Category: Theatre

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More Things To Do in York and beyond when walls come alive with art and light. Hutch’s List No. 47, from The York Press

Principal dancers, dance captains and siblings Anna Mai Fitzpatrick and Fergus Fitzpatrick in Riverdance’s 30th anniversary show, The New Generation

LEFT-FIELD Halloween entertainment, garden art and light installations, Normal comedy and a splurge gun musical spark Charles Hutchinson’s interest.

Dance show of the week: Riverdance, 30th Anniversary Tour, York Barbican, today and tomorrow, 2.30pm and 7.30pm

VISITING 30 UK venues – one for each year of its history – from August to December 2025, the Irish dance extravaganza Riverdance rejuvenates the much-loved original show with new innovative choreography and costumes, plus state-of-the-art lighting, projection and motion graphics, in this 30th anniversary celebration.

For the first time, John McColgan directs “the New Generation” of Riverdance performers, none of them born when the show began. Box office: yorkbarbican.co.uk.

Blair Bitch Project: Playing on Navigators Art’s bill at YO Underworld 6 at The Basement

Live, left-field, local new music, comedy and words for Halloween: Navigators Art presents YO Underworld 6, The Basement, City Screen Picturehouse, York, tonight, 7.30pm

IN this special Halloween edition, York arts collective Navigators Art plays host to riot grrrl punk and grunge-inspired York quartet Blair Bitch Project and improvising cellist and sound artist Gaia Blandina, performing collaborative, open-form pieces with Ish, featuring Iris Casling, double bass, Des Clarke, oboe, and Nika Ticciati, voice.

Joshua Arnold & Therine: Welcoming the coming of Samhain at YO Underworld 6

Taking part too are dark hurdy-gurdy and vocal-led trad and experimental drone folk combo Joshua Arnold & Therine, welcoming the coming of Samhain; Kane Bruce,  delivering his outrageously dark yet cheeky take on “taboo” topics, and Hull poet Melissa Shode, who explores identity in the socio-political climate and writes for release, justice and the voiceless. Box office: ticketsource.co.uk/navigators-art-performance or on the door.

Steve Gunn: Showcasing his two 2025 albums at The Band Room, Low Mill, tonight. Picture: Paul Rhodes

Moorland gig of the week: Steve Gunn, The Band Room, Low Mill, Farndale, North York Moors, tonight, 7.30pm

STEVE Gunn, the ambient psychedelic American singer-songwriter based in Brooklyn, New York, made his name as a guitarist in Kurt Vile’s backing band, The Violators. His myriad magical influences include Michael Chapman, Michael Hurley and John Fahey.

This weekend he will be showcasing his second album of 2025, Daylight Daylight, out on November 7 on No Quarter, as well as his first fully instrumental album, August’s Music For Writers. Box office: 01751 432900 or thebandroom.co.uk.

Hands and Voices: York choir singing at Laughs, Lyrics & You! at the Gateway Centre on Sunday

Inclusive open mic event of the week: Accessible Arts & Media presents Laughs, Lyrics & You!, Gateway Centre, York, Sunday, 2.30pm to 5pm

WHAT is Laughs, Lyrics & You!? “The idea is to have an open mic-type event, in a relaxed and friendly environment that’s accessible and fun, with tea and cake too,” says Accessible Arts & Media (AAM) chief executive officer Chris Farrell. “Our projects, IMPs, Movers and Shakers and Hands and Voices, will start the show with their wonderful music, dances and stories.

“Then it’s over to whoever would like to perform. Any talent is welcome, a duet, a solo instrument, a poetry reading, a recording of some original music, jokes…whatever you can think of would be great!” To take part, performers must contact projects@aamedia.org.uk or ring Hannah on 07762 428818. Admission is free; donations welcome.

Artist Ric Liptrot: Taking part in That Acomb Arty Thing

Art event of the week: That Acomb Arty Thing, Art Trail, until November 2; Open Studios, November 1 and 2

DISCOVER York artists’ work in venues around Acomb on the autumn Art Trail featuring Carla Ballantine, Linda Braham, Ric Liptrot, Jelena Lunge, Rae Merriman, Isaac Savage, Ginette Speed, Donna Taylor and Dianne Turner.

North Yorkshire Open Studios participants are hosting open studios next Saturday and Sunday: Paul Mathieson & Peter Mathieson, 49 Jute Road, 10am to 4pm; Peijun Cao, 60 Jute Road, 10.30am to 5pm; Fran Brammer, 81 Jute Road, 10am to 4pm; Charlotte Lister & Charley Hellier, 7 Chestnut Grove, 10am to 2pm; Robin Grover-Jacques, 35 Chestnut Grove, 11am to 4pm, and Mo Nisbet, 116 Acomb Road, 11am to 4pm.

Blue sigh thinking? Henry Normal reflects on himself, his mistakes, his Z celebrity status, in The Slideshow

Normal service resumed: Henry Normal, The Slideshow, Helmsley Arts Centre, Sunday, 8pm

THE Slideshow, as poet, film and TV producer/writer Henry Normal explains, is a multi-MEdia spectacular with the emphasis on the “me” in his celebration of his “meteoric rise to Z celebrity status”, followed by his joyous and inevitable slide into physical and mental decline.

Expect poetry, photos, jokes, music, dance, song, circus skills, costume changes, props and stories, exploring where Normal  went wrong in life, plus lessons you can learn from his mistakes, in this memoir with cautionary verse. Box office: helmsleyarts.co.uk.

David Barrott, left, Catherine Edge and Adam Marsdin in rehearsal for Settlement Players’ production of Party Piece

Calamitous comedy misadventure of the week: York Settlement Community Players in Party Piece, Theatre@41, Monkgate, York, October 28 to November 1, 7.30pm and 2.30pm Saturday matinee

AMERICAN director, writer, producer, historian and stuntman Martin T Brooks directs Settlement Players for the first time in Richard Harris’s calamitous 1992 comedy Party Piece.

Michael and Roma Smethurst are preparing meticulously for their fancy-dress housewarming party. Mrs Hinson, not the biggest fan of her upper-class new neighbours, is keeping a criticising eye on the attendees. Then disasters strike: an embarrassing lack of guests, a burning barbeque, a marauding Zimmer frame and a corpse showing up at the front door. Cue chaos. Box office: tickets.41monkgate.co.uk.

Cassie Vallance, left, and Jane Bruce in Story Craft Theatre’s Bat, Cackle And Pop! at York Theatre Royal

Children’s Halloween show of the week: Story Craft Theatre in Bat, Cackle And Pop!, York Theatre Royal Studio, October 29 to 31, 10.30am and 1pm

WINIFRED the Witch thinks everyone has forgotten her birthday. Not so. There will be a big surprise party, but first, a special birthday cake must be made.

“We just need the last three rather spooky ingredients,” say York company Story Craft Theatre’s Cassie Vallance and Jane Bruce. “Our show is bubbling with all sorts of ghosts and ghouls – more silly than scary – and there’s plenty of opportunities to dabble in some spell making, as well as flying with luxury BAT Airways.” Box office: 01904 623568 or yorktheatreroyal.co.uk.

Rory Stewart: Discussing his new book, Middleland, at York Barbican

Book event of the week: Toppings presents Rory Stewart, Middleland, York Barbican, October 30, 7pm

NOW Professor of the Practice of Grand Strategy at Yale University’s Jackson School of Global Affairs and Alastair Campbell’s co-podcaster on The Rest Is Politics, Rory Stewart spent nearly a decade as Conservative MP of Britain’s most rural constituency, Penrith and the Border.

Living in the Eden Valley, he found inspiration in the beauty of Cumbrian landscape, its rugged history as a frontierland, and the spirit of its people, prompting him to write Middleland: Dispatches From The Borders, a portrait of rural Britain today: a place caught in tensions between farming and the natural world, between the need to preserve and to grow, between local and national politics. Over to you, Rory.  Tickets: toppingbooks.co.uk/events/york/rory-stewart-middleland/.

Fizzy with the singers in Pick Me Up Theatre’s Bugsy Malone: Theo Rae, Isla Lightfoot, Olivia Swales and Beau Lettin

Musical of the week: Pick Me Up Theatre in Bugsy Malone, Grand Opera House, York, October 31 to November 8, 7.30pm, except Sunday and Monday ; 2.30pm, both Saturdays and Sunday

LESLEY Hill directs and choreographs York company Pick Me Up Theatre’s cast of 40 young performers in  Alan Parker and Paul Williams’s musical, replete with the movie songs You Give A Little Love,  My Name Is Tallulah, So You Wanna Be A Boxer?, Fat Sam’s Grand SlamandBugsy Malone.

