Laura Soper’s Noi with the beached Storm Whale in The Storm Whale at York Theatre Royal Studio. Narrator Charlotte Benedict looks on. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
YORK writer-director Matt Aston launched his premiere of The Storm Whale at York Theatre Royal Studio in December 2019.
Now his adaptation of two enchanting Benji Davies stories, The Storm Whale and The Storm Whale In Winter, takes the plunge for a second time in a run that coincides with the Easter holidays in a co-production by Aston’s company, Engine House Theatre, York Theatre Royal, The Marlowe, Canterbury and Little Angel Theatre, London.
Apparently it takes only two and a half minutes each to read Davies’s award-winning works. Put together in one show, they are stretched to 75 minutes, including an interval, with your reviewer’s guarantee that children aged four upwards will have a whale of a time, topped off by a little “mild peril” in Act Two.
Lydia Denno’s original set was metaphorically lost at sea after Covid, and so she has re-created the delightful sea-front design with its scaled-down versions of a lighthouse and the island home where a little boy, Noi (York-born Laura Soper) lives with his fisherman Dad (Richard Lounds).
So do their six cats with such Kent town names as Deal and Sandwich, the family favourite represented by a puppet that has a habit of leaping onto Dad’s shoulder. The other five occupy picture frames, or more precisely, appear to be bursting out of the frames with playful intent.
The Storm Whale writer-director Matt Aston
The house front seen in miniature is then replicated in full scale, with a washing line, fishing netting, steps, a boat and a porch, from where Soper’s awkward, restlessly inquisitive Noi surveys the waves, craving company when hard-working Dad is fishing at sea.
Noi tries to reassure himself that “it’s OK to be on your own but not OK to be lonely”, but that loneliness is threatening to come crashing over him like a wave.
Loneliness that is shared by Flo, Davies’s narrator, played with a joyous heart by York actress Charlotte Benedict (formerly Charlotte Wood), who begins by looking back on the story from the distance of humorously erratic adult memories.
Childhood days when she would lick her strawberries and cream-coloured lighthouse home in the hope of a sweet flavour. Flo’s own story will flow in and out of Noi’s tale, and she too is often on her own, both back then and 20, 30, 40 years on.
Charlotte Benedict’s Narrator in The Storm Whale at York Theatre Royal Studio. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
Aston’s beautifully told production delights in theatre’s time-honoured tools of storytelling and puppetry, coupled with Julian Butler’s acoustic folk songs (one with a hint of The Pogues’ Fairytale Of New York, no less), as we encounter the height of a storm and Noi’s subsequent encounter with a little whale, washed up on the sand.
Soper brings comedic physical theatre skills to Noi’s struggle to lift the whale into the house bath (later to double as Dad’s fishing boat) as the bond of friendship grows and audience hearts swell with the loveliness of it all.
Post-interval, the forewarned “mild peril” takes the form of Dad undertaking his last fishing trip, when his boat becomes stuck in the frozen waters of deep winter. In his enforced absence, Noi desperately wants to see the whale once more, whereupon two storylines overlap with a sense of wonder at the finale, enhanced by the puppetry’s finest moment.
Soper captures the insatiable curiosity of a ten-year-old boy, in movement and facial and vocal expression, depicting a child seeking treasures, experiences and friendship alike, with bountiful love to give, as he comes to terms with the loss of his mother.
Lounds’ widower Dad has a phlegmatic front, necessary for his fishing work, but a jolly disposition too, full of kindness yet burdened by the weight of responsibility of now being Noi’s sole guide on their isolated island.
The poster for Matt Aston’s production of The Storm Whale
You will love the detail in Denno’s set and costume designs, from the cotton-wool snowy rooftops in winter to the starfish “badge” on Noi’s striped jumper.
Hayley Del Harrison’s movement direction flows as pleasingly as the storytelling, and when the lighthouse light switches on as a beacon to guide Dad to safety, it also serves to remember the work of original lighting designer Jason Salvin (whose torch is now carried by Christopher Flux).
“The Storm Whale was Jason’s last show before he passed away in November 2020,” says Aston. “The show is always now dedicated to him.”
What a magical, moving, beautiful show it is.
York Theatre Royal, Engine House Theatre, Little Angel and The Marlowe, Canterbury present The Storm Whale at York Theatre Royal Studio, today and tomorrow, 10.30am and 1.30pm. Running time: 75 minutes, including interval. Age guidance: Four upwards. Box office: 01904 623568 or yorktheatreroyal.co.uk.
HISTORICAL dance teacher Lottie Adcock will lead a Tudor dance workshop at York St John University Creative Centre Auditorium on Sunday, April 27 at 2pm as part of York International Shakespeare Festival.
