Re-Lording Richard 3.0 writer-performer Philipp Sommer
YORK’S own King Richard III looks back at his history with Alexa at his side – a modern voice in 1485 – in Philipp Sommer’s Re-Lording Richard 3.0 at York St John University Creative Centre Auditorium on April 24 at 7.30pm.
The Berlin writer-performer is bringing his reimagining of Richard’s origin story to York as part of the 2025 York International Shakespeare Festival.
Re-Lording Richard 3.0 brings Richard III to the stage so that he may share his fears, his doubts, his joy and loyalty in this 50-minute retort to Shakespeare’s hatchet job, performed in English.
“Shakespeare’s play underpins his person as the embodiment of evil, but is that all he was?” asks Sommer. “Then, it was theatre; now, it’s social media that provides a platform for propaganda.”
The poster for Philipp Sommer’s Re-Lording Richard 3.0, playing York St John University Creative Centre Auditorium on April 24
Sommer describes his play as a “drama-dy”, combining drama and comedy. “‘Everyone has seen Richard III by Shakespeare, but have you seen Shakespeare by Richard III? This is the story from Richard’s point of view.”
Richard settles his accounts with Shakespeare, as Richard and Alexa ask the question: “Has the world really changed?”
Re-Lording Richard 3.0 supports the festival’s mission of bringing international voices to York to celebrate and elaborate upon Shakespeare’s work.
Founded in 2015, the festival is marking its tenth anniversary with this season’s April 22 to May 4 programme. For full details and tickets, go to yorkshakes.co.uk.
Produced by the community arts charity Parrabbola, the festival is now an annual event, returning to live performance in 2023 after a Covid-enforced break, with support from York St John University.
Dan Poppitt’s Roger, left, Gi Vasey’s Mimi and Mikhail Lim’s Benny in Inspired By Theatre’s RENT, opening at the Joseph Rowntree Theatre tomorrow. Picture: Dan Crawfurd-Porter
“THIS isn’t just another revival; for us, it’s personal,” says Inspired By Theatre director Dan Crawfurd-Porter as the York company prepares to open RENT at the Joseph Rowntree Theatre tomorrow (10/4/2025).
“RENT was the show that opened my eyes to what theatre could truly be, beyond just performance, and beyond just entertainment,” says Dan, recalling his first encounter with Jonathan Larson’s groundbreaking American musical in 2021.
“It fuelled my love for stories that matter and ignited my desire to produce theatre. I discovered community theatre after a crisis point in my own life, joining my first show, Jesus Christ Superstar, at 21.
“That same year, 2021, I saw RENT for the first time, and everything changed. I fell in love with Jonathan Larson’s work, from his early pieces to his role in transforming what musical theatre could say and do.
“It inspired me to create a company with a purpose. We started by producing Tick, Tick… BOOM!, Larson’s semi-autobiographical piece, always with the long-term intention of bringing RENT to life.”
Dan continues: “For Inspired By Theatre as a whole, RENT reflects our core values: community, inclusion, and using theatre as a tool for connection and change. This show allows us to bring those values to the forefront, and create work that inspires, just like RENT once inspired me.”
RENT follows on from Crawfurd-Porter’s July 2024 staging of another iconic American rock musical, Green Day’s American Idiot. “RENT tells a story of love, resilience and artistic defiance, making it as relevant today as it was when it debuted 30 years ago,” says Dan.
On the boulevard of broken dreams: Dan Poppitt’s Tunny, left, Iain Harvey’s Johhny and William Thirlaway’s Will in Bright Light Musical Productions’ York premiere of Green Day’s American Idiot last July. Picture: Dan Crawfurd-Porter
Set in the heart of New York City’s East Village at the apex of the AIDS epidemic, RENT follows a group of young artists struggling to survive, create and hold onto hope in the face of uncertainty.
“RENT redefined what musical theatre could be,” says Dan. “It brought rock music, queer voices and the reality of the HIV/AIDS crisis to the mainstream stage with honesty and heart. You can draw a straight line from RENT to shows like Spring Awakening, Next To Normal, Dear Evan Hansen, and Hadestown. It paved the way for modern musical theatre to be bold, raw and real.”
Larson’s musical made its Broadway debut on April 29 1996 and has not dated over the past three decades, reckons Dan. “Homophobia, housing insecurity, the cost of living crisis, cuts to arts funding, and the pressure on young people to ‘make it’ in a gig economy, these are all still with us,” he says. “The show may be set in the ’90s, but its message is absolutely timeless. And that reminder, to love boldly, live fully, and stand by your community, feels more essential than ever.
“RENT celebrates bravery, defiance, creativity and unconditional love. It shows young people at their most vulnerable, but also their most powerful, unafraid to break rules, build community and fight for something better.”
In his directorial role, Dan’s biggest challenge has been to strike a balance between emotional truth and theatricality. “With RENT, you can’t fake it,” he says. “It requires vulnerability and sincerity, every single night. The other challenge has been finding the balance between honouring the original and bringing our own perspective to it, making sure it feels fresh while staying true to Larson’s vision.”
Dan holds no truck with naysayers’ contention that Rent has only good song, the life-measuring Seasons Of Love. “Reducing the score to just one number completely overlooks the musical and emotional richness of the show,” he counters.
“Jonathan Larson created a soundtrack that doesn’t just support the story, it is the story. “Light My Candle and Goodbye Love are two of the finest examples of storytelling through song in musical theatre. One Song Glory is heartbreakingly raw. Take Me Or Leave Me is a powerhouse duet that has become a rite of passage for performers.
“This isn’t just another revival; for us, it’s personal,” says RENT director Dan Crawfurd-Porter
“And La Vie Bohème? It’s more than a song, it’s a celebration and a protest. Even the quieter numbers, Halloween, Without You and I’ll Cover You (Reprise), are deeply affecting, layered with vulnerability and truth. “The brilliance of RENT’s score is that it’s urgent, messy and honest, just like the characters themselves. Larson created a musical landscape that’s not only memorable, but profoundly human too.”
Describing the set and costume design for RENT, Dan says: “It’s layered, authentic and curated with so much thought. Days spent painting by a team led by Gi Vasey. A scaffold making a return to the stage but being transformed.
“So many set pieces and props have been built or sourced for this show. There will be no doubt what world the audience has entered into. Our set incorporates real panels from the AIDS Memorial Quilt, giving a powerful visual tribute to those lost to HIV/AIDS.
“The costumes are grounded in 1990s’ realism. But they’re not just era-accurate, they’re character-driven. Each look reflects not just the time, but the personality, story and identity of the person wearing it.”
Why should anyone who has not seen RENT see it for the first time, Dan? “Because it’s theatre that hits you in the heart,” he says. “You’ll laugh, cry and maybe leave thinking a little differently about the people around you. It’s the kind of show that stays with you.”
Why should someone who has seen RENT see it again? “Like with every production of RENT, we’re telling this story with new energy and new voices, no version of the show is the same,” says Dan. “This production will move you, challenge you and remind you to measure your life in love.”