In Prohibition-era New York, rival gangsters Fat Sam and Dandy Dan are at loggerheads. As custard pies fly and Dan’s splurge guns wreak havoc, penniless ex-boxer and all-round nice guy Bugsy Malone falls for aspiring singer Blousey Brown. Can Bugsy resist seductive songstress Tallulah, Fat Sam’s moll and Bugsy’s old flame, and stay out of trouble while helping Fat Sam to defend his business? Box office: atgtickets.com/york.

In Focus: Tom Grennan, York Racecourse Music Showcase Weekend, July 25 2026

BEDFORD singer-songwriter Tom Grennan is the first act to be confirmed for the Music Showcase Weekend at the 2026 York Racecourse flat racing season.

Grennan, 30, has achieved three UK number one albums, 2021’s Evering Road, 2023’s What Ifs & Maybes and 2025’s Everywhere I Went Led Me To Where I Didn’t Want To Be, preceded by his top five-charting 2018 debut Lighting Matches. 

He has chalked up hit singles too with Little Bit Of Love, Let’s Go Home Together (with Ella Henderson), Remind Me, Lionheart (Fearless, with Joel Corry), Here, How Does It Feel, It Can’t Be Christmas, By Your Side (Calvin Harris, featuring Tom Grennan) and Not Over Yet (KSI, featuring Tom Grennan).

Next summer’s Knavesmire gig will form part of a busy touring schedule for Grennan, who also co-hosts the You About? podcast with TV and radio presenter Roman Kemp.

Racing and music fans can take advantage of a price freeze on adult general admission on the track’s website, meaning entrance to the main Grandstand and Paddock enclosure, starts at just £40 per person for a group of six. As well as free car parking, no booking fees apply on this route to purchase. To book, visit www.yorkracecourse.co.uk.

On the racecourse, the racing action will see seven thoroughbred contests with combined prize money of £380,000. The Group Two feature race will be the Sky Bet York Stakes.

The Summer Music Saturday meeting will be held on June 27; the Friday evening Music Showcase Weekend meeting on July 24. Music acts for both those days are yet to be confirmed; keep checking www.yorkracecourse.co.uk for further announcements, expected soon.

James Brennan, head of marketing and sponsorship says: “It is great news that Tom Grennan is joining the artists to have performed on the Knavesmire; a performer who has gone from strength to strength. It will herald a month for music and racing fans to remember.”

In Focus too: Luxmuralis presents Echoes Of Yorkshire, York Museum Gardens, until November 2, 6pm to 8.20pm

Luxmuralis’s Echoes Of Yorkshire transforming the St Mary’s Abbey ruins in York Museum Gardens. Picture: Duncan Savage, Ravage Productions, for York Museums Trust

LET light, colour and music surround you at the Echoes Of Yorkshire light and sound installation conjured by the internationally acclaimed Luxmuralis, who bring alive the culturally rich story of the Yorkshire Museum and York Museum Gardens.

Visitors are invited to “immerse yourself in the story of the historic site with contemporary light and music showcasing its age-defining artefacts and extraordinary exhibits. Join us to celebrate all that the museum and its gardens bring to our city and the wider north of England.”

In the 30-year collaboration of sculptor and artist Peter Walker and composer David Harper, Luxmuralis travels the world to create stories in light and sound for audiences at locations ranging from the Tower of London and St Paul’s Cathedral, London, to city-wide open-air projections in places such as Oxford and Limburg in the Netherlands.

Through combining fine art, light and sound, Luxmuralis reflects closely on the history and heritage of places by weaves together the contemporary and the ancient.

Now, for the first time, Luxmuralis is transforming the walls of York in Echoes Of Yorkshire in York Museum Gardens for ten evenings filled with six looping art installations and landscape lighting by Steve Rainsford.

Ticketed entry time slots are given every 20 minutes, but once in the gardens visitors can journey through the experience at their own pace with a recommended walking time of one hour. Refreshments will be available to buy on the night, including from Thor’s tipi.

Echoes Of Yorkshire is suitable for all ages. Audiences will experience the gardens’ history from the Roman period to its time as an abbey (St Mary’s Abbey) in tandem with Luxmuralis’s showcase of the Yorkshire Museum’s collections that span 60 million years from the Jurassic and the Mesolithic, through to the Romans, Viking, Anglo Saxon and Medieval.

Welcoming Luxmuralis to York Museum Gardens, Siona Mackelworth, head of audience and programme for York Museums Trust, says: “We are delighted that Luxmuralis agreed to produce a very special and bespoke show for us here in York.

“This is a celebration of all that the Yorkshire Museum brings to the city, its history and the location as the repository of great discoveries and stories. With this amount of content, the Luxmuralis light and sound show looks amazing.”

Luxmuralis artistic director Peter Walker says: “We’re thrilled to be collaborating with the team at Yorkshire Museum to deliver a truly distinctive experience set within the stunning and historically rich Museum Gardens.

“By drawing inspiration from the museum’s collections, this light installation re-imagines the architecture and landscape in an entirely new and transformative way.”

Tickets cost £13.50 per adult; £9.50 for children aged five to 16; free admission for under-fives. Box office: yorkshiremuseum.org.uk. Echoes Of Yorkshire is on a constant loop from 6pm to 8.20pm each night. Please note, only assistance dogs will be allowed into the gardens during the event.

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REVIEW: Original Theatre in Murder At Midnight, York Theatre Royal **1/2

Like mother, like son? Susie Blake’s Shirley and Jason Durr’s gangland boss Jonny ‘The Cyclops’ Drinkwater in Torben Betts’s murky comedy thriller Murder At Midnight

TORBEN Betts, once an Alan Ayckbourn protégé at the Stephen Joseph Theatre, is now carving out a niche in savagely dark comic thrillers with “Murder” at play in the title and on stage for touring company Original Theatre.

After the leaden ghost story of Murder In The Dark, set on the Yorkshire Moors, in September 2023, Betts returns to York Theatre Royal – he attended a Q&A on Wednesday – with what director director Philip Franks says is “a difficult play to describe”. “Feydeau, rewritten by Tarantino perhaps,” he settles on in his programme note. Or maybe Joe Orton refracted though Guy Ritchie’s The Gentlemen?

Describing Murder At Midnight as a companion piece to the first part of what is rumoured to be a trilogy, Franks reckons the new play is many things. Murder mystery. Farce. Gangster thriller in the vein of Jez Butterworth or Philip Ridley. Revenge drama. Darkly funny dissection of family life. All true, but frustratingly it ends up is less than the sum of these promising but clunky parts.

What separates Murder At Midnight more from the Miss Marples and Poirot world of crime dramas is the undertow of family drama tugging away beneath the increasingly absurdist violence. As Franks puts it, Murder At Midnight brings together a group of “lost and desperate people looking for love and willing to risk everything for it, even if the search ends in death” (spoiler alert).

Welcome to the swish, all-mod-cons home of southern drug baron and pig farmer Jonny ‘The Cyclops’ Drinkwater (Jason Durr), where Betts gives designer Colin Falconer the challenge of creating five locations in an open-plan design that facilitates quick scene changes in the tradition of farce (but without the usual profusion of doors).

Murder At Midnight director Philip Franks

At Paradise Farm, we see a sitting room, kitchen area, exterior passageway, master bedroom with a giant flamingo print, and Jonny’s man cave, where the back wall is dominated by an homage to his favourite pop star, Robbie Williams.

Cristina (Ukrainian actress Iryna Poplavska in her UK theatrical debut as a Rumanian home help) is in a flap on her phone with petty crook Mister Fish (Callum Balmforth, later to enter dressed as Coco the Clown, later still to reveal his name is Russell). She is trying to put Jonny’s mum, Shirley (Susie Blake) to bed, but Shirley is seeing things (devils mainly) and she may or may not be suffering from dementia.

Cristina’s phone, unlike everyone else’s mobile, only works in the passageway, one of the ways that Betts employs for engineering entrances and exits. He also applies another farce trope, whereby two sets of people are in the spacious house at the same time but unaware of the other.

 Unbeknown to The Only Way Is Essex-style girlfriend Lisa (Katie McGlynn), Jonny has arrived home early from a trip and is in the man cave with his henchman, Trainwreck Spencer (Peter Moreton), a “man of unimpeachable character”, he insists, but beholden to a coke habit.

Lisa, meanwhile, has snuck back from a party. A fancy-dress party, which explains why she is dressed as a nun, and heading to the bedroom with her is the “vicar”, Paul (Max Bowden), her bit on the side, who also unbeknown to her, is an undercover cop investigating the murder of Jonny’s first wife, Alex (fed to the pigs apparently). Truly, she was for the chop, you could say.

