby for the Guild Of Misrule at 41 Monkgate, York, in 2016 – to create Half Man//Half Bull.

“From the get-go, we wanted to make a new piece of work that wasn’t contingent on being performed live,” says Oliver, who first brought the idea to Alex and Phil last June. “We didn’t want a watered-down version of something to give to audiences; we wanted to create a new piece of work in its correct form. For us, that form is a double narrative-led album.”

Oliver set about reading various Greek myths, seeking a way to connect two together. “The ones we’ve chosen are about becoming a parent; one is about a father loving a son, the other about a son loving a father,” he says.

“Most people don’t carry any sympathy for Icarus, thinking he’s rather brash, but I thought, ‘no, let’s make these characters human’.”

Alex, Phil and Oliver began work on Half Man//Half Bull on Zoom, but lockdown easement then enabled work to develop in Covid-safe conditions, both in Stillington in Alex’s studio at The Mill last October and at Crooked Room Studio in Strensall, York.

Oliver Tilney at work on Half Man//Half Bull

“There was a moment I recall where Ollie’s daughter was in a push chair and I was writing these ditties, and Ollie’s lyrics were so clearly coming from his experience of being a dad,” says Phil.

“More than before, the writing was a mixture of all three of us. With Orpheus, it was very clear that I wrote the music and Alex, the lyrics, but for The Gods The Gods The Gods, there were a couple of songs where Alex came up with the melody.

“Whereas with this project, we’ve all stuck our noses into all of it. Ollie and Alex were writing the first drafts of ideas, while I was building some benches at Alex’s mill. Then I came up with a few bits of guitar, but once that had been done and they’d come up with the skeleton of the stories, we fleshed everything out, with everyone coming up with lyrics and me writing tunes. We all pushed ourselves more than ever.”

Alex rejoins: “We’re lucky that we’ve all known each other and worked together for so long, so it never felt like we needed to define who was doing what, or who was in charge. It just felt organic.”

The trio have partnered up with 15 organisations to bring the idea to life, among them the Stephen Joseph Theatre, Scarborough, Theatr Clwyd, Leeds company Slung Low, Rural Arts, Thirsk, and The Barn Theatre, their involvement affirming the appetite for this type of work. 

Alex says: “We started talking with our brilliant pals at Streatham Space Project [a project that Oliver was involved in setting up], where we managed to bring a socially distanced version of Eurydice in September. It quickly became clear there would be an appetite for a theatre, or an organisation, to be able to deliver content to their audience while people couldn’t gather in a more traditional setting.”

Oliver adds: “Those 15 theatres and organisations around the country are helping us by each agreeing to distribute 100 copies, so that means we’ve pre-sold 1,500 copies, either to be given away to pockets of the community they want to contact through outreach work, or for some to be put on sale through the venues.”

Alexander Flanagan Wright and Phil Grainger on their travels, cut short by the need to head home last March

An Arts Council Project Grant allowed the Half Man//Half Bull team to grow: the trio have collaborated with producers, designers and host of musicians to realise this project, alongside the family of theatres, venues and partner organisations.

After years of touring, lockdown has provided a longer opportunity to create and develop, says Phil. “Alex and I have been writing and touring shows for a while, with an ambition to grow our sound. This felt like a great opportunity to work with more people, collaborate with more artists and, crucially, create some work for as many freelancers as we could afford,” he explains.

That team includes Aminita Francis, from BAC BeatBox Collective, as Theseus; Zimbabwean-born musician Tendaii Sitima, as Daedalus; designer Lydia Denno; music producer Isaac McInnis and project producer Charlotte Bath.

“We were also able to spend a lot of time at Crooked Room Studio working with Isaac McInnis, which really helped grow the sound,” says Phil. “It’s crucial that as this is an audio project, that it sounds flipping great.”

Lockdown 3 was imposed just as Alex, Phil and Oliver were part-way through the last recording session. “But because we were already ‘bubbled up, we were already in the right place to allows us to continue,” says Alex.

“It was lucky that we could continue unimpeded,” says Phil. “Pretty much everyone else, apart from our producer Isaac, was able to send us their parts, recording in their own homes or on Zoom.”

Phil Grainger and Alexander Flanagan Wright last August when The Flanagan Collective and Gobbledigook Theatre presented a week of socially distanced shows in Alex’s back garden at The Mill, Stillington, including Orpheus and Eurydice

Billed as “an epic storytelling adventure for our time”, Half Man//Half Bull is designed expressly as an At-Home experience. “For a project that is an album, a listening experience, something you do with your ears, we were really clear we didn’t want to make a cast recording of something that already existed; it had to be something that stood in its own right,” says Alex.

“For the vast majority of musicians and creative people, they are hard-wired to connect with other people, preferably gathered in one room, but this had to be different – though it does feel odd that we can’t all be together to launch it!”

Instead, Half Man//Half Bull is a form of home service. “If you buy it, you’ll get a physical pack through your door with artwork, listening instructions and an invitation to step back out into the real world,” says Alex.