Inspired By Theatre in RENT, Joseph Rowntree Theatre, York, tomorrow (10/4/2025) to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: https://www.josephrowntreetheatre.co.uk/whats-on/all-shows/rent/2761.
Director Dan Crawfurd-Porter on Inspired By Theatre’s cast for RENT
Inspired By Theatre’s principal cast for RENT: left to right, Maddie Jones, Jess Gardham, Iain Harvey, Dan Poppitt, Gi Vasey, Mikhail Lim, Joseph Hayes and Fen Greatley-Hirsch. Picture: Dan Crawfurd-Porter
THE principal cast comprises Green Day’s American Idiot leading man Iain Harvey as Mark; Dan Poppitt as Roger; Gi Vasey as Mimi; Joseph Hayes as Tom Collins; Maddie Jones as Maureen; York blues singer Jess Gardham as Joanne; Fen Greatley-Hirsch as Angel and Mikhail Lim as Benny.
In the ensemble will be: Richard Bayton; Katie Brier; Kailum Farmery; Rebecca Firth; Jack Fry; Chloe Pearson; Lucy Plimmer-Clough; Fernadna Aqueveque Retamal; Connie Richards; Josh Woodgate and Tiggy-Jade.
“This production brings together returning favourites and exciting new members of the company, and I’ve never seen a cast quite like this before,” says Dan. “We’ve assembled a powerhouse of performers, ready to bring this iconic show to life like never before.
“What excited me about this cast is first and foremost their commitment to the project. It’s unwavering. Their passion for the project matches mine. And then the talent that goes with that is so high.
“Our audition standard was incredible, which although it led to tough decisions with those we had to turn away, it meant we could really curate the perfect cast for my vision. This commitment and talent has felt like an absolute blessing throughout the process. The talent, commitment, closeness, understanding and diversity, makes them a force to be reckoned with within any amateur theatre scene.”
Dan, introduce your new cast members and why you choose them…
“BUILDING on the strength of our American Idiot company, we’ve welcomed an incredible group of new performers into the Inspired By Theatre family for RENT. Each brings something uniquely powerful to the production.
“Gi Vasey trained at Bristol Old Vic Theatre School in Performance Design and is a multidisciplinary theatre-maker. She’s a standout talent as Mimi, with a voice and emotional depth that captivate, but her contribution goes far beyond performance. As an experienced scenic designer, Gi has spent entire days painting. Her presence has elevated every aspect of the production.
Maddie Jones’s Maureen, left, and Jess Gardham’s Joanne in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter
“Maddie Jones, returning to the stage after a break, has delivered a Maureen that’s bold, eccentric and magnetic. Her RENT audition left no doubt, she had it. Every rehearsal since has confirmed she’s the perfect mix of chaos, charm, and charisma.
“Jess Gardham is a multi-award-winning singer-songwriter with international touring experience and a rich theatre background. Her professionalism, warmth and sheer vocal ability have been a gift to this process.
“Mikhail Lim is well known in the York theatre scene as both a performer and director, and we’re thrilled to finally have him in an Inspired By Theatre production. His stage presence is commanding, his voice outstanding, and he brings an emotional honesty that makes every scene land. “Fen Greatley-Hirsch has one of the most impressive CVs we’ve seen, with experience across Shakespeare, contemporary plays and musicals. His portrayal of Angel is nothing short of beautiful, sensitive, joyful and deeply moving.
“Joseph Hayes returned to the stage for the first time in seven years to join RENT, and his audition stunned the panel. His command of the role and delivery of I’ll Cover You (Reprise) is emotionally devastating in the best possible way. His name was the very first on our cast list.
“Katie Brier, a trained musical theatre performer (Leeds College of Music and London College of Music), brings not just vocal brilliance but also humour, musical intelligence and an infectious energy to the room. Having worked with her previously in York, we knew she was the perfect fit for this show and company.
“Lucy Plimmer-Clough, with a BA and MA in Music from the University of York, brings exceptional musicianship and vocal strength to the production. Her standout performance in one of RENT’s most iconic musical moments will leave audiences speechless.
“Connie Richards, who was due to play Mimi in another RENT production that was sadly cancelled, was a brilliant surprise at auditions. Her talent is immense, and having someone of her calibre in our ensemble is a testament to just how deep the talent runs in this cast.
Fen Greatley Hirsch’s Angel, left, and Joseph Hayes’s Tom Collins in RENT. Picture: Dan Crawfurd-Porter
“Fernanda Aqueveque Retamal began her theatre journey in Chile in 2001 and trained under renowned director Fernando Cuadra. Performing in a second language and bringing a unique international perspective to the production, Fernanda adds richness and diversity that’s not only rare but perfect for a show like RENT.”
One last question:
Why did you change the company name from Bright Light Musical Productions to Inspired By Theatre, Dan?
“Bright Light Musical Productions was a name chosen quickly in our early days, before we truly knew what we were building. As we grew, developed our voice, and began producing work with real purpose, it became clear that we needed a name that reflected who we are now, not who we were then,” he explains.
“Inspired By Theatre captures the heart of what we do. We’re inspired by the people we work with, the stories we choose to tell and the communities we engage.”
In the Inspired By Theatre diary for 2026:
1. Andrew Lloyd Webber & Tim Rice’s Jesus Christ Superstar, Joseph Rowntree Theatre, York, February 11 to 14 2026
2. Spring Awakening, coming-of-age rock musical with music by Duncan Sheik and book and lyrics by Steven Sate, Theatre@41, Monkgate, York, May 20 to 23 2026
3. A third project, still under wraps, coming to Joseph Rowntree Theatre in October 2026
“We’re thrilled to announce these shows,” says Dan. “2026 is going to be huge!”
Iain Harvey’s Mark in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter
Mr Willy Wonka, played by Jonathan, in Ryedale Youth Theatre’s Charlie And The Chocolate Factory at the Milton Rooms, Malton
MISSING out on Gary Oldman’s sold-out Krapp’s Last Tape on his York Theatre Royal return? Charles Hutchinson digs up plenty of consolation prizes.
Ryedale musical of the week: Ryedale Youth Theatre in Charlie And The Chocolate Factory, Milton Rooms, Malton, tonight to Saturday, 7.15pm plus 2pm Thursday and Saturday matinees
RYEDALE Youth Theatre brings Roald Dahl’s Charlie And The Chocolate Factory to the Malton stage in a magical adventure that journeys into Willy Wonka’s fantastical world.
Expect stunning performances and enchanting music in a family-friendly production perfect for all ages. Only 100 tickets are still available after sales of 1,200. Box office: yourboxoffice.co.uk/ryedale-youth-theatre.
Inspired By Theatre’s principal cast members in Rent, playing the Joseph Rowntree Theatre, York, from tomorrow
York musical of the week: Inspired By Theatre in Rent, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre follow up Green Day’s American Idiot with another groundbreaking rock musical, Jonathan Larson’s Tony Award-winning story of love, resilience and artistic defiance.