At your service: Max Bowden’s “vicar” Paul and Katie McGlynne’s “nun” Lisa in Murder At Midnight

Scenes are conducted in parallel, out of sight and hearing of each other, but not for us of course. All the while, Blake’s Shirley has a habit of turning up unannounced and seeing everything. Keep an eye on her; she turns out to be a suffocating mother in the vein of Greek tragedies as Blake gives the most rounded performance.

Betts weaves so many styles and strands into his comedy thriller, even cultural social comment (such as putdowns of Coldplay and class distinction), but without uniting them satisfyingly to find his own voice, and for all seasoned director Philip Franks’ own panache as a comedic actor, the timing is too often off in Act One. Everything has to work just that little bit too hard.

Act Two is slicker, wilder, more violent too, but frankly sillier as it descends into a modern-day Jacobean tragedy with the obligatory pile-up of bodies. There is a nagging feeling throughout that it could and should be so much better. Only Falconer’s set is top notch.

Is Torben Betts getting away with murder, on the evidence of two disappointing plays? Thursday’s matinee was packed, so the answer would appear to be yes. Hopefully, Murder instalment number three will be a killer, however.

Original Theatre in Murder At Midnight, York Theatre Royal, today at 7.30pm, tomorrow, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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Martin T Brooks makes Settlement Players debut directing Richard Harris’s comedy Party Piece at Theatre@41, Monkgate

York Settlement Community Players cast members Heather Patterson, Adam Marsdin and Helen Wilson in rehearsal for Richard Harris’s Party Piece

AMERICAN stuntman, director, writer and producer Martin T Brooks is directing York Settlement Community Players for the first time in Richard Harris’s calamitous comedy Party Piece at Theatre@41, Monkgate, York, from October 28 to November 1.

“Last November, a friend of mine suggested I apply to direct a show for the York Settlement Community Players, but not having much notable experience directing theatre, I didn’t think I had much of a chance,” he says.

“Luckily for me, and many others, YSCP’s mission is to give aspiring directors the chance to direct. So, I did my research, got my ducks all in a row and made my pitch to the committee. Must have done something right because here I am. Directing Party Piece.”

Here Martin discusses his YSCP debut with CharlesHutchPress.

What happens in Party Piece?

“Michael and Roma are meticulously preparing for their fancy-dress housewarming party. Roma is treating the event like the coronation of the newest monarch, with Michael thinking he is planning the Normandy landing, as well as manning the barbeque with five-star determination and the personality of Gordon Ramsay.

“Mrs Hinson – who is not the biggest fan of her upper-class new neighbours – keeps a watchful and criticising eye on the attendees with the evening looking to be the social event of the neighbourhood.

“That is until a series of disasters strike, including an embarrassing lack of guests, a burning barbeque, a marauding Zimmer frame and a corpse showing up at the front door, turning the party into a hilarious misadventure.”

What attracted you to directing Party Piece? What are the play’s strengths, and why put it on in 2025?

“I selected Party Piece for several reasons. One being that with everything going on these days, I think we could all use a good laugh – and this show as them in abundance. I can remember, back in the day, my dad was playing a recording of an old radio broadcast of Steptoe And Son.

James Wood’s Michael Smethurst, left, Darron Barrott’s Toby Hancock and Catherine Edge’s Roma Smethurst rehearsing a scene from Party Piece

“Being only six or so, I didn’t really understand the jokes, but my dad sure thought they were funny. And dad didn’t laugh much. I guess this is when I first realised there was something special about old-time British comedies.

“Party Piece reminded me a lot of the classic British sitcoms I used to watch when I lived in the States, such as Fawlty Towers, Are You Being Served, Chief (remember that one?) and my favourite, The Good Life – which Party Piece has a lot in common with.

“The show also includes special effects, such as a smoking barbecue and wig, exploding fairy lights and a collapsing chair. As a former professional stuntman, I always like to create such effects, especially for the theatre.”

What is the history of Party Piece? When and where was it first performed?

“According to Theatricalia.com, the play, written by award-winning British playwright Richard Harris, was first performed at the Thorndike Theatre on September 15 1987. Although its official publication date is 1992.”

Have you seen a previous production of Party Piece?

“I have not seen the production live and could only find a few photos of previous production by Am Dram groups.”

Have you brought new faces to the Settlement ranks or gone with settled Settlement faces?

“The auditions were open to anyone and brought in the usual suspects of veteran actors from the North Yorkshire area. We do have one newcomer in Heather Patterson, who will be making her stage debut with YSCP. I consider myself very lucky that I was able to find experienced actors who fit the characters they are portraying so perfectly.”

Darren Barrott, left, Catherine Edge and Adam Marsdin in rehearsal for Martin T Brooks’s production

What will be the set design for the show?

“I created the overall design and based it on the description in the script and what a typical English back garden would look like in the early 2000s. The set is being constructed by Richard Hampton.”

Will there be music for the party?

“One of the funniest running gags in the play is Michael’s many failed attempts to get the music planned for the party to play properly. I’ve selected a few appropriate party pieces of music like Whitney Huston’s I Wanna Dance With Somebody and Wham’s Wake Me Up Before You Go-Go, which play well alongside the comic action taking place on stage.”

What makes a good party?

“The people, the food and the music.”

What makes a bad party?

“Music that is way too loud.”

Do you have your own party piece that you can reel out at a gathering?

“Like most blokes, after a few pints, I think I’m a pretty good stand-up comedian and can tell a few good ex-wife jokes and what it’s like being an American living in the UK.”

York Settlement Community Players in Party Piece, Theatre@41, Monkgate, York, October 28 to November 1, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk

Martin T Brooks: back story

American director, writer, producer, historian and author Martin T Brooks

1974: Auditioned for his first community theatre production, Oliver!. “I was severely bitten by the theatre bug,” says Martin. “I’ve been involved in the theatre, TV and film industries since that time, and I can’t imagine a world without myself being involved in these creative art forms.”

1985 to 1987:  Writer/producer/director for local TV station (KABL-52 in Minnesota, USA), responsible for directing and broadcasting a variety of live and in studio productions. “During this time, I was recognised for my contributions to the local community and was awarded the Community Access Merit award,” says Martin.

1985 to 1995: In his ten years as a stuntman, Martin appeared (uncredited) in the film Drop Dead Fred, as well as a few pilot TV shows filmed in Phoenix, Arizona. “Most of my work was on live stunt shows like Thrill Show 2000, which you can find on my YouTube channel,” he says.

2007 to 2011:  Deputy Manager and lighting technician for Watersmeet Theatre in Rickmansworth, Hertfordshire. “This provided me with many opportunities to be part of the technical/production staff, as well as stage manage numerous professional and amateur productions,” says Martin.

2011:  “While working for St Michael’s Catholic High School in Garston, Hertfordshire, I was asked to direct the Year 9 & 10 production of Romeo And Juliet, as well as other shows put on by the senior performing arts students.

2017:  Wrote and directed a series of “living history” plays based on real-life characters researched by Martin  while writing the book Acts Of Caring And Other Heroics, Stories from the Leavesden Asylum/Hospital (1870 to1995).

“These plays were performed on an open-air stage during various history/Heritage Day events sponsored by the local district council, or in many primary schools as part of their local history/heritage studies,” he says.

2022 to 2024: Appeared in leading roles in 11 student/independent films and received Best Actor award from 2023 Alternative Film Festival, Toronto, Canada for portrayal of Charles in the short film The Beggers Story, produced by students at University of York’s TV/film programme.

2024:  Wrote, produced and directed a short film, again based on real-life characters researched while writing Acts Of Caring And Other Stories. His film Going Home can be viewed at https://vimeo.com/986560818.

2025: Directing York Settlement Community Players for the first time in Richard Harris’s Party Piece.

Who’s in the Settlement Players’ cast for Party Piece?

JAMES Wood as Michael Smethurst; Catherine Edge as Roma Smethurst; Helen Wilson as Mrs Hinson; Adam Marsdin as David Hinson; Heather Patterson as Jennifer Hinson; Xandra Logan as Sandy Lloyd-Meredeth, and Darren Barrott as Toby Hancock.

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REVIEW: York Shakespeare Project in The Spanish Tragedy, Theatre@41, Monkgate, York, until Saturday ****

Harry Summers’ Hieronimo: “The Hamlet of the piece” in Thomas Kyd’s The Spanish Tragedy. All pictures: John Saunders

BACK in the Elizabethan day, Thomas Kyd’s The Spanish Tragedy outsold Hamlet.

Truth be told, he was pretty much a one-hit wonder, (even “the one and only” Chesney Hawkes had a minor second hit, I’m A Man Not A Boy in 1991), and Kyd has been long dead and buried, like most of his players in what is now viewed as the groundbreaking template for revenge tragedies.