“Normally we would be thinking about the physical space we’re performing a show in, but this time it’s a listening experience designed for people’s homes.”

Yet might Half Man//Half Bull be turned into a live performance? “While we were writing the album, we had a catchphrase that we banned each other from saying: ‘When we do the live show’,” recalls Oliver. “Instead, we concentrated on the album, but having worked together for so many years, we all have ambitions to do it live.

“We haven’t had many conversations yet, just touched on a few ideas so far, because our focus has been on the album.”

For further information and to buy the albums, go to: halfmanhalfbull.com.

Alexander Flanagan Wright during the making of Half Man//Half Bull

More Things To Do in York and beyond in the months ahead and while staying home, List No. 28, courtesy of The Press, York

Bethany, from York artist Sue Clayton’s exhibition for World Down Syndrome Day, on show outside All Saints Church, Pocklington

THE diary is beginning to turn from blank to much more promising, even if online and home entertainment is still the order of the day, but Charles Hutchinson is feeling positive and so are event organisers.

Outdoor exhibition for World Down Syndrome Day: Sue Clayton, 21, All Saints Church, Pocklington, March 19 to April 19

YORK portrait artist Sue Clayton will celebrate World Down Syndrome Day (WDSD) on March 21 with a month-long open-air exhibition on the railings of All Saints Church in Pocklington.

Self Portrait, by York artist Sue Clayton

Her collection of 21 portraits is inspired by children and adults with Down Syndrome, especially Sue’s energetic son James. She has chosen the theme of 21 both to mark the date of WDSD and to symbolise the extra 21st chromosome that people with Down Syndrome have.

This is the second outdoor display to be staged by Pocklington Arts Centre (PAC) in lockdown at this location after fellow York artist Karen Winship’s NHS Heroes exhibition from late November to early January.

Iestyn Davies: York countertenor will perform at the NCEM’s Awaken online concert series

Springtime celebration of music online: Awaken, National Centre for Early Music, York, March 27 and 28

THE NCEM’s Awaken weekend will feature York countertenor Iestyn Davies and Fretwork, the all-male vocal group The Gesualdo Six, I Fagiolini and the English Cornett & Sackbut Ensemble, Ensemble Augelletti and The Consone Quartet.

The online festivities will celebrate the sublime sounds of spring in a range of historic venues to mark “the unique association between the City of York and the exquisite beauty of the music of the past”. Among the architectural gems will be Holy Trinity Church, Goodramgate, St Olave’s Church, Marygate, the Merchant Adventurers’ Hall and the NCEM. Full details can be found at ncem.co.uk/awaken.

The Minster men: The Howl & The Hum promote their livestreamed concert at York Minster in the ultimate publicity shot for any York band

“Unique” livestreamed concert: The Howl & The Hum, York Minster, May 25

YORK alternative rock band The Howl & The Hum will perform a “unique set to compliment the unique venue” of the Nave of York Minster in a one-off 8.15pm concert livestreamed via ticket.co.

Singer, songwriter and guitarist Sam Griffiths, bassist Brad Blackwell, guitarist Conor Hirons and drummer Jack Williams will combine selections from last May’s prescient album Human Contact with fan favourites and new material recorded in lockdown.

The Howl & The Hum will be the first rock act to play York Minster since York singer-songwriter Benjamin Francis Leftwich on March 29 2019. Tickets are on sale via thehowlandthehum.com/.

Wynne win situation: Castle Howard Proms will go ahead this summer with tenor soloist Wynne Evans

Confirmed for the summertime: Castle Howard Concerts Weekend, August 20 to 22

CASTLE Howard has announced this summer’s concerts weekend will go ahead, in light of the Government’s roadmap rollout.

First up, in the open air at the North Yorkshire country house, will be house music brand Café Mambo Ibiza on August 20, presenting Roger Sanchez, Judge Jules, Julie McKnight (live PA), Ridney and Robin S (live PA), with more big names still to be announced for the Ibiza Classics at the Castle celebration.

Welsh tenor Wynne Evans, from the Go Compare adverts, will be joined by soprano Victoria Joyce and the London Gala Orchestra for the al fresco Castle Howard Proms on August 21.

Four vocalists from We Will Rock You, a five-piece rock band and The Elysium Orchestra will combine for Queen Symphonic on August 22. Box office: castlehoward.co.uk.

Piece in our time at last: Shed Seven move all-Yorkshire bill at The Piece Hall yet again, now in the diary for August 28

Sheds on the move: Shed Seven, The Piece Hall, Halifax, August 28

YORK heroes Shed Seven’s all-Yorkshire bill at The Piece Hall, Halifax, is being rescheduled for a third time, now booked in for August 28.

Joining the Sheds that West Yorkshire day will be Leeds bands The Pigeon Detectives and The Wedding Present and Leeds United-supporting York group Skylights, plus the Brighton Beach DJs.

August 28? Doesn’t that clash with Leeds Festival, co-headlined that day by Stormzy and Catfish And The Bottlemen? Indeed so, but “let’s just say our fans are not their demographic,” quips lead singer Rick Witter.