Set in New York City’s East Village at the height of the AIDS epidemic, Rent follows a group of young artists struggling to survive, create and hold on to hope in the face of uncertainty. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Welcome back: Gary Oldman in the York Theatre Royal dressing rooms
York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17
ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit, Oscar winner Gary Oldman returns to the Theatre Royal to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since the late-1980s.
“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: New availability of returns and additional seats on 01904 623568 or at yorktheatreroyal.co.uk.
Abigoliah Schamaun: In pursuit of the “Holy Visa” in Legally Cheeky, on tour at Pocklington Arts Centre
Comedy gig of the week: Abigoliah Schamaun, Legally Cheeky, Pocklington Arts Centre, tomorrow, 8pm
ABIGOLIAH Schamaun thought she had it all; the flat, the career, the life partner. This US transplant was living the American Dream…in London. Then one day, the Wicked Witch of Westminster, told Abigoliah to click her sparkly heels and go “home”. In that moment, everything changed. To lose would mean losing everything.
Abigoliah’s quest for the Holy Visa began, and the fight was very much on. Legally Cheeky charts her journey in a heart-warming tale of highs, lows, twists and turns as she recounts the year that shook her and partner Tom to the core. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Snake Davis, right, will be teaming up with Stu Collingworth at Helmsley Arts Centre on Fridaynight
Jazz gig of the week: Snake Davis with Stu Collingworth, Helmsley Arts Centre, Friday, 7.30pm
SAXOPHONIST to the stars Snake Davis will be joined by Hammond organist, composer and vocalist Stu Collingwood for an evening of soul pop and jazz. Davis performs regularly with famous artists at huge venues but is “far happier being himself at Helmsley Arts Centre”.
Collingworth has toured with Tony Christie, Alan Barnes and Elaine Delmar and has a residency at Charts in Newcastle. He and Davis have enjoyed a creative partnership for a decade, fired by a love of melody and groove. Box office: 01439 771700 or helmsleyarts.co.uk.
Aleysha Jade in Curious Investigators at Pocklington Arts Centre on Saturday. Picture: Grant Archer
Family show of the week: One Tenth Human in Curious Investigators, Pocklington Arts Centre, Saturday, 1.30pm
SCRIBBLE and Clipboard have a job to do, sorting out the recycling, but Scribble keeps finding new things to investigate. When she discovers a mysterious egg hidden in the rubbish, the pair needs the audience’s help to rescue an unborn chick. Can you save a mysterious egg from a smashing and what will you discover along the way?
Curious Investigators is a cracking adventure, created in collaboration with engineering experts from Lancaster University, in a delightfully surprising, highly visual show for three to seven-year-olds and their grown-ups, hatched by One Tenth Human. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Wrongsemble in Three Little Vikings, a story of cooperation, bravery and making your voice heard at Helmsley Arts Centre
Children’s show of the week: Wrongsemble in Three Little Vikings, Helmsley Arts Centre, Saturday, 2.30pm
A TRIO of brave little Viking girls saves the day in Leeds company Wrongsemble’s bold and funny adventure story for little rebels by Bethan Woollvin, creator of Little Red and I Can Catch A Monster.
Once upon a time in a Viking village, everything seems to be going wrong. Chickens are disappearing, trees are falling down. When the silly Chieftain will not listen to the three littlest Vikings, can they work together to figure out how to save the day in a 50-minute tale of cooperation, bravery and making your voice heard. Suitable for age three upwards. Box office: 01439 771700 or helmsleyarts.co.uk.
Mark Druery: Taking part in York Open Studios this weekend
Art event of the month: York Open Studios, Saturday and Sunday, 10am to 5pm
YORK Open Studios showcases 160 artists and makers at 117 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.
The Divine Comedy’s Neil Hannon: New album and York Barbican autumn date. Picture: Kevin Westenberg
Gig announcement of the week: The Divine Comedy, York Barbican, October 21
NEIL Hannon will promote The Divine Comedy’s 13th studio album, September 19’s Rainy Sunday Afternoon, on a 16-date autumn tour. Tickets will go on sale on Thursday, April 17 at 10am at https://www.yorkbarbican.co.uk/whats-on/the-divine-comedy-2025/.
Written, arranged and produced by Hannon and recorded at Abbey Road Studios, the album spans his usual range of emotions – sad, funny, angry and everything in between – as he “works through some stuff”: mortality, memories, relationships and political and social upheaval.
Stephen Smith in his quadruple bill of Edgar Allan Poe horror stories. Picture: Cat Humphries
THREEDUMB Theatre’s One Man Poe will return to York on June 1, switching to Theatre@41, Monkgate, after a sold-out 2024 show at the York Medical Society.
“Last June we presented our quadruple bill of Edgar Allan Poe stories at the Stonegate venue, selling out our one-night-only performance weeks in advance,” says director and performer Stephen Smith.
“The show went on to sell out its entire 21-show run at the 2024 Edinburgh Fringe, also winning the Spookies Award for Best Horror Solo Show.
Stephen Smith in One Man Poe. Picture: Alya Sayer
“We’re bringing the show back to York for another spooky summer show, but this time we’re ‘upscaling’ to the wonderful team at Theatre@41 for a 2025 Edinburgh Fringe preview at 6pm.”
To commemorate the 175th anniversary year of Edgar Allan Poe’s mysterious death in 1849, Smith performs four of the American author’s most spine-chilling classics, back to back and unabridged: The Tell-Tale Heart, The Pit And The Pendulum,The Black Cat and The Raven.
Poe’s archaic language, paired with Smith’s award-winning tour-de-force performance offers gothic horror fans and classical literature lovers an atmospheric evening rich with imaginative storytelling in a “marathon of the macabre”.
Stephen Smith: Returning to York for an Edinburgh Fringe preview of One Man Poe. Picture: Alya Sayer
“I was a huge fan of the late Roger Corman/Vincent Price’s Poe-cyclewhen a child, reigniting my love of classical horror stories during the pandemic by creating online renditions of Poe’s work via Facebook Live,” says Stephen, who formed Threedumb Theatre in Liverpool and is now based in London. “When the theatres reopened, I combined four of Poe’s most popular pieces in a solo show and named the extravaganza One Man Poe.”
First performed in 2021 at Watford Palace Theatre, One Man Poe has had multiple runs in London, on tour in the UK and internationally in Dubai and Off-Broadway in New York. Since its American premiere in 2022 at the Poe Fest International in Baltimore, Maryland, and the Poe Museum in Richmond, Virginia, One Man Poe has been booked for those events on an annual basis.
The140-minute show features music by Joseph Furey and sound design by Furey and Django Holder and is supported by Watford Palace Theatreand theLiverpool Institute for Performing Arts (LIPA). Box office: https://tickets.41monkgate.co.uk.