“Enthusiasts and newcomers alike are invited to come and learn dances from the time of Shakespeare,” says Lottie, who teaches regular Dance The Past workshops in York and the surrounding area and has more than 15 years’ experience in this dance form.
Her repertoire spans hundreds of years, from medieval to early 20th century dances. For her three-hour workshop of popular Tudor dances, she takes inspiration from the references to dance in Shakespeare’s writing.
“Come and learn the Scotch Jig, the Cinquepace, the Galliard and maybe even the controversial Lavolta, amongst others,” says Lottie, who will lead participants through dances accompanied by music after relevant quotes are read to set the scene as Shakespeare, the social commentator, gives an insight to the popular entertainment of his time.
“You don’t need prior experience or a partner and there’s no need to dig out your Tudor costume. Those taking part are just encouraged to wear comfortable shoes and bring water.”
Historic dance was a hobby for Lottie that turned into a passion and now a business. “I love learning about social history and feel that historic dance is a great way to gain insight into the minds of our ancestors,” she says.
When she is not dancing, Lottie works as a living history interpreter at Murton Park, home of the Yorkshire Museum of Farming, in Murton Lane, York. In her spare time, she loves playing board games, Dungeons & Dragons and travelling whenever possible.
Workshop tickets are on sale at parrabbola.co.uk/booking-calendar/dance-the-past. The full tenth anniversary festival programme can be found at yorkshakes.co.uk.
Gary Oldman in rehearsal for Samuel Beckett’s Krapp’s Last Tape, now in its preview week at York Theatre Royal. Picture: Gisele Schmidt
GARY Oldman’s return to York Theatre Royal tops the bill of Charles Hutchinson’s recommendations and chocolate is in the air too.
York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, until May 17
ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit in York, 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 1987.
“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 yorktheatreroyal.co.uk.
Laura Soper’s Noi with the beached Storm Whale in The Storm Whale at York Theatre Royal Studio. Narrator Charlotte Benedict looks on. Picture: Charlie Kirkpatrick, Kirkpatrick Photography
Children’s show of the week: The Storm Whale, York Theatre Royal Studio, until Saturday, 10.30am and 1.30pm
YORK writer and director Matt Aston revives his 2019 stage adaptation of Benji Davies’s tales of loneliness, love and courage, The Storm Whale, in a show built on puppetry, original songs and dialogue.
Noi lives with his dad and six cats by the sea. One summer, while dad was busy at work, Noi rescued a little whale, washed up on the beach. A friendship began that changed their lives forever. The following winter, his dad takes one last trip in his fishing boat. Alone once more, Noi longs to see his friend again. Will it take another storm to bring them back together? Box office: 01904 623568 or yorktheatreroyal.co.uk.
York Chocolate Festival: City centre will be chock-a-block with chocs and eggs for Easter
Festival of the week: York Chocolate Festival 2025, today to Saturday, 10am to 5pm
YORK Chocolate Festival showcases everything sweet and chocolate from independent businesses in Parliament Street and around the city.
Highlights include the York Chocolate Festival Market; Chocolate Taste Trail; Ashley McCarthy’s Chocolate Sculpture and Family Easter Egg Hunt. Entry to the festival and market is free; some activities and events require tickets. Full programme at: yorkfoodfestival.com/programme.
Showaddywaddy: Rock’n’roll revivalists standing under the moon of love at The Grand Opera House, York
Rock’n’roll nostalgia of the week: Showaddywaddy, Grand Opera House, York, tomorrow, 7.30pm
SHOWADDYWADDY make the bold claim to be “the greatest rock’n’roll band in the world”, living up to that title for the past five decades, they say.
Formed in 1973 in Leicester, they have sold more than 20 million records. Here come Hey Rock And Roll, Under The Moon Of Love, Three Steps To Heaven, When, Blue Moon, Pretty Little Angel Eyes et al. Box office: atgtickjets.com/york.
Mark Radcliffe and David Boardman: Two voices, two guitars, original songs and carefully chosen covers at Pocklington Arts Centre
Duo of the week: Mark Radcliffe and David Boardman, Pocklington Arts Centre, tomorrow, 8pm
MARK Radcliffe and David Boardman are singing, songwriting, strumming and swigging buddies from Knutsford in the Badlands of the Cheshire Plain. BBC radio presenter and author Radcliffe was a member of folk-rock bands The Family Mahone and Galleon Blast and is now one half of electronic duo UNE and drummer and lyricist for Americana band Fine Lines.