York Shakespeare Project’s decision to expand the focus beyond the Bard in its 25-year second cycle of the First Folio facilitates the revival of rival works of Ben Jonson, the ill-fated Christopher “Kit” Marlowe and, yes, one Thomas Kyd (1558-1594), the tragic trailblazer.

After the Pop Art explosion and drag and cancel culture of director-designer Tom Straszewski’s take on Marlowe’s Edward II in October 2023, Paul Toy returns to the YSP director’s chair after a 14-year hiatus to steer his fourth YSP production.

Toy had first read The Spanish Tragedy as part of his university Renaissance Theatre course, playing the insouciant wrong’un Pedringano to boot. He was struck by how so many of its ideas – “a ghost seeking revenge, feigned or real madness, a play within a play” – would be echoed in Hamlet by Shakespeare, the alchemist of playwrights. Better lines, better characters, better gags.

The Spanish Tragedy, however, turns out to have been well worth digging up out of its neglected grave. Yes, it is no match for Hamlet, but this is a meaty work, full of myriad theatre styles, as Toy notes, from dumb shows to execution as street theatre, tragedy as classical as Greek dramas, and not least a Last Judgement scene redolent of the York Mystery Plays. And, boy, does Kyd enjoy piling up the bodies till the last man standing.

The price of love: Emma Scott’s Bel-imperia and Yousef Ismail’s Horatio in York Shakespeare Project’s The Spanish Tragedy

Working in tandem with set designer and choreographer Viv Wilson and mask maker Tempest Wisdom, plus a rotating team of trainee make-up artists from York College (Grace Gilboy, Beth Shearstone, Keira Hosker, Abigail Horton and Ethan Thorpe), Toy gives The Spanish Tragedy the look of the Day of the Dead, with a nod in Wednesday’s make-up to Heath Ledger’s Joker in The Dark Knight.

Relocated to York from Seattle, Wilson is a sound engineer at Theatre@41, has contributed YSP sets for The Taming Of The Shrew  and Two Gentlemen Of Verona, and once toured the world in a dance group and performed burlesque acts on three continents.

From that portfolio, you see how all life is here in YSP, as it should be in a long-running project, and now Wilson makes her debut in “legitimate theatre” as Revenge, resplendent in red and black, her face skeletal and ghostly white, her voice like a 60-fags-a-day midnight hag. Her mood is intemperate, her mission on a par with the Grim Reaper, but with better putdowns.

Wilson’s Revenge takes her seat to one side of the mezzanine level, reached by a staircase with a platform  above for executions and such like. To the other is the “ghost seeking revenge”, YSP debutant David Lee’s Ghost of Andrea, drained of all colour by way of contrast with Wilson’s crimson Revenge. They will watch on, like the Chorus in Greek dramas, but with an impact more akin to Macbeth’s witches.

At the heart of The Spanish Tragedy is Harry Summers’ Hieronimo, Marshal of Spain, the vengeful Hamlet of the piece, with almost as many lines, but older, enervated. Summers already had his winter of discontent as Richard III and more woe as Coriolanus, and his ninth YSP role is best yet, delivering on “the power of rhetoric” that struck Toy above all else.

The theme of the failure of justice resonates with the rotting modern world, as Toy turns his audience into judge and jury, for Summers’ Hieronimo and Emma Scott’s equally impressive Bel-imperia in particular to make their case. Not for the first time in YSP colours, Scott’s diction is a delight; likewise her emotional range.

Plotters and rotters: PJ Gregan’s Balthazar, left, and Thomas Jennings’s Lorenzo in The Spanish Tragedy

Courtly roles go to YSP stalwarts, Tony Froud’s King of Spain, Emily Hansen’s Duchess of Castile and Nick Jones’s Viceroy of Portugal , while Tim Holman’s makes his first YSP appearance since 2004’s Titus Andronicus in a brace of roles.

On the dark side are Yousef Ismail’s Horatio, YSP newcomer P J Gregan’s Balthazar and Thomas Jennings’ malevolent Lorenzo, breaking the fourth wall with scene-pinching elan, on trademark crop-haired hitman duty again.

Isabel Azar, Cassi Roberts, Martina Meyer and Ben Reeves Rowley fit the the plot-thickening brief to good effect and Sally Mitcham is the play’s moral conscience as Hieronimo’s troubled wife.

Toy directs as playfully as his name would suggest, even using exquisite choral music by the wife-and-her-lover-murdering Gesualdo pre-show and in the interval. When a hanging takes place, darkness descends on the moment of Alan Sharp’s deadpan Hangman administers the drop, whereupon a scroll of The Hanged Man falls into place. Intricate sword-dancing adds to the spectacle, as do all manner of masks.

By the live nature of theatre, anything can happen. What were the odds of a letter dropped from above by Scott’s Bel-imperia landing in the curtain, out of Summers’ Hieronimo’s sight, no matter where he looked. To the rescue rode the director, in the back row. “Top of the curtain,” he bellowed, bringing the house down. Just one of many good decisions he made in this fruitful resurrection of Kyd’s play of men – and women – behaving very badly.

York Shakespeare Project in The Spanish Tragedy, Theatre@41, Monkgate, York, until Saturday, 7.30pm and 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

The cold touch: PJ Gregan’s Balthazar and Emma Scott’s Bel-imperia in York Shakespeare Project’s The Spanish Tragedy

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Meet the New Generation as Riverdance marks 30th anniversary at York Barbican

Principal dancers Fergus Fitzpatrick and Anna Mai Fitzpatrick with the New Generation dancers in Riverdance’s 30th anniversary show, on tour at York Barbican from tomorrow to Sunday

RIVERDANCE is celebrating its 30th anniversary with its New Generation of pounding Irish dancers, on the beat at York Barbican from tomorrow (24/10/2025) to Sunday.

Not one of them was born when Irish composer Bill Whelan originated Riverdance as an interval act at the 1994 Eurovision Song Contest in Dublin, featuring Irish dancing champions Michael Flatley and Jean Butler and the vocal ensemble Anúna.

Husband-and-wife production team John McColgan and Moya Doherty soon converted it into a stage show that opened in Dublin on February 9 1995.

Whelan, McColgan and Doherty remain at the helm for Riverdance: The New Generation as composer, director and producer respectively on the 30-venue UK tour – one for each year – that runs from August 12 to December 14.

The New Generation production of this Grammy award-winning show rejuvenates the format with innovative choreography and costumes and state-of-the art lighting, projection and motion graphics.

Riverdance principal dancer Anna Mai Fitzpatrick: Dancing since the age of four

Director John McColgan says: “It is both a privilege and a delight to celebrate 30 years of Riverdance and the unique journey it has taken us on. In those 30 years, the show has transformed from a spectacle into a global cultural phenomenon, continuously evolving yet remaining true to its Irish roots.

“On this tour we welcoming ‘the New Generation’ of artists while paying tribute to the talented performers, creators, dedicated crew, and the millions of fans who have made Riverdance a worldwide celebration of music and dance.”

Among the principal dancers in a show that blends the traditional and the contemporary in a showcase of dancers, singers and musicians will be brother-and-sister dance captains Fergus Fitzpatrick and Anna Mai Fitzpatrick.

“Fergus and I both joined the company about eight years ago,” says Anna Mai. “So we saw Riverdance through its 25th anniversary, just before Covid, when the score had been recomposed by Bill Whelan.”

“We started Irish dancing at a young age, at eight in my case, and Anna Mai was four,” says Fergus. “We started by going to after-school dance classes at the local primary school, at Navan in County Meath, and I first saw the Riverdance show a couple of years later  on TV.

Fergus Fitzpatrick: World champion-turned-Riverdance principal dancer

“It looked like they were having so much fun with their friends on stage, and after that show, I remember trying to do the moves around the coffee table in the living toom!”

Anna Mai rejoins: “Yeah, it looked like they were having the best time of their lives on stage, and even at that age, I was up on my feet trying to replicate it.”

Both becoming dance champions, they caught the Riverdance bug and love being part of the New Generation show. “We train our whole life to be on stage, and we wouldn’t know what to do if we weren’t performers,” says Anna Mai. “Like anything, you have to put everything into it, all your willpower.”

Fergus says: “Once we’re on tour, we’re together for almost 24 hours a day: eating together, dancing together, staying together in the hotel – and there are plenty of siblings in the show, so it’s good to have that camaraderie off stage as well as on.”

Everyone is pulling in the same direction: the production team, the dancers, the singers, the musicians. “Absolutely,” says Fergus. “The team that you see are very like-minded, and the audience can feel it: they see the beautiful harmony between us and the team behind the scenes, making us look good. It’s a really talented team with a shared vision.

“Fergus and I are very lucky to have each other there on tour, and we can always reach out to each other,” says sister Anna Mai

“The New Generation brings a great energy to this version of the show. We’ve only known life in Riverdance, and we feel the responsibility of the legacy.”