Mark Simmonds’s Prospero, staff in hand, in The Tempest at Theatre@41, Monkgate
AFTER focusing on musical theatre, adventurous York company Black Sheep Theatre Productions stretched its wings by staging Shakespeare’s everything-plus-the-kitchen-sink last play with original music by founder, director and musical director Matthew Peter Clare and Gregory Parker.
Several of Ariel’s speeches were turned into song for Gemma-Louise Keane, on her return to the stage after a long break where you may have seen her fronting the band Kisskisskill or on York’s ghost tour circuit as Deathly Dark Tours’ Daria Deathly. Inspired casting by Clare, finding a performer with bags of stage presence and personality, coupled with an individual look and voice, typified by her rendition of Full Fathom Five.
Mark Simmonds, who has made his mark as much in Jorvik Gilbert and Sullivan Society, York Opera and York Light Opera Company as in York Settlement Community Players, has a natural musicality and resonant timbre to his voice.
Charlie Clarke’s Trincula in The Tempest. Josh Woodgate’s Caliban adopts a prone position beneath his bags of wood
Allied with being tall, this gave him righteous if sinister command as the dispossessed Milanese duke, Prospero, a command exacerbated by conducting his magical, storm-stirring powers from the John Cooper Studio’s mezzanine level, as well as in his treatment of his island slaves, Ariel and Caliban (more of whom, later).
Clare built his production on a brace of interlinking triangles, bringing magic, music and mayhem to the play’s three plot lines of comedy, tragedy and romance, fuelled by familiar Shakespeare tropes of mistaken identity, a family at war, murderous plotting and plot-thickening intrigues. The magic emanated from Prospero, and so too did the mayhem that ensued in the torrid tale of a shipwreck and its high-society survivors, spilling out onto Prospero’s island.
The music emanated from percussionist Clare’s band of eight: Helen Warry and Elle Weaver’s violins; Clare Pearson’s viola and Lindsay Illingworth’s violoncello; Fergus Vickers’ guitar, Rosie Morris’s contrabass and, best of all, Sarah Paterson’s harp.
Chloe Pearson’s Fernanda, left, and Freya McIntosh’s Miranda in The Tempest
The underscoring was particularly effective, often beautiful too, and most ambitious of all was the transformation of the play within the play into a song, Blessings, with vocal interplay and solos for Maddie Jones’s Iris, Molly Whitehouse’s Ceres and Rocks Nairn-Smith’s Juno.
The Tempest is a restless, breathless play of constant struggle and ultimate resolution, a maelstrom of tortured emotions, terror, a need to find a home, love, a safe place in the world, a reason to shake off boredom or cast off grief. Or as Clare put it: a play of “family and love, subjugation and bloody plots, reconciliation and forgiveness, euphoria and despair”.
Hence its helter-skelter tumble of tragedy and comedy that Clare addressed successful by applying “more Brechtian style” for the more absurd characters, such as Charlie Clarke’s Trincula, Dan Poppitt’s Alonso, and especially the outstanding John Woodgate’s cruelly abused Caliban, while favouring naturalism for the plot-driven likes of Prospero, Meg Conway’s viperous Antonia and the Sapphic love of Freya McIntosh’s Miranda and Chloe Pearson’s Fernanda.
Josh Woodgate’s Caliban and Gemma-Louise Keane’s Ariel in Black Sheep Theatre Productions’ The Tempest
Mikhail Lim’s Gonzalo, Rosie Stirling’s Sebastyne and Jack Fry’s Master of Ships all contributed to the pleasures of this Tempest kicking up a storm anew, aided by Molly Whitehouse’s playful costumes, Charlie Clarke & Josh Woodgate’s striking, circus and cabaret-inspired make-up and Will Nicholson’s sound and lighting design, fast making himself the go-to-guy of York technicians in 2025.
After Woodgate’s turn as Caliban, eye-catching from the moment he emerged bleary eyed from beneath the shelter of the raised stage, CharlesHutchPress looks forward to his future performances, led off by his ensemble role in Inspired By Theatre’s Rent from Thursday to Saturday this week at the Joseph Rowntree Theatre.
Black Sheep Theatre Productions “stretching out its wings” in The Tempest in a radiant scene for Gemma-Louise Keane’s Ariel
Coming next from Black Sheep Theatre will be a return to Theatre@41 for an original play, The Inner Selves, from May 13 to 17. This four-hander charts the decline of two people’s mental health, and their marriage, as shown through Henry and Nora and the cacophonic assault of their inner thoughts. The play revolves are one bad day of mediocrity and boredom being the final straw for the pair as emotions come to a boil. Will this marriage survive? Even until morning?
Not for young children, its content warning takes in: alcohol, smoking, swearing, domestic abuse, emotional abuse, discussion of self-harm, marriage, divorce, loss of child, suicidal thoughts, mental health.
Tickets for the 7.30pm evening performances and 2.30pm Saturday matinee are on sale at tickets.41monkgate.co.uk.
Meg Conway, returning to the York stage after a nine-year hiatus, as Antonia and assistant director Mikhail Lim as Gonzalo in Black Sheep Theatre Productions’ The Tempest
Sinead Corkery: Making her York Open Studios debut in Monkton Road, York
PERFECT weather greets the opening of studio doors as artists parade their skills while politics comes under the spotlight in Charles Hutchinson’s recommendations.
Art event of the month: York Open Studios, today and tomorrow; also April 12 and 13, 10am to 5pm
YORK Open Studios showcases 160 artists and makers at 117 locations in its largest configuration yet in its 24 years. Artists and makers, including 38 new participants, span ceramics, collage, digital art, illustration, jewellery, mixed media, painting, printmaking, photography, sculpture, textiles and wood, Full details and an interactive map can be found at yorkopenstudios.co.uk; brochures in shops, galleries, cafes and tourist hubs. Admission is free.
Rob Rouse: Headlining Laugh Out Loud Comedy Club’s bill at The Basement tonight
Comedy bill of the week: Laugh Out Loud Comedy Club, Rob Rouse, David Eagle, Ben Silver and Damion Larkin, The Basement, City Screen Picturehouse, York, tonight, 8pm
ROB Rouse, from The Friday Night Project, Spoons, BBC3’s Comedy Shuffle, Mad Mad World, Upstart Crow and Rob And Helen’s Date Night self-help podcast, headlines tonight’s bill, hosted by Laugh Out Loud promoter Damion Larkin.
Support act David Eagle, a member of north eastern folk band The Young’uns, mines comedy from exploring how his blindness turns the most ordinary, commonplace events into surreal, convoluted dramas. Box office: 01904 612940 or lolcomedyclubs.co.uk.
Ged Graham: Leading the Seven Drunken Nights celebration of The Dubliners, on tour at the Grand Opera House, York. Picture: Prestige Productions
Irish craic of the week: Seven Drunken Nights: The Story of the Dubliners, Grand Opera House, York, Sunday, 2.30pm and 7.30pm
SEVEN Drunken Nights takes a trip down memory lane in celebration of The Dubliners’ 50-year performing career on a 2025 global tour of 300 shows across 42 weeks. The Irish Rover, The Town I Love So Well and Dirty Old Town will be joined by new additions Paddy On The Railway and The Lark In The Morning in a new production for this year’s travels.