Guitarist, guitar teacher and visual artist Boardman cut his teeth on the rock circuit with Darktown Jubilee. On board with Radcliffe, they deliver two voices, two guitars, original songs, carefully chosen covers and the occasional rambling anecdote. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Patrick Monahan: The Talkinator fights back against AI at Theatre@41, Monkgate
Comedy gig of the week: Patrick Monahan: The Talkinator, Theatre@41, Monkgate, York, Friday, 8pm
IN 2024, amid much talk of about AI taking over humans, only one man can out-talk the chat-bots and robots. Step forward Irish-Iranian comedian Patrick Monahan for one hour of stand-up comedy written by a human, performed by a human. Box office: tickets.41monkgate.co.uk.
Alfie Richards’ Mr Tumnus in The Lion, The Witch And The Wardrobe, on tour at the Grand Opera House, York
Touring show of the week: The Lion, The Witch And The Wardrobe, Grand Opera House, York, April 22 to 26, 7pm plus 2pm Wednesday, Thursday and Saturday matinees
STEP through the wardrobe into the kingdom of Narnia for the most mystical of adventures in a faraway land. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and say hello to Mr Tumnus, the talking Faun (Alfie Richards), Aslan, the Lion (Stanton Wright), and the coldest, cruellest White Witch (Katy Stephens).
Directed by Michael Fentiman, this breathtaking stage adaptation brings magical storytelling, bewitching stagecraft and stellar puppets to CS Lewis’s allegorical novel. Box office: atgtickets.com/york.
Alex Hamilton: Playing the blues with his trio at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents Alex Hamilton Band, Milton Rooms, Malton, April 24, 8pm
ALEX Hamilton (formerly Lewis Hamilton) has been part of the British blues rock scene for more than ten years, touring Great Britain and Europe. First making his mark as a young guitarist with skills beyond his age, he has matured and developed a technique redolent of Robben Ford and Matt Scofield.
Hamilton’s debut album aged 18 won the Scottish New Music Award in 2011 and his subsequent albums have been nominated for the British Blues Awards. He tours in a trio with his father Nick on bass and Ian Beestin on drums. Box office: 01653 696240 or themiltonrooms.com.
In Focus: 1812 Theatre Company in Agatha Christie’s The Mirror Crack’d, Helmsley Arts Centre, April 23 to 26, 7.30pm
Jean Sheridan’s Miss Marple, left, and Jeanette Hambidge’s Cherry Baker in rehearsal for Miss Marple in Agatha Christie’s The Mirror Crack’d. Picture: Joe Coughlan
HELMSLEY Arts Centre’s resident troupe, the 1812 Theatre Company, present Rachel Wagstaff’s stage adaptation of Miss Marple in Agatha Christie’s The Mirror Crack’d, a story of revenge and dark secrets set in late-summer 1962 England, when the wind of change blowing through the land reaches sleepy St Mary Mead.
A new housing estate, The Development, is making villagers fearful of changing times. Stranger still, a glamorous Hollywood movie star has bought the manor house, Gossington Hall, throwing the village into a frenzy.
Meanwhile, Miss Jane Marple (played by Jean Sheridan) has injured her ankle, a temporary impairment that confines her to a chair, making her question if life has passed her by. Enter Scotland Yard’s Chief Inspector Craddock (Richard Bannister), the son of a very dear friend of the spinster sleuth, after the vicious murder of a woman, poisoned at a party held by film star Marina Gregg (Lucy Wilshaw). Now Miss Marple must unravel a web of lies, tragedy and danger.
All the party guests are suspect; as ever, everyone’s version of events is different. Who would have guessed that a famous poem by Alfred, Lord Tennyson would provide the key to the mystery?
Wagstaff’s play is an adaptation of Christie’s 1962 novel The Mirror Crack’d From Side To Side, first toured in 2019 with a cast led by Susie Blake as Miss Marple and Simon Shepherd as Chief Inspector Craddock. Blake reprised the role on tour at York Theatre Royal in October 2022.
Lucy Wilshaw rehearsing her role as American film star Marina Gregg. Picture: Joe Coughlan
“The title of the novel, and the shortened version for the play, is taken from the moment when the mirror of ‘The Lady of Shalott’ (from the Tennyson poem) cracks and the curse she’d feared now befalls her,” says director Julie Lomas.
“The novel’s plot was undoubtedly inspired by Agatha Christie’s reflections on a mother’s feelings for a child born with disabilities, and it is thought that she was influenced by happenings in the life of beautiful real-life actress Gene Eliza Tierney.
“There are several themes running through the novel, and the play, covering some of the changes in social history since the Second World War, including the class structure, racism and ageism.”