Anna Mai is full of admiration for the work of Whelan and McColgan. “They always do such an incredible job of taking care of the show for now and for future generations as ambassadors for the culture of Ireland,” she says. “We are always so grateful to them for keeping the magic that we all know and love.”

Injuries are part and parcel of a dancer’s life, but Anna Mai says: “A lot of it goes back to preparation. The risk of injury goes with any sport or physical activity, but in those activities, there also can be ‘mental injury’, where you’re not in a good place.”

She, however, is very much in a good place. To keep in top condition, “we work with physiotherapists and massage therapists who travel with us on tour,” she says.

“As much as it’s a dream to be doing Riverdance, it’s also a job, and it’s up to us to be able to prepare to do our job. Fergus and I are very lucky to have each other there on tour, and we can always reach out to each other.”

“We approach a set of live dates in a scientific way now,” says Fergus

Fergus adds: “We approach a set of live dates in a scientific way now. We think about how many shows there will be, what we will need in the way of recovery, how we will sustain being at the top of our game for so many shows.

“And of course the team helps us; Riverdance knows that we need a masseur on the road with us, a company physio, that kind of thing, to keep our bodies conditioned”.

Anna Mai comments: “Because we and the show have been to many of these places and cities before, we have connections that we can tap into. And we love to use our time off and get to know an area even better, do some touristy things, catch up with old friends.

“With Riverdance, many things are constantly changing; you will never be on the road with exactly the same people, on exactly the same tour routing. There is always a new energy, a new buzz, and that’s really fun to feed off. We’re making memories together.”

Fergus is looking forward to this week’s performances at York Barbican. “We’ve performed in York before and we absolutely loved it. It’s such a beautiful city and the audiences are incredible,” he says.

Anna Mai Fitzpatrick dancing in Riverdance Perform at Jubilee Stage, Expo 2020 Dubai in November 2021. Picture: Steve Holland/Expo 2020 Dubai

“It was late 2021 when we last came, when the venues opened up again, and we can’t wait to get back there. There’s definitely an energy there. That magic. A feeling you get, that energy, that crescendo, the moments of emotion, when the audience jump to their feet. That’s a great feeling.”

Traditional Irish dancing may be done with “arms down by your side”, but Riverdance’s combination of the traditional and the contemporary, the Irish and the international, means that “in our professional dancing, we do use the arms more,” says Anna Mai.

“It’s really good fun to get to explore that in the shows. If you look back to the synchronicity of the dancing at the Eurovision show, it was all arms by the side, but we will hold hands at times in our show and support the lead dancer with our hands, and that’s an exciting development.”

Summing up the abiding popularity of Riverdance, Anna Mai concludes: “There is always something new in the way the show resonates. I have seen the show many times and it always hits me differently, on a certain night, one particular number might really affect you; there is so much to experience, the phenomenal music as well as the dancers, all the different styles.

“It is never the same. It’s hard to describe the magic of Riverdance to someone who hasn’t seen it. It’s the human emotion that keeps the fans coming back. They come for the feeling that they leave the show with.”

Riverdance, 30th Anniversary Tour, The New Generation, York Barbican, October 24 to 26, 7.30pm, Friday to Sunday, plus 2.30pm Saturday and Sunday matinees. Box office: yorkbarbican.co.uk.

Sibling synchronicity: Anna Mai Fitzpatrick and Fergus Fitzpatrick are principal dancers and dance captains in Riverdance’s 30th anniversary show

Fergus Fitzpatrick and Anna Mai Fitzpatrick: back story

FERGUS, from County Meath, Ireland, discovered his passion for dance at the age of eight. With his sister Anna Mai, he grew up competing internationally in Irish dancing competitions.

Under the tutelage of Holly and Kavanagh Academy of Irish Dance, Fergus achieved his dream of becoming a world champion in 2017.

Joined Riverdance, performing in Gaiety Theatre, Dublin. As principal dancer, he has performed in prestigious venues such as Radio City Music Hall, New York, and Hammersmith Apollo, London.

Other productions include Heartbeat Of Home at Piccadilly Theatre, London, and London Palladium.

“Only the best dancers will make it to Riverdance,” says Fergus. “It takes a lot of hard work for a lot of years, a lot of drive. In the back of our minds when we started dancing, the end goal was always Riverdance.

“However, before you get there, there is a whole competition scene. Now though, as principal dancer I also feel that I need to outwork the younger guys who are coming through! They are so good, and of course they want my job, so I need to work hard and work smart.”

“As principal dancer I feel that I need to outwork the younger guys who are coming through!” says Fergus

ANNA Mai began her dance journey at the age of four and danced competitively for 16 years alongside brother Fergus. From a young age, Irish Dance was her passion.

Won many major championships includingAll-Ireland Championships, Great Britain Championships and British Nationals.

Joined Riverdance in 2017, touring China with Fergus, then performed with Riverdance at Gaiety Theatre, Dublin, for two summer seasons.

Moved into principal role in 2020, touring with the show on UK national tour, at Expo Dubai in North American, Europe, and China, Australia and Japan tour.

Toured with Heartbeat O Home, making debut as principal dancer at Piccadilly Theatre in London’s West End.

“A love for the dancing and the show is crucial,” says Anna Mai. “That’s the dream I suppose, for any job, and we do wholeheartedly love what we do. That is what pushes me to be that one per cent better every day, keep the fire burning.

“The show takes a lot of work. When the audience sees the cast on stage, they see the glamorous end to what has been the work of an entire team helping each other to get to that point. We love the entire process.”

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What’s On in Ryedale, York and beyond. Hutch’s List No. 46, from Gazette & Herald

Susie Blake’s Shirley and Jason Durr’s Johnny ‘The Cyclops’ in Torben Betts’s Murder At Midnight at York Theatre Royal. Picture: Pamela Raith

A NEW crime caper and a ghost story, a clash of the blues and a Tommy Cooper tribute make their mark in Charles Hutchinson’s diary.

Deliciously twisted crime caper of the week: Original Theatre in Murder At Midnight, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

ON New Year’s Eve, in a quiet corner of Kent, a killer is in the house in Torben Betts’s comedy thriller Murder At Midnight, part two of a crime trilogy for Original Theatre that began last year with Murder In The Dark, this time starring Jason Durr, Susie Blake, Max Howden and Katie McGlynn.

Meet Jonny ‘The Cyclops’, his glamorous wife, his trigger-happy sidekick, his mum – who sees things – and her very jittery carer, plus a vicar, apparently hiding something, and a nervous burglar dressed as a clown. Throw in a suitcase full of cash, a stash of deadly weapons and one infamous unsolved murder…what could possibly go wrong? Box office: 01904 623568 or yorktheatreroyal.co.uk.

Alexandra Mather’s Polly Peachum in York Opera’s The Beggar’s Opera at The Citadel in York. Picture: John Saunders

Opera of the week: York Opera in The Beggar’s Opera, The Citadel, York City Church, Gillygate, York, tomorrow to Saturday, 7.30pm

YORK Opera stage John Gay and Johann Christoph Pepusch’s 1728 satirical ballad opera The Beggar’s Opera in an immersive production under the musical direction of John Atkin and stage direction of Chris Charlton-Matthews, with choreography by Jane Woolgar.

Watch out! You may find yourself next to a cast member, whether Mark Simmonds’ Macheath, Adrian Cook’s Peachum, Anthony Gardner’s Lockit, Alexandra Mather’s Polly Peachum, Sophie Horrocks’ Lucy Lockit, Cathy Atkin’s Mrs Peachum, Ian Thomson-Smith’s Beggar or Jake Mansfield’s Player. Box office: tickets.yorkopera.co.uk/events/yorkopera/1793200.

Natasha Jones, left, and Florrie Stockbridge in Clap Trap Theatre’s Blindfold at Helmsley Arts Centre

Ghost story of the week: Clap Trap Theatre in Blindfold, Helmsley Arts Centre, tomorrow, 7.30pm

RYEDALE company Clap Trap Theatre’s cast of Natasha Jones, Florrie Stockbridge and Cal Stockbridge presents Blindfold, a ghost story by BAFTA-nominated North Yorkshire playwright and scriptwriter Tom Needham.

In 1914, two boyhood friends went to fight for their country but only one came back. After the war, the surviving soldier and his sister encounter an old friend who was being haunted by the ghost of a young man in a blindfold. Now, 100 years later, the discovery of letters re-awakens the ghost. Who is he and what does he want? Piece by piece, the lives of the long dead are brought to life and heartbreaking truths begin to emerge. Box office: 01439 771700 or helmsleyarts.co.uk.