The show’s 2017 founder, frontman and narrator, Dublin-born writer and director Ged Graham, says: “The connection we’ve built with the audience over the years is incredible; they know we’re keeping the iconic music of The Dubliners alive with the same passion that they have for it.” Box office: atgtickets.com/york.
Telling the whole story: Writer-performer Andrew Margerison in Dyad Productions’ That Knave, Raleigh
Historical play of the week: Dyad Productions in That Knave, Raleigh, Helmsley Arts Centre, Sunday, 7.30pm; Theatre@41, Monkgate, York, April 9, 7.30pm
DYAD Productions follow up I, Elizabeth with a return to the Elizabethan era in That Knave, Raleigh, writer-performer Andrew Margerison’s story of Elizabethan explorer, sailor, dandy and warrior Sir Walter Raleigh, Elizabeth I’s favourite and James I’s knave.
The Huguenots, America, the Armada and execution: is that the whole story? “There is so much you don’t know,” says Margerison of Raleigh, father, husband, writer, poet, adventurer, philosopher, soldier, tyrant, egotist, lover, traitor, alchemist, visionary and victim.
“The final chapter of Raleigh’s life is perhaps the most daring, strange and utterly heart-breaking. See the fall from grace taken directly from historical record; marvel at the magnetism of a man who seized every opportunity.”Box office: Helmsley, 01439 771700 or helmsleyarts.co.uk; York, tickets.41monkgate.co.uk.
The Manfreds: Playing Joseph Rowntree Theatre for the first time this weekend
Sixties’ nostalgia of the week: The Manfreds, Joseph Rowntree Theatre, York, Sunday, 7.30pm
TICKETS are down to the last few for the chance to see The Manfreds in their Joseph Rowntree Theatre debut, featuring original Manfred Mann members Paul Jones and Tom McGuinness, both 83.
The set list takes in such Sixties R&B hits as 5-4-3-2-1, Pretty Flamingo, The Mighty Quinn and Do Wah Diddy Diddy, intermixed with jazz and blues covers from their solo albums. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Al Murray: Rolling out his barrel of laughs at York Barbican as the Guvnor puts you right on Sunday night
Political insights of the week: Al Murray, Guv Island, York Barbican, Sunday, 7.30pm
THE people have spoken. The Pub Landlord is back for another round of Guv Island with “New Extra Brew Material”in 2025, having pulled pints and punters at the Grand Opera House in March 2024.
Standing up so you don’t have to take it lying it down anymore, the Guvnor will “make sense of the questions you probably already had the answers to”. “Country, the UK, lost its way, seeks life partner/mentor/inspiration. Good sense of humour essential. No timewasters, tedious show-offs or offend-o-trons need apply. HR free zone,” says Murray. Box office: yorkbarbican.co.uk.
Inspired By Theatre’s principal cast for Jonathan Larson’s musical Rent at the Joseph Rowntree Theatre, York. Picture: Dan Crawfurd-Porter
Musical of the week: Inspired By Theatre in Rent, Joseph Rowntree Theatre, York, April 10 to 12, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre – the new name for Bright Light Musical Productions – follow up Green Day’s American Idiot with another groundbreaking rock musical, Jonathan Larson’s Tony Award-winning story of love, resilience and artistic defiance.
Set in New York City’s East Village at the height of the AIDS epidemic, Rent follows a group of young artists struggling to survive, create and hold on to hope in the face of uncertainty. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Jan Noble in his verse drama Body 115. Picture: jannoble.co.uk/body115
Odyssey of the week: Jan Noble in Body 115, Theatre@41, Monkgate, York, April 11, 7.30pm
EVER wished you were somewhere else? Ever wished you were someone else? Escaping the rain, a journey on the London Underground becomes a descent into the underworld in Body 115, 2023 winner of the London Pub Theatre Award for Best Innovative Play.
Written and performed by Jan Noble, directed by Justin Butcher, this tale of broken hearts, old flames and open roads follows Noble’s down-and-out poet-hero through the sewers and tubes of King’s Cross Station to the heart of Italy. Part invocation, part rain dance, this poetic odyssey is delivered with a contemporary kick. From the terraces at Millwall to fashionable Milan, expect shadowy encounters, dodgy connections and chance meetings with a host of poet ghosts.
“Body 115 is an epic poem, a tale of inner and outer journeys in explicit homage to Dante’s Divine Comedy,” says Noble. “From the rain-washed, subterranean underworld of King’s Cross, ‘Body 115’ – the long-unidentified victim of the 1987 fire – becomes Virgil to my Dante in a rhapsodic paean to the trammelling ecstasy of loss: a trans-European odyssey turned safari of the soul.” Box office: tickets.41monkgate.co.uk.
Dianne Buswell & Vito Coppola: Strictly Come Dancing professionals team up for Red Hot And Ready
Show announcement of the week: Burn The Floor presents Dianne Buswell & Vito Coppola in Red Hot And Ready, York Barbican, July 6, 7.30pm; Leeds Grand Theatre, July 18, 7.30pm, and July 19, 2.30pm and 7.30pm
STRICTLY Come Dancing’s stellar professional dancers, 2024 winner Dianne Buswell and 2023 victor Vito Coppola, will star in the new show from the Burn The Floor stable, created by Strictly creative director Jason Gilkison.
Billed as “a dynamic new dance show with a difference”, Red Hot And Ready brings together Buswell, Coppola and a cast of multi-disciplined Burn The Floor dancers from around the world, accompanied by vocalists and a band. Expect “jaw-dropping choreography, heart-pounding music and breathtaking moves, from seriously sexy to irresistibly charming”. Box office: York, yorkbarbican.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
John Simpson: BBC News world affairs editor puts leaders and lunatics in the dock at the Grand Opera House, York, on Monday
In Focus: More political insights of the week: John Simpson: The Leaders & Lunatics Tour, Grand Opera House, York, April 7, 7.30pm
IN his bold, unflinching look at leadership, veteran BBC journalist and broadcaster John Simpson CBE ponders why some inspire while others descend into tyranny. “And…are all tyrants ‘lunatics’,” he asks.
After six decades of unparalleled access to world leaders – and lunatics – Simpson explores the personalities that have shaped history. From notorious figures such as Assad, Saddam, Mugabe and Gaddafi to admired leaders Gorbachev, Mandela, Havel and Zelensky, he reveals their common threads, unique quirks and lasting impact.
Drawing on his first-hand encounters and personal dealings, Simpson will unravel the enigmatic personas of Putin, Xi Jinping, bin-Laden and Thatcher, while pondering what links Mandela and Princess Diana or Zelensky and Mugabe.