Shoe-in: Julie Hesmondhalgh in The Greatest Play In The History Of The World…, playing the SJT this spring

The Greatest News In The History Of The World…The Greatest Play In The History Of The World…tour to open in Scarborough from May 18 to 22

THE Stephen Joseph Theatre’s Covid-safe reopening show will be the first tour dates of The Greatest Play In The History Of The World…, the hit one-woman play that Ian Kershaw wrote for his wife, Coronation Street alumnus Julie Hesmondhalgh.

Directed by Raz Shaw, it heads out on a heartfelt journey that starts and ends in a small, unassuming house on a quiet suburban road, as Hesmondhalgh narrates the story of two neighbours and the people on their street, navigating the audience through the nuances of life, the possibilities of science and the meaning of love. 

Hesmondhalgh says: “It’s a beautiful play, a love story, but a universal one about learning in time what matters in the end, about leaving a mark on the world – and maybe beyond – that shows us, the human race, in all its glorious messiness, confusion and joy.”

The Shires: Crissie Rhodes and Ben Earle move York Barbican gig from 2021 to 2022

York-Shires: The Shires, York Barbican, put back by 12 months

BRITAIN’S biggest-selling country act, The Shires, are rescheduling their May 23 show at York Barbican for May 6 2022.

York is the only Yorkshire venue of their rearranged 25-date tour, when Crissie Rhodes and Ben Earle are billed to be joined by Texan country singer and songwriter Eric Paslay. 

“The songs mean so much to us personally, but there really is nothing like looking out at our fans in the crowd and seeing how much of an impact they can have in someone else’s life,” say The Shires. “It’s truly a very special thing”.

And what about?

STILL stuck at home, check out Mindhunter on Netflix, Unforgotten on ITV and Sophia Loren’s Desert Island Discs on BBC Sounds. Seek out Nick Cave & Warren Ellis’s new lockdown album, Carnage.

Cave in: Nick Cave & Warren Ellis create Carnage, available digitally now and on CD and vinyl from May 28

Milton Rooms to reopen with four May events as Scott Garnham becomes patron

Scott Garnham, the new Milton Rooms patron, pictured when playing the lead in Nativity in the West End, alongside the show’s “secret Santa”, Queen guitarist Brian May, no less

THE Milton Rooms is counting down the days until it can reopen its Malton doors with four events lined up to kick-start the May reawakening.

First up, Yorkshire singer and guitarist Martin Gough returns with his One Man Rock Show on May 21; next, the Dickens Society presents Dickens And The Language Of Flowers, a fascinating talk looking at the meaning of flowers and how the Victorians loved sending secret messages in a well-chosen bouquet, on May 23. 

Ryedale Blues Club resumes blues service with District Blues, a mix of Americana and rockabilly, on May 27, and 2018 Britain’s Got Talent star Mandy Muden brings her magic, cabaret and stand-up comedy to Malton on May 29.

The Market Place arts and community venue has a new patron, the award-winning Ryedale actor, singer and theatrical producer Scott Garnham, a local lad who first appeared at the Milton Rooms in 1995 in a Ryedale Youth Theatre production of The Boyfriend, aged ten.

As well as many annual Ryedale Youth Theatre productions, Scott appeared in multiple pantomimes at the Milton Rooms. He started in Little Red Riding Hood, then played Baby Bear in Goldilocks and the Three Bears. In his teens, he was either the comedy double act or village idiot in Dick Whittington, Aladdin, Goody Two Shoes and Jack And The Beanstalk and shined as Buttons in Cinderella.

After graduating from the Royal Conservatoire of Scotland, in Glasgow, he has carved out a career in the West End, notching up credits in Billy Elliot The Musical, Les Miserables and Made In Dagenham, as well as in Matt Lucas’s Pompidou for the BBC. He has created the international vocal group The Barricade Boys too, playing the Grand Opera House in York in March 2018.

“I will forever owe a huge debt to the Milton Rooms and the people who work so tirelessly to ensure this wonderful community building is still a key part of Malton and the surrounding area,” says Scott. 

‘’It was my first experience of ‘theatre’, being lucky enough to perform with a diverse group of ages, cultures and life experiences. I enjoyed dancing with friends at their many discos and found gifts attending art and craft fairs. 

‘’I feel lucky to have grown up where a community building, such as the Milton Rooms, played such a vital and important role in mine and many other people’s lives. Long may it continue.’’

The Milton Rooms’ Covid-safe accreditation has been extended for 2021 by UK tourism body Visit Britain. Under the Government’s roadmap out of Coronavirus lockdown, indoor entertainment venues are expected to be allowed to reopen after May 17 with Covid-secure restrictions in place.

Venue manager Lisa Rich says: “We’re delighted to have someone like Scott on board and we’re really excited at the prospect of being able to open again in a limited way in May and hopefully fully reopening if all restrictions are removed in June.’’

Tickets for all four events can be booked at: themiltonrooms.com/events/