Heidi Talbot: Introducing new album Grace Untold at NCEM

Folk gig of the week: Heidi Talbot, Grace Untold UK Tour, National Centre for Early Music, York, tomorrow, 7.30pm

IRISH folk singer Heidi Talbot returns to the NCEM stage to preview her November 21 album Grace Untold, a collection of songs based around Irish goddesses and inspirational women.

This is an album rooted in personal experience and collective lore as Heidi pays tribute to female strength, focusing on legendary figures and the unsung heroines within her own family. Box office: 01904 658338 or necem.co.uk.

Just like him: Daniel Taylor in the guise of Tommy Cooper at Milton Rooms, Malton

Tribute show of the week: Daniel Taylor Productions presents The Very Best Of Tommy Cooper (Just Like That), Milton Rooms, Malton, Friday, 7.30pm

PRODUCED and performed by award-winning West End and Unbreakable star Daniel Taylor, this 90-minute tribute show has the blessing of the Tommy Cooper Estate.

Recapturing the mayhem and misfiring magic of one of Britain’s best-loved entertainers, Taylor gives you a glimpse into the life of the comedy giant, celebrating his best one-liners, dazzling wordplay and celebrated tricks, including Glass/Bottle, Dappy Duck, Spot the Dog and Jar/Spoon. Box office: 01653 696240 or themiltonrooms.com.

Riverdance: The New Generation celebrates the 30th anniversary of the Irish dance phenomenon at York Barbican

Dance show of the week: Riverdance, 30th Anniversary Tour, York Barbican, Friday to Sunday, 7.30pm plus 2.30pm Saturday and Sunday matinees

VISITING 30 UK venues – one for each year of its history – from August to December 2025, the Irish dance extravaganza Riverdance rejuvenates the much-loved original show with new innovative choreography and costumes, plus state-of-the-art lighting, projection and motion graphics, in this 30th anniversary celebration.

For the first time, John McColgan directs “the New Generation” of Riverdance performers, none of them born when the show began. Box office: yorkbarbican.co.uk.

The poster for Them Heavy Souls’ blues revue at Kirk Theatre, Pickering

Blues gig of the week: Them Heavy Souls, Kirk Theatre, Pickering, Saturday, 7.30pm

MARK Christian Hawkins, top session guitarist for 30 years, is a gun for hire stepping out of the shadows with his British blues rock revue show, featuring stage and screen actress Lucy Crawford on vocals (last spotted playing Miss Prism in York company’s Pop Your Clogs Theatre’s The Importance Of Being Earnest).

Playing music from the golden era of 1966 to 1975, Them Heavy Souls capture the power and magic of  Led Zeppelin/Jimmy Page, Cream/Eric Clapton, Yardbirds/Jeff Beck, Humble Pie/Peter Frampton and Peter Green’s Fleetwood Mac, delivered with vintage guitars, amplification and a nod to improvisation. Box office: 01751 474833 or kirktheatre.co.uk.

Alex Hamilton: Leading his blues trio at Helmsley Arts Centre

The other blues gig of the week, on the very same night: The Alex Hamilton Band, Helmsley Arts Centre, Saturday, 8pm

GUITARIST Alex Hamilton is joined in his blues/rock/Americana trio by father Nick Hamilton on bass and Martin Bell on drums. He combines melodic rock vocals, hard-hitting lyrics and a heart-felt guitar technique, as heard on his albums Ghost Train, Shipwrecked and On The Radio, as well as in concert venues around the world. Box office: 01751 474833 or kirktheatre.co.uk.

Gunn in for you: Steve Gunn promotes his two 2025 albums at The Band Room this weekend. Picture: Paul Rhodes

Moorland gig of the week: Steve Gunn, The Band Room, Low Mill, Farndale, North York Moors, Saturday, 7.30pm

STEVE Gunn, the ambient psychedelic American singer-songwriter based in Brooklyn, New York, made his name as a guitarist in Kurt Vile’s backing band, The Violators. His myriad magical influences include Michael Chapman, Michael Hurley and John Fahey.

This weekend he will be showcasing his second album of 2025, Daylight Daylight, out on November 7 on No Quarter, as well as his first fully instrumental album, August’s Music For Writers. Box office: 01751 432900 or thebandroom.co.uk.

On being Normal: Henry Normal discusses himself at Helmsley Arts Centre

Normal service resumed: Henry Normal, The Slideshow, Helmsley Arts Centre, Sunday, 8pm

THE Slideshow, as poet, film and TV producer/writer Henry Normal explains, is a multi-MEdia spectacular with the emphasis on the “me” in his celebration of his “meteoric rise to z celebrity status”, together with his joyous and inevitable slide into physical and mental decline.

Expect poetry, photos, jokes, music, dance, song, circus skills, costume changes, props and stories, exploring where Normal  went wrong in life, plus lessons you can learn from his mistakes, in his live performed memoir with cautionary verse. For tickets for this adventure into understanding the human condition from the inside, go to: helmsleyarts.co.uk.

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Thomas Kyd’s The Spanish Tragedy once outsold the Bard. Find out why in York Shakespeare Project’s production

Six members of Paul Toy’s cast of 17 rehearsing a scene from Thomas Kyd’s The Spanish Tragedy. Picture: John Saunders

THOMAS Kyd’s The Spanish Tragedy is “the Elizabethan play that outsold Shakespeare”, but then was lost to the professional stage for 300 years and is now performed only rarely.

One such performance will be at Theatre@41, Monkgate, York, from Wednesday to Saturday when Paul Toy directs York Shakespeare Project for the fourth time (and first since Troilus And Cressida in 2011).

YSP chair Tony Froud said of his appointment in June: “Paul emerged from a very strong field of applicants with an exciting vision for this remarkable play. The Spanish Tragedy was the most popular play of the Elizabethan era, outselling Shakespeare. Kyd’s play set out the blueprint for a whole dramatic genre, ‘Revenge Tragedy’. Without it, there may have been no Hamlet, no The Duchess Of Malfi.”

The chance to present such a landmark drama in tandem with all of Shakespeare’s plays was exactly why York Shakespeare Project launched its second 25-year cycle of productions in April 2023, with a view to performing the likes of Christopher Marlowe, Ben Jonson…and Thomas Kyd.

“This is one of the plays that I would have been on the lookout to see had I not been directing it,” says Paul, who had directed The Taming Of The Shrew in 2003 and Titus Andronicus in 2004, as well as Troilus And Cressida,  “in the first canter through all Shakespeare’s canto”.

“You would need to go a little below the headlines, though not be a connoisseur or scholar, to know his work. Jonson still crops up, so does Marlowe, but not Kyd, who’s unlucky in that this is his only play that has survived, apart from a translation of a French play and may be an “Ur-version” [the original or earliest version] of Hamlet from around 1589 that preceded Shakespeare’s play, but really The Spanish Tragedy is the only one of significance”

Kyd would die at the age of 36 in 1594, only two years after The Spanish Tragedy was premiered, “He shared a writing room with Marlowe in London, but because Marlowe was under the eyes of the authorities, on account of his atheism and his homosexuality, Kyd was tortured, simply because he was in the wrong place at the wrong time, but was released without charge.

The Spanish Tragedy director Paul Toy

“Marlowe died in a tavern brawl in Deptford in May 1593,  not long before Kyd, who didn’t survive as long as Jonson and Shakespeare but was under a cloud through no fault of his own.”

Nevertheless, The Spanish Tragedy was groundbreaking. “If you say you haven’t ever seen it, if I talked to you afterwards, I bet you would recognise all the tropes that it set down for ‘Revenge Tragedy’, like the ghost coming back to demand revenge; a hero deliberating over whether to seek revenge; madness and a play within a play,” says Paul.

Scholarly speculation has it that Will the Quill may even have penned passages of Kyd’s play. “You will see the precursor to Shakespeare’s Hamlet there, but Kyd doesn’t have the depth that late Shakespeare plays had. What you see is what you get in Kyd, and what you get is laid down pretty clearly,” says Paul.

In a nutshell, a play suffused with treachery, deceit and disguise that now carries the warning: “Contains depictions of self-injury, murder and suicide”. All delivered by Toy with masks, music and dance.

“I would say it’s plot driven, rather than character driven, and poor old Kyd, we all now know the tropes, the tricks of the trade, of revenge plays, but no-one did it before him. But the problem with being the pioneer is that it doesn’t have what others then built on,” says Paul.

His production has “a Spanish look rather than being full-on Spain”. “It’s suggestive of things like the Day of the Dead and other processions, the Counter-Reformation, but it’s also rather obsessive in its tone,” says Paul.

“It involves both the human and the supernatural, and if you’ve seen the York Mystery Plays, you’ll see where aspects of his work will have come from. It’s almost the definition of a play on the San Andreas Fault, pitched between the medieval and the early modern. If you know The Last Judgement from the Mystery Plays, there’s quite a lot that’s familiar.