In an increasingly volatile world, BBC News world affairs editor Simpson will navigate the intricate web of international relations, delving into the complexities of the most pressing global challenges of our time – conflicts, war, famine, economic crises and climate change – to reveal how the actions and decisions of leaders, from despots to visionaries, have shaped these crises and continue to influence our world today.
Simpson, now 80, has spent all his working life with the BBC, reporting from more than 120 countries, including 30 war zones, and interviewing myriad world leaders on his foreign correspondent beat.
As a household name who has covered almost every major event in the world from the 1960s to present day in his fearless journalism, he will turn from interviewer to interviewee to take questions from the audience in the second-half Q&A.
What on earth is going on, John? Hear his answers at this talk “truly for our troubled times”, when Simpson promises to entertain, enlighten, and inspire as he provides “insights into past and present events, with no doubt some focus on Trump and the shifting global order”. Box office: atgtickets.com/york.
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world affairs editor of BBC News. He has spent all his working life with the BBC, and has reported from more than 120 countries, including thirty war zones, and interviewed many world leaders.
In an increasingly volatile world, John will also examine the most pressing challenges of our time – war, famine, economic crises, and climate change – to reveal how the actions and decisions of leaders, from despots to visionaries, have shaped these crises and continue to influence our world today.
In the second half, the floor is yours. Ask your questions as John offers sharp insights into past and present events, with no doubt some focus on Trump and the shifting global order.
John Simpson: Leaders and Lunatics Tour
After a sell-out tour in 2024, legendary journalist and broadcaster John Simpson CBE is returning to the stage for an exclusive evening packed with unparalleled insights from one of the most distinguished foreign correspondents of our time.
With decades of first-hand encounters and personal dealings, John will explore the enigmatic personas of global figures such as Putin, Xi Jinping, bin-Laden and Thatcher.
John will navigate the intricate web of international relations, delving into the complexities of our global issues – from conflicts, war and famines, to world economies and climate change.
What links Mandela and Princess Diana? Or Zelenskiy and Mugabe? John will reveal the common threads linking these figures, and offer a unique perspective on the impact they’ve had on world affairs.
As a household name who has covered almost every major event in the world from the 1960’s to present day, you will have an opportunity to ask John your questions – what were these leaders and lunatics really like, and what on earth is going on? Don’t miss John for an evening that promises to entertain, enlighten, and inspire with his fearless journalism and captivating storytelling.
What on earth is going on? An event truly for our troubled times – don’t miss this enlightening and compelling evening.
Alison Taylor’s Mrs Alexander, left, Jonathan Wells’s Christopher Boone, centre, and Beryl Nairn’s Siobhan with Pick Me Up Theatre ensemble members Jon Cook, Tom Riddolls and Lee Harris. Picture: Matthew Kitchen
THE Curious Incident Of The Dog In The Night-Time is playing York for the third time in ten years.
First came the National Theatre’s bells-and-whistles production, winner of seven Olivier awards, at the Grand Opera House in January 2015, with its white box framework of graph-paper lines on moving walls and flooring to match the mathematical mind of teenage protagonist Christopher Boone.
Next, the performing arts department at All Saints RC School combined dance, original livemusicand movement sequences in a February 2023 adaptation wherein ten narrators represented Christopher’s imagination and inner thoughts, while highlighting the key motifs of letters, as well as Chris’s love of numbers and space, through physical theatre and projections.
Now comes York company Pick Me Up Theatre’s interpretation, using University of York history graduate Simon Stephens’s superlative script, premiered by the National Theatre, under the imaginative and inventive direction of Andrew Isherwood, a regular presence on the York stage and increasingly in the director’s chair too.
“Directing this show has absolutely been one of the best experiences over the past 12 years I’ve had making theatre,” he says in his programme note – and it shows in an ensemble production that is cinematic yet boldly theatrical in its fusion of video projection, effects and lighting and sound by Will Nicholson, always in harmony with the mathematical shapes, emotional frictions and physical theatre of Isherwood’s team of 11 players.
Jonathan Wells’s Christopher Boone and his pet rat Toby with Beryl Nairn’s Siobhan. Picture: Matthew Kitchen
His choice of recorded music is impeccable too, especially Cat Power’s heart-rending Maybe Not and Moby’s God Moving Over The Face Of The Waters, last used so evocatively in Robert De Niro and Al Pacino’s face-off in Heat in 1995.
On arrival, the audience is confronted by the sight of Elanor Kitchen’s model of a dead dog, Wellington, pinned to the ground by a garden fork, on the end-on raised stage. Welcome to a “murder mystery like no other”.
Jonathan Wells’s Christopher John Francis Boone is rocking, traumatised, even more so when accused of killing the dog by Mrs Shears (Natalie Melia), his potty-mouthed neighbour in Swindon, Wiltshire.
Christopher is 15 years three months and two days old; he attends a special needs school, and although he is never attributed with Asperger’s syndrome by source novel writer Mark Haddon, this fearful yet fearless boy can calculate A-level Maths to A* standard at 15 but is ill-equipped to work out everyday life.
Christopher does not like to be touched, is incapable of lying and has powers of logic beyond conventional reasoning or normal patterns of behaviour. He loves red, his lucky colour, but rejects an offer of Battenberg cake because of his dislike of yellow.
Such frankness and original thinking instil humour and wonderment in his bright, naive, unpredictable utterances, but pain and puzzlement bubble beneath the surface too in Jonathan Wells’s performance, expressed in his twitching, fidgety fingers and downward gaze.
Jonathan Wells’s Christopher Boone, centre, with fellow Pick Me Up Theatre cast members Jon Cook, left, Lee Harris, Catherine Edge, Beryl Nairn and Tom Riddolls. Picture: Matthew Kitchen
This Elvington GP has favoured musical theatre in his York stage appearances, but here he returns to straight theatre for the first time since Berkoff and Strindberg plays in his Sheffield student days, making you wonder why he has not done so previously.
What a revelation his performance is. Slim of frame, boyish of looks, not unlike Ben Whishaw, he is 34 yet wholly believable as 15 – the age, by the way, that he took his A-level in computing, giving him an immediate connection with Christopher.
His physical demeanour is only part of the equation, Equally significant is how to convey Christopher’s intelligence and more significantly, the way he thinks, and both Wells and Isherwood maximise how Stephens’s script travels both inside and outside Christopher’s head as he vows to defy his father by “doing detective work” to hunt down Wellington’s killer.
Like a Keaton or Chaplin, Wells’s Christopher makes us laugh at the absurdity of others, or whoever he winds up with his candid, unconventional manner, but he never sets out to be a clown or funny. Christopher is serious, earnest, but his comments are the stuff of observational comedy.
Such is the skill of novelist Haddon and playwright Stephens’s writing, where we wholly empathise with the young boy who follows his own path, however unsafe he may feel amid the chaotic cacophony, on a bigger journey of discovery that combines abnormal intellect with bewildering, baffling new experiences.