The novel was made into a film in 1980, with a multitude of star names, includimg Angela Lansbury as Miss Marple, Elizabeth Taylor as Marina Gregg and Edward Fox as Chief Inspector Craddock.
All the Miss Marple’novels were adapted for a BBC TV series shown in the 1990s, starring Joan Hickson as Miss Marple.
For tickets, ring 01439 771700 or book at helmsleyarts.co.uk.
Who’s in the cast?
Becca Magson’s Lola Brewster and Richard Bannister’s Chief Inspector Craddock in the rehearsal room. Picture: Joe Coughlan
THE Mirror Crack’d was scheduled to be staged by 1812 Theatre Company in 2024, but that old enemy Covid intervened. After a few cast changes under new director Julie Lomas, the production is ready for next week’s run.
Miss Jane Marple: Jean Sheridan
Marina Gregg: Lucy Wilshaw
Cherry Baker: Jeanette Hambidge
Chief Inspector Dermot Craddock: Richard Bannister
Heather Leigh: Michele Hopley
Cyril Leigh: Steven Lonsdale
Jason Rudd: Beaj Johnson
Giuseppe Renzo: Barry Whitaker
Dolly Bantry: Lynn Goslin
Ella Zielinski: Linda Tester
Lola Brewster: Becca Magson
Who’s in the production team?
Jean Sheridan’s Miss Marple, left, and Lynn Goslin’s Dolly Bantry on the phone in rehearsal for 1812 Theatre Company’s production. Picture: Joe Coughlan
Director: Julie Lomas
Production assistant: Julie Wilson
Stage manager/properties: Anna Hare; Marcie Hughes
Technical director: James Bentley
Set design: Julie Lomas; Sue Elm
Set construction: Michael Goslin; Peter Ives; Russell Smith
Set painting: Pauline Noakes; Heather Linley; Denise Kitchin; Liz Ives; John Lomas
Sound design: Julie Lomas; John Lomas
Lighting design: Julie Lomas
1812 Theatre Company’s poster for next week’s production of Miss Marple in Agatha Christie’s The Mirror Crack’d
Edmund (Bunmi Osadolor), Peter (Jesse Dunbar)Lucy (Kudzai Mangombe) and Susan (Joanna Adaran) in The Lion, The Witch And The Wardrobe, on tour at the Grand Opera House, York, Alhambra Theatre, Bradford, and Hull New Theatre
MICHAEL Fentiman’s breathtaking production of The Lion, The Witch and The Wardrobe visits the Grand Opera House, York, from April 22 to 26 on the tour marking the 75th anniversary of C S Lewis’s novel.
Step through the wardrobe into the enchanted kingdom of Narnia where a world of wonder awaits. Join the Pevensie children, Lucy (Kudzai Mangombe), Edmund (Bunmi Osadolor), Susan (Joanna Adaran) and Peter (Jesse Dunbar) as they meet new friends, face dangerous foes and learn the lessons of courage, sacrifice and the power of love.
Waving goodbye to wartime Britain, the children embark on the most magical of adventures in the frozen, faraway land, where they encounter Mr Tumnus, the faun (Alfie Richards), talking beavers, Aslan, the noble king of Narnia (Stanton Wright) and the coldest, most evil White Witch (Katy Stephens).
Stephens has played leading roles at Shakespeare’s Globe and the Royal Shakespeare Company, where she is an associate artist. She was part of the team that won the Olivier Award for Best Ensemble Performance for the RSC’s Histories Cycle, in which her roles included Joan of Arc and Margaret of Anjou.
Katy Stephens’s White Witch in The Lion, The Witch And The Wardrobe. Picture: Ellie Kurttz
“I’m thrilled to bring this show to life for audiences,” says Katy, who also plays Mrs Macready in Fentiman’s production. “They won’t believe their eyes and ears! For two and a half hours, they’ll be completely transported. It’s the perfect way to spend an afternoon or evening – a show that will captivate both adults and children alike.
“The level of talent on stage is incredible. I’ve been in awe of the stunning musicianship, beautiful dancing, and powerful performances. I’ve laughed, I’ve been moved, and I feel so privileged to be part of this production.
“I know the audience will feel the same way. Above all, it’s a beautiful, powerful, and truly magical show – the warmest, most enchanting spectacle you could imagine.”
The cast also features Archie Combe as Mr Pope and Foxtrot; Andrew Davison as Mr Wilson Schroedinger, Jack Rabbit, Aslan Puppeteer and Head Cruel; Anya de Villiers as Mrs Beaver; Molly Francis, as Mrs Pevensie, Aslan Puppeteer and Robin; Ruby Greenwood (on-stage Swing); Ffion Haf as Miss Gumley-Warmley and Phoenix) and Rhiannon Hopkins as Miss Chutney and Blue Badger.