Harry Summers and Emma Scott in rehearsal for York Shakespeare Project’s The Spanish Tragedy

“Our production acknowledges it’s not modern, it’s recognisably ‘period’, but culturally it still goes through to modern times.”

Paul describes Kyd’s text as a “very rhetorically minded play, full of people arguing the case for themselves or maybe for someone else, so it’s like a collection of closing statements that barristers give to the judge”.

“With some of the past plays I’ve directed, I’ve enjoyed the visual elements, the modernisation elements or the physical elements, but because the text of this play isn’t familiar, I thought it was important to concentrate on the text, doing it as a ‘language play’.

“But we also have the advantage of it being an old play that we can treat like a new, modern play because it’s not well known, whereas it’s very difficult to do that with Shakespeare because you’re so bombarded by his plays.”

As for The Spanish Tragedy’s violent reputation, come the end, spoiler alert, there are “as many people horizontal as there are in Hamlet”, says Paul. “But partly because of the laundry bill, I’ve gone for only one big ‘bloody’ death. The rest are by other means, hopefully more unexpected, and if it takes you by surprise, all the better!”

York Shakespeare Project in The Spanish Tragedy, Theatre@41, Monkgate, York, October 22 to 25, 7.30pm. Box office: tickets.41monkgate.co.uk.

York Shakespeare Project’s cast for The Spanish Tragedy

Ghost of Andrea – David Lee
Revenge – Vivian Wilson
King of Spain – Tony Froud
Cypriana, Duchess of Castile – Emily Hansen
Lorenzo – Tom Jennings
Bel-imperia – Emma Scott
General – Alan Sharp
Viceroy of Portugal – Nick Jones
Balthazar – P J Gregan
Alexandro – Ben Reeves Rowley
Villuppo – Tim Holman
Ambassador – Cassi Roberts
Hieronimo – Harry Summers
Isabella – Sally Mitcham
Horatio – Yousef Ismail
Pedringano – Isabel Azar
Serberine – Martina Meyer
Christophil – Phil Massey
Watchmen 1, 2, 3 – Alan Sharp, Nick Jones, Tim Holman
Messenger – Cassi Roberts
Deputy – Martina Meyer
Hangman – Alan Sharp
Maid – Martina Meyer
Servant 1 and 2 – Martina Meyer, Ben Reeves Rowley
Old Man – Tim Holman
Nobles 1 and 2 – Martina Meyer, Ben Reeves Rowley
Minos, Aeacus, Rhadamanth – PJ Gregan, Nick Jones, Tim Holman

Alan Sharp, proprietor of White Rose York Tour, comedian and The Chase winner, will be playing a trio of roles in The Spanish Tragedy. Picture: John Saunders

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David Essex and Alfie Boe to play York Barbican and more Yorkshire shows in 2026. When do tickets go on sale?

David Essex: Playing York Barbican on September 24 next year

YORK Barbican has announced a couple of stellar concerts for 2026: David Essex OBE on September 24 and Alfie Boe OBE on April 28. Tickets for both go on sale on Friday at 10am.

Plaistow singer, composer and actor Essex, 78, will play York and further Yorkshire shows that week at Victoria Theatre, Halifax, on September 21, Sheffield City Hall, September 23, and Hull Connexin Live, September 25, on his  21-date Thanks For The Memories tour to “celebrate his monumental career”

Shooting to fame when chosen for the role of Jesus in the London production of Godspell, Essex  received major awards that then saw him lead the cast at the Roundhouse and in the West End for two years.

David Essex’s itinerary for next September’s Thanks For The Memories tour

Since then he has written and produced albums that have sold millions of copies worldwide, as well as notching  16 Top 30 singles in Britain alone, led off by the Grammy-nominated  Rock On, followed by the likes of Lamplight, the chart-topping Gonna Make You A Star and Hold Me Close, Rolling Stone, Oh What A Circus, Silver Dream Machine, A Winter’s Tale and Tahiti. He last released a studio album, Reflections, in October 2013.

His acting credits include Silver Dream Racer, That’ll Be The Day, Stardust, Traveller, The Guvnors and BBC One’s EastEnders, as the head of the Moon family. In the West End, he has starred in Evita, Footloose, Andrew Lloyd Webber’s Aspects Of Love,  She Stoops To Conquer and Childe Byron, plus his own musicals Mutiny! and All The Fun Of The Fair.  His past two UK tours sold more than 65,000 tickets across 39 dates.

Tickets will be on sale at www.gigsandtours.com.

Alfie Boe: York Barbican concert on April 28 2026. Picture: Ray Burmiston

TENOR Alfie Boe will play 35 dates on his UK tour, where he will combine his most iconic hits and fan-favourite classics with powerful material from his upcoming album Facing Myself.

Born Alfred Giovanni Roncalli Boe on September 29 1973 in Blackpool, the Lancashire singer and actor will play further Yorkshire concerts at Hull City Hall on April 24; Royal Hall, Harrogate, April 29, and Sheffield City Hall, May 1, as well as York Barbican on April 28.

“I’m thrilled to be hitting the road again for my tour across the UK next spring,” says Alfie, 52. “I can’t wait to sing the songs you love, share some fantastic new surprises and celebrate with you in venues up and down the country.”

Alfie Boe’s tour itinerary for April and May 2026, when Jessica Sweetman will be his special guest
 
Boe’s career has spanned stage, recording and television. He has released more than a dozen studio albums, several of them topping the UK charts en route to multi-platinum sales. His collaborations with Michael Ball, including the record-breaking Together, Together Again and Back Together, have been complemented by sold-out arena tours.

The Tony Award winner has conquered the world’s greatest opera stages and arenas and led the cast of Les Misérables in his defining role as Jean Valjean, also starring in the concert tour of Les Misérables in Australia and the Arena Spectacular tour across the UK.

He has appeared at Buckingham Palace for the Queen’s Diamond Jubilee and the Royal Albert Hall too and was appointed an Officer of the Order of the British Empire (OBE) in 2019, in recognition of his outstanding services to music and charity.
 
Tickets go will be available from www.gigsandtours.com and www.ticketmaster.co.uk; VIP Packages from  www.sjm-vip.com.
 

 



 

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More Things To Do in York and beyond. Here’s Hutch’s List No. 46 of criminally good entertainment, from The York Press

Martha Tilston: Playing The Basement tonight at City Screen Picturehouse

CRIMINAL investigations and a brace of plays with murder at the core, Charles Hutchinson detects a theme to his latest recommendations.

Singer-songwriter of the week: Martha Tilston, The Basement, City Screen Picturehouse, York, tonight, 7.30pm

BORN in Bristol and now living in Cornwall, singer, songwriter and filmmaker Martha Tilston writes songs from the heart as a balm for the modern age.

Tilston, who has worked Zero 7, Damien Rice, Nick Harper, Kae Tempest and Aztec Camera’s Roddy Frame, combines raw vocals and sparkling melodies with thought-provoking lyrics and filmic movements, inviting her audience to “connect with longed-for parts of ourselves”. Box office: marthatilston.co.uk.

Jennifer Rees: Exploring stories of serial killers in forensic detail at the Grand Opera House, York

Criminal investigations of the week: Strange But True Crimes with Jennifer Rees, Grand Opera House, York, October 21, 7.30pm

FORMER forensics lecturer and Psychology Of Serial Killers presenter Jennifer Rees explores stories such as the serial killer who gained work in law enforcement while on the run – and ended up hunting himself.

Watch out too for the female, balloon-carrying killer clown, serial killers on game shows – how  their appearances led to their identification – and  many more stories. Box office: atgtickets.com/york.

Jason Durr’s Jonny ‘The Cyclops’, right, accosting the nervous burglar in Torben Betts’s comedy thriller Murder At Midnight. Picture: Pamela Raith

Deliciously twisted crime caper of the week: Original Theatre in Murder At Midnight, York Theatre Royal, October 21 to 25, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

ON New Year’s Eve, in a quiet corner of Kent, a killer is in the house in Torben Betts’s comedy thriller Murder At Midnight, part two of a crime trilogy for Original Theatre that began last year with Murder In The Dark, this time starring Jason Durr, Susie Blake, Max Howden and Katie McGlynn.

Meet Jonny ‘The Cyclops’, his glamorous wife, his trigger-happy sidekick, his mum – who sees things – and her very jittery carer, plus a vicar, apparently hiding something, and a nervous burglar dressed as a clown. Throw in a suitcase full of cash, a stash of deadly weapons and one infamous unsolved murder…what could possibly go wrong? Box office: 01904 623568 or yorktheatreroyal.co.uk.