Jonathan Wells’s Christopher Boone cowers from his father Ed (Mike Hickman) as a policeman (Jon Cook) looks concerned. Picture: Matthew Kitchen
Yes, we laugh, but we are also stopped regularly in our tracks by the feeble behaviour of his elders, but certainly not betters, who let him down, in particular his mendacious father Ed (Mike Hickman), a boiler engineer with a tendency to boil over into rage, even violence.
The one exception is special needs teacher and mentor Siobhan (Beryl Nairn), who encourages him in his writing.
Catherine Edge, so elegantly impressive in Settlement Players’ Separate Tables in February 2024, excels again as Judy, the mother that, spoiler alert, Christopher had been told was dead but had in fact fled to London with her feckless lover, neighbour Roger Shears (Lee Harris). Hers is the most emotionally complex role, the least black and white, and Edge finds those nuances.
In the ensemble, Alison Taylor, Natalie Melia, Lee Harris, Jon Cook, Tom Riddolls and Alexandra Mather both play multiple roles and bond in choreographed movement and babbling, threatening noise on Christopher’s first solo train journey to London with pet rat Toby, into the pandemonium of a Tube station, and out on to the alienating, disorientating streets.
Nicholson’s lighting is key to Pick Me Up’s technical flourish, but all in service of Wells’s remarkable portrayal of a boy with a beautiful mind in search of a safe haven.
Pick Me Up Theatre in The Curious Incident Of The Dog In The Night-Time, Theatre@41, Monkgate, York, 7.30pm tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: tickets.41monkgate.co.uk.
Vivienne Carlyle’s Mrs Johnstone and Sean Jones’s Mickey in Willy Russell’s Blood Brothers, on tour at the Grand Opera House, York. Picture: Jack Merriman
WILLY Russell’s tragi-comic Liverpool musical is visiting York for a remarkable tenth time since 1996. No show can rival that record, not even fellow regulars The Rocky Horror Show or Buddy: The Buddy Holly Story.
Ticket demand is as high as ever: Monday’s press night was packed to the gills, opening a week’s run that accommodates three rather than the routine two matinees (Wednesday, Thursday and Saturday).
Should you somehow still be a Blood Brothers virgin, make sure to initiate yourself in Russell’s modern-day Jacobean tragedy on its first York outing since 2022, when your reviewer considered the combination of Niki Evans’s Mrs Johnstone, Sean Jones’s Mickey, in his “last ever tour”, Joel Benedict’s Eddie, Carly Burns’s Linda and Robbie Scotcher’s Narrator to be “better than ever”.
The 2025 leads are more than a match, especially Scottish actress Vivienne Carlyle’s Mrs Johnston, with a singing voice to rival Annie Lennox, and Sean Keany’s tall, gaunt grim reaper of an Irish-accented Narrator. Sean Jones, meanwhile, has still not left the building – was he taking the Mickey when he said 2022‘s tour would be the final curtain after 23 years on and off in Blood Brothers’ baggy green jumper and short trousers?! – but why would he leave a role he has made his own?
At 54, Jones continues to pour blood, sweat and tears into his combustible combination of bouncy comic timing [as seen each winter in his daft lad role in the Florian Pavilion, New Brighton panto too] and heartrending pathos on Mickey’s doomed path from skip to slouch to slump, from cheeky, boundlessly energetic child to lovelorn, tongue-tied teen, to crushed, enervated adult, broken on the wheel of anti-depressants and redundancy.
Impresario and producer Bill Kenwright – who had asked Jones to return to the role in 2022 – has passed away since that tour but the 2025 production still carries his stamp, credited as co-director with Bob Tomson, the team that brought Russell’s Blood Brothers to its emotional heights with gold standard production values to boot.
Vivienne Carlyle first worked with Kenwright and Tomson in 2006, playing Mrs Lyons and understudying Mrs J at the Phoenix Theatre in London, later appearing as Mrs Lyons at the Grand Opera House on tour in 2008, and she now returns to Mrs J after a 12-year gap, bringing scabrous Scouse humour, love, fierce passion, desperate resilience and guilty pain to the secret-burdened Catholic mother at the heart of Russell’s1983 cautionary tale of twin brothers separated at birth and cursed by a fateful superstition that if either should discover the other’s existence, they will die instantly.
Already struggling with too many children on an impoverished Liverpool estate and deserted by her wastrel husband, Mrs J’s budget on the never-never means she can only “afford” one child more, not two, and so cleaner Mrs J rashly enters a pact with her employer, a travelling salesman’s barren wife, Mrs Lyons (Sarah Jane Buckley), to give her the choice of the twins.
Whereupon, seen from the age of seven upwards, Jones’s scally urchin Mickey and Joe Sleight’s initially naïve, then scholarly Eddie are divided by the class divide that Russell lambasts, but their paths are destined to keep crossing, as fate plays its hand as much as social circumstance, turning their “blood brother” bond in adolescent rites of passage to adult separation.
Ever present in the shadows on Andy Walmsley’s set of house frontages, a mezzanine level and backdrops of Liverpool Liver Building skyscraper and the verdant countryside is Keany’s Narrator, a Faustian debt collector as dark as his suit and tie, overseeing innocent child’s play making way for crime and tragic final resolution, guns turning from toys to real.
From Vivienne Carlyle’s renditions of Tell Me It’s Not True, Marilyn Monroe and Easy Terms to Gemma Brodrick’s lovely performance as teen crush Linda, caught between Mickey and Eddie, to Nick Richings’ lighting and Matt Malone’s band, the 2025 tour of Blood Brothers shines with high quality in the transition from comedy to tragedy, the two faces of theatre writ large in this peerless, hard-hitting, unsentimental yet emotionally shattering musical.
Bill Kenwright Ltd presents Willy Russell’s Blood Brothers, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Thursday and Saturday matinees. Box office: atgtickets.com/York. Age recommendation: 12 plus.
Vivienne Carlyle’s Mrs Johnstone and Sean Jones’s Mickey in Willy Russell’s Blood Brothers, on tour at the Grand Opera House, York. Picture: Jack Merriman
FOUR nights of Greg Davies and tenth visit of Willy Russell’s Blood Brothers are the headline acts in Charles Hutchinson’s bill for cultural satisfaction.
Musical of the week: Blood Brothers, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
WILLY Russell’s Liverpool musical makes its tenth visit to the Grand Opera House, and despite Sean Jones’s appearance in the 2022 tour being billed as his “last ever” after 23 years on and off as Mrs Johnstone’s son Mickey, here he is once more, still “running around as a seven-year-old in a baggy green jumper and short trousers” at 54.
Scottish actress Vivienne Carlyle, who played Mrs Lyons on her previous Blood Brothers visit to York, takes the role of Mrs J in Russell’s moving tale of twins separated at birth, who grow up on the opposite sides of the tracks, only to meet again with tragic consequences. Box office: atgtickets.com/york.
Curiouser and curiouser: Pick Me Up Theatre in The Curious Incident Of The Dog In The Night-Time at Theatre@41, Monkgate, York
Play of the week: Pick Me Up Theatre in The Curious Incident Of The Dog In The Night-Time, Theatre@41, Monkgate, York, until Saturday,7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
ANDREW Isherwood directs York company Pick Me Up Theatre in Simon Stephens’s stage adaptation of Mark Haddon’s story of Christopher Boone (Jonathan Wells), a 15-year-old boy with an extraordinary brain Exceptionally gifted at Maths, he finds everyday life and interaction with other people very confusing.
Christopher has never ventured alone beyond the end of his road, hates being touched and deeply distrusts strangers, but everything changes when he falls under suspicion for killing his neighbour’s dog, propelling him on a journey of self-discovery that upturns his world. Box office: tickets.41monkgate.co.uk.
Greg Davies: Milking it in his Full Fat Legend stand-up show at York Barbican
Comedy gigs of the week: Greg Davies: Full Fat Legend, York Barbican, tonight to Saturday, 7.30pm
TOWERING comedian Greg Davies plays York Barbican for a full-fat four nights on his Full Fat Legend Tour, his first on British soil for seven years.
The 6ft 8 inch star of Taskmaster, The Inbetweeners, The Cleaner, Never Mind The Buzzcocks, Man Down and Cuckoo is undertaking his biggest stand-up tour to date. He last played York Barbican on November 1 and 2 2017 on his You Magnificent Beast tour, his first travels for four years. Tickets update: Sold out; for returns only, go to yorkbarbican.co.uk. Davies’s Hull Connexin Live shows on June 3 and 4 and at Leeds First Direct Arena on June 20 are sold out too.
Daniel Wilmot’s Count Dracula in Baron Productions’ Dracula at St Mary’s Church, Bishophill Junior, York
High stakes of the week: Baron Productions in Dracula, St Mary’s Church, Bishophill Junior, York, tomorrow to Saturday, 7.30pm
FOUNDER and director Daniel Wilmot makes it Count when starring as the mysterious Dracula in York company Baron Productions’ account of Bram Stoker’s Gothic masterpiece in one of York’s most atmospheric churches.
When Jonathan Harker (Jack McAdam) embarks on a business trip to Count Dracula’s Transylvanian castle, little does he know the terror that awaits him. Guided by the wise Professor Van Helsing (Lee Gemmell), a courageous group must gamble their lives, even their very souls, to stop Dracula’s evil plans to enslave the world. Box office: ticketsource.co.uk/baron-productions.
Pianist Ian Pace
Classical concert of the week: York Late Music presents The Beethoven Project: Ian Pace, Unitarian Chapel, St Saviourgate, Saturday, 7.30pm
IN the second of The Beethoven Project concerts for York Late Music, pianist Ian Pace continues his exploration of Beethoven’s nine symphonies (transcribed by Franz Liszt) with his iconic Pastoral Symphony No. 6.
The programme also includes Michael Finnissy’s English Country Tunes (1-3), Beethoven’s Six Goethe-Lieder (transcribed by Liszt) and a new work of three musical tributes by Steve Crowther, Rock With Stock, A Study In Glass and Louis’ Angry Blues. Box office: latemusic.org/product/ian-pace-concert-tickets/ or on the door.
The Remi Harris Hot Club Trio: Heading for Helmsley Arts Centre
Jazz & blues gig of the week: The Remi Harris Hot Club Trio, Helmsley Arts Centre, Saturday, 7.30pm
ACOUSTIC and electric guitarist Remi Harris is joined by double bassist Tom Moore and rhythm guitarist Chris Nesbitt for an enthralling evening of gypsy jazz and blues. Combining musical virtuosity with passion and flair, this dynamic trio draws inspiration from Django Reinhardt, Peter Green, Wes Montgomery, Jimi Hendrix and Joe Pass in a mix of original compositions, jazz standards and new arrangements of Harris’s favourite tunes. Box office: 01439 771700 or helmsleyarts.co.uk.
“There is so much you don’t know,” says Andrew Margerison, introducing his portrayal of the life and times of Walter Raleigh in That Knave, Raleigh
Ryedale play of the week: Dyad Productions in That Knave, Raleigh, Helmsley Arts Centre, Sunday, 7.30pm
DYAD Productions follow up I, Elizabeth with a return to the Elizabethan era in That Knave, Raleigh, writer-performer Andrew Margerison’s story of Elizabethan explorer, sailor, dandy and warrior Sir Walter Raleigh, Elizabeth I’s favourite and James I’s knave.
The Huguenots, America, the Armada and execution: is that the whole story? “There is so much you don’t know,” says Margerison of Raleigh, father, husband, writer, poet, adventurer, philosopher, soldier, tyrant, egotist, lover, traitor, alchemist, visionary, victim. “The final chapter of Raleigh’s life is perhaps the most daring, strange and utterly heart-breaking. See the fall from grace taken directly from historical record; marvel at the magnetism of a man who seized every opportunity.” Box office: 01439 771700 or helmsleyarts.co.uk.
The poster for Dianne Buswell & Vito Coppola’s Red Hot And Ready tour, booked into York Barbican and Leeds Grand Theatre
Show announcement of the week: Burn The Floor presents Dianne Buswell & Vito Coppola in Red Hot And Ready, York Barbican, July 6, 7.30pm; Leeds Grand Theatre, July 18, 7.30pm, and July 19, 2.30pm and 7.30pm
STRICTLY Come Dancing’s stellar professional dancers, 2024 winner Dianne Buswell and 2023 winner Vito Coppola, will star in the new show from the Burn The Floor stable, created by Strictly creative director Jason Gilkison.
Billed as “a dynamic new dance show with a difference”, Red Hot And Ready brings together Buswell, Coppola and a cast of multi-disciplined Burn The Floor dancers from around the world, accompanied by vocalists and a band. Expect “jaw-dropping choreography, heart-pounding music and breathtaking moves, from seriously sexy to irresistibly charming”. Box office: York, yorkbarbican.co.uk; Leeds, 0113 243 0808 or leedsheritagetheatres.com.
Take a seat: Sponsorship opportunity at Pocklington Arts Centre
POCKLINGTON Arts Centre is marking its 25th anniversary by inviting patrons to sponsor a seat of their choosing through a seat plaque scheme.
This special opportunity will allow 150 supporters to leave a lasting legacy while helping to secure the future of the Market Place venue.
For a contribution of £200 for three years, individuals can dedicate a plaque on an auditorium seat, whether to commemorate a loved one, celebrate a special occasion or show support for the arts. A limited number of lifetime and business sponsorship opportunities will be available soon too.
Arts centre director Angela Stone says: “We’re thrilled to offer our supporters the opportunity to be part of Pocklington Arts Centre’s legacy. Sponsoring a seat is a fantastic way to celebrate our 25th anniversary while helping us secure the future of our creative work within the community.”
All proceeds from the scheme will be reinvested into ongoing improvements at the arts centre, including the establishment of a dedicated Community Fund to ensure the financial sustainability of creative engagement activities for young people and older adults.