The Divine Comedy’s Neil Hannon: Showcasing new album Rainy Sunday Afternoon at York Barbican. Picture: Kevin Westerberg

Recommended but sold out already: The Divine Comedy, York Barbican, October 21, doors 7pm

IN the wake of composing all the original songs for the 2023 global blockbuster Wonka, North Irishman Neil Hannon has returned to his Divine Comedy guise for September 19’s Rainy Sunday Afternoon: album number 13 and his first studio set since 2019’s Office Politics.

Recorded at Abbey Road, London, the album was written, arranged and produced by Hannon, who covers his usual range of emotions: sad, funny, angry and everything in between. Hear Hannon songs new and old next Tuesday, when Studio Electrophonique will be the special guest. Box office, for returns only: yorkbarbican.co.uk.

Katie Melia’s Show White in Steve Coates Music Productions’ Disenchanted, turning fairy tales on their head at the JoRo

Cheeky twist on fairy tales of the week: Steve Coates Music Productions in Disenchanted, Joseph Rowntree Theatre, York, October 22 to 25, 7.30pm plus 2.30pm Saturday matinee

KATIE Melia directs and leads the cast as Snow White in Steve Coates Music Productions’ production of  Disenchanted, the musical with the feminist twist that turns fairy tales upside down, from the Little Mermaid hitting the bottle to Belle ending up in a straitjacket for chatting with the cutlery.

Forget the damsels in distress, Snow White, Cinderella and their royal crew want to set the record straight. Equipped with sass, wit, and powerhouse vocals, these not-so-princessy princesses flip the script, spill the tea and reclaim their stories as they challenge outdated happily-ever-afters. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Making an impression: Dead Ringers on 25th anniversary tour

Comedy nights of the week: Dead Ringers, October 22, 3pm and 7.30pm, and Nick Mohammed Is Mr Swallow: Show Pony, October 26, 8pm, both at Grand Opera, House, York  

TO mark its 25th anniversary, BBC Radio 4’s topical satire show Dead Ringers takes to the road with a full UK tour for the first time as long-standing cast members Jon Culshaw, Jan Ravens, Lewis MacLeod and Duncan Wisbey take a trip through classic sketches and unrivalled impressions, peppered with  topical humour.

Celebrity Traitors competitor, Taskmaster contestant and Ted Lasso actor Nick Mohammed returns to York as his alter-ego Mr Swallow. Expect magic, music and new mistakes. Box office: atgtickets.com/york.

Harry Summers, left, and Emma Scott in rehearsal for York Shakespeare Project’s The Spanish Tragedy. Picture: John Saunders

Revenge drama of the week: York Shakespeare Project in The Spanish Tragedy, Theatre@41, Monkgate, York, October 22 to 25, 7.30pm

PAUL Toy directs York Shakespeare Project for the fourth time – and the first since Troilus And Cressida in 2011– in “the most popular play of the Elizabethan era, outselling Shakespeare”: Thomas Kyd’s The Spanish Tragedy, the circa 1592 blueprint for the Revenge Tragedy genre.

No Kyd, maybe no Hamlet or The Duchess Of Malfi, as treachery, deceit and disguise are wrapped inside a torrid tale of vengeance-seeking ghosts, madness, a play-within-a-play and a Machiavellian villain, delivered by Toy with masks, music and dance. Box office: tickets.41monkgate.co.uk. 

Alexandra Mather’s Polly Peachum in York Opera’s The Beggar’s Opera. Picture: John Saunders

Opera of the week: York Opera in The Beggar’s Opera, The Citadel, York City Church, Gillygate, York, October 23 to 25, 7.30pm

YORK Opera stage John Gay and Johann Christoph Pepusch’s 1728 satirical ballad opera The Beggar’s Opera in an immersive production under the musical direction of John Atkin and stage direction of Chris Charlton-Matthews, with choreography by Jane Woolgar.

Watch out! You may find yourself next to a cast member, whether Mark Simmonds’ Macheath, Adrian Cook’s Peachum, Anthony Gardner’s Lockit, Alexandra Mather’s Polly Peachum, Sophie Horrocks’ Lucy Lockit, Cathy Atkin’s Mrs Peachum, Ian Thomson-Smith’s Beggar or Jake Mansfield’s Player. Box office: tickets.yorkopera.co.uk/events/yorkopera/1793200.

Heidi Talbot: Introducing November 21 album Grace Untold at NCEM on October 23

Folk gig of the week: Heidi Talbot, Grace Untold UK Tour, National Centre for Early Music, York, October 23, 7.30pm

IRISH folk singer Heidi Talbot returns to the NCEM stage to preview her November 21 album Grace Untold, a collection of songs based around Irish goddesses and inspirational women.

This is an album rooted in personal experience and collective lore as Heidi pays tribute to female strength, focusing on legendary figures and the unsung heroines within her own family. Box office: 01904 658338 or necem.co.uk.

Riverdance: The New Generation performs the Irish dancers’ 30th anniversary show at York Barbican

Dance show of the week: Riverdance, 30th Anniversary Tour, York Barbican, October 24 to 26, 7.30pm plus 2.30pm Saturday and Sunday matinees

VISITING 30 UK venues – one for each year of its history – from August to December 2025, the Irish dance extravaganza Riverdance rejuvenates the much-loved original show with new innovative choreography and costumes, plus state-of-the-art lighting, projection and motion graphics, in this 30th anniversary celebration.

For the first time, John McColgan directs “the New Generation” of Riverdance performers, none of them born when the show began. Box office: yorkbarbican.co.uk.

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York Opera to stage John Gay’s satire The Beggar’s Opera at The Citadel next week

Cathy Atkin’s Mrs Peachum, left, Alexandra Mather’s Polly Peachum and Adrian Cook’s Peachum in York Opera’s The Beggar’s Opera. All pictures: John Saunders

YORK Opera will stage John Gay’s 18th-century satirical ballad opera The Beggar’s Opera at The Citadel, York City Church, Gillygate, York, from October 23 to 25.

After June’s successful staging of Offenbach’s The Tales Of Hoffmann at York Theatre Royal, the autumn production of librettist and lyricist Gay and composer Johann Christoph Pepusch’s three-act 1728 opera is presented under the musical direction of John Atkin and stage direction of Chris Charlton-Matthews, with choreography by Jane Woolgar.

The Beggar has written an opera!  Well, not exactly “written”. He has borrowed all the tunes from folk ditties or well-known melodies – and his plot is not exactly the usual operatic fare – although he says he has followed all the conventions: a hero, a doomed love affair, prisoners in chains. 

However, the hero is a highwayman and completely faithless to his many wives, while every lady’s virtue is for sale and marriage is the way to become a rich widow. All the characters are villains, from gang leader Peachum, who sells his own gang members to be hanged in order to claim the reward, to crooked gaoler Lockit, who runs a line in comfortable manacles, and the utterly psychotic Matt o’the Mint, murderer and arsonist. Could the Beggar be sending up the politicians of his day – but surely they are not crooks, are they?

Cathy Atkin’s Mrs Peachum and Adrian Cook’s Peachum

York Opera will stage an immersive production of this classic satire, where you may find yourself seated next to a cast member, so be careful where you sit!  That demure lady to your side might just be a pickpocket after your snuffbox!

To be fully in the mood, join Polly and her evil father Mr Peachum at his speakeasy for a gin tasting sponsored by York Gin before each show. Please note that entry to this tasting does not include entry to the show and vice versa. Here is the link: https://tickets.yorkopera.co.uk/events/yorkopera/1819083.

Principal roles will be taken by a combination of established and new soloists: Mark Simmonds as Macheath, Adrian Cook as Peachum, Anthony Gardner as Lockit, Alexandra Mather as Polly Peachum, Sophie Horrocks as Lucy Lockit, Cathy Atkin as Mrs Peachum, Ian Thomson-Smith as The Beggar and Jake Mansfield as The Player.

Alexandra Mather’s Polly Peachum

After The Beggar’s Opera, the company will continue rehearsals for November 8’s concert in conjunction with the York R.I. Brass Band to celebrate the life and musical talents of Clive Marshall, a leading member of both organisations, who died on March 11.

Featuring principals, players and chorus, Opera Meets Brass: A Musical Tribute to Clive Marshall will be held at The Citadel to raise funds for St Leonard’s Hospice in its 40th anniversary year. Tickets (£15, students and under 16s £10) are available at https://tickets.yorkopera.co.uk/events/yorkopera.

Then it will be full steam ahead to Christmas for York Opera’s Carols At Christmas concerts at Acomb on December 11, 7.30pm, Haxby, December 12, 7.30pm, and York, December 13, 4.30pm.

York Opera in The Beggar’s Opera, The Citadel, Gillygate, York, October 23 to 25, 7.30pm. Box office: https://tickets.yorkopera.co.uk/events/yorkopera/1793200.