Alfie Richards’ Mr Tumnus in The Lion, The Witch And The Wardrobe
Alfie Richards has further roles as White Mouse and Badger; Joe Keenan plays Mr Granville, Spirit of the Moon and Red Squirrel; Ruby Greenwood, Oliver Magor, J B Maya and Luca Moscardini, on-stage Swings; Kraig Thornber, The Professor, Father Christmas and Wise Owl; Ed Thorpe, Mr Beaver; Rhodri Watkins, Mr Brinkworth, March Hare and Aslan Puppeteer; and Shane Anthony Whiteley, Maugrim, Satyr and White Stag.
Fentiman, whose direction is based on the original production by Sally Cookson, is joined in the production team by set and costume designer Tom Paris; composers Barnaby Race and Benji Bower; choreographer Shannelle ‘Tali’ Fergus; lighting designer Jack Knowles and sound designer Tom Marshall.
In the team too are original puppetry director Toby Olié; original puppetry designer Max Humphries; aerial director Gwen Hales; fight director Jonathan Holby; Illusionist Chris Fisher; musical director Ben Goddard and hair and make-up designer Susanna Peretz.
Fentiman says: “I’m delighted to be taking our beautiful production of The Lion, The Witch And The Wardrobe on a major tour of the UK and Ireland in 2025. The production celebrates the magic of live theatre and is led by a multi-talented cast of actors, singers, musicians, dancers and puppeteers; it is a celebration of the possibilities of the collective imagination and the boundless wonders of individual skill.”
Producer Chris Harper says: “We can’t wait for children and adults alike to join us on this spectacular new journey through the wardrobe, and are proud to be marking the 75th anniversary of the publication of CS Lewis’s novel with this tour.”
Lewis’s book was first published in October 1950, since when more than 85 million copies in 60 languages have been sold, making it one of the top ten best-selling books of all time. The stage adaptation enjoyed a London run in 2022-2023 and is now on a nationwide tour after a Christmas season at Leeds Playhouse, where it was first produced.
The Lion, The Witch And The Wardrobe, Grand Opera House, York, April 22 to 26, 7pm plus 2pm Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.
Further Yorkshire runs will follow at Alhambra Theatre, Bradford, September 23 to 27, 7pm plus 2pm Wednesday and 2.30pm Saturday matinees (box office, 01274 432000 or) and Hull New Theatre, September 30 to October 4, 7pm and 2pm Thursday and Saturday matinees (box office, hulltheatres.co.uk). Age guidance: six upwards.
The poster for the return of The Storm Whale, playing York Theatre Royal Studio from tomorrow to Saturday
YORK writer-director Matt Aston’s revival of his uplifting stage version of The Storm Whale, adapted from Benji Davies’s brace of books, will make a splash at York Theatre Royal Studio from tomorrow.
Premiered in 2019, Aston’s play for ages four to eight combines puppetry, original songs and dialogue in a magical theatrical adventure of loneliness, love and courage rooted in Davies’s books The Storm Whale and The Storm Whale In Winter.
“It’s so great to bring the show back to York Theatre Royal, where it all began, and to share this beautiful story with a whole new audience of children and their families,” says Matt, ahead of the Easter holiday run. “Benji Davies’s books have such a captivating and heartwarming message, and I think people of all ages will find something to love in the show.”
In The Storm Whale, Noi lives with his dad and six cats by the sea. One summer, while dad was busy at work, Noi rescued a little whale, washed up on the beach. A friendship began that would change their lives forever.
When his father takes one last trip in his fishing boat the following winter, Noi is alone once more and longs to see his friend again. Will it take another storm to bring them back together?
The Storm Whale writer-director Matt Aston in Rowntree Park. Picture: Livy Potter
“Our show follows the story of a young boy, Noi, and his friendship with a whale and looks at how, through the power of friendship and courage, you can overcome loneliness,” says Matt.
“Those who know Benji’s books will absolutely believe that his characters have come right off the page and to life on the stage. Lydia Denno’s designs are stunning and the show is a real visual treat with puppets beautifully crafted by Keith Frederick.
“The music by Julian Butler is also fabulous and there are some gorgeous earworms in there that you won’t be able to stop humming after seeing the show.”
Matt had worked previously on a stage adaptation of Davies’s book Grandad. “That was a delight to make,” he says. “The Storm Whale was already published at this point but when Benji later wrote The Storm Whale In Winter, I saw straight away how both stories could work together as a complete story arc to make one show.
“Bringing stories like these from the page to the stage is really all about pulling out the wider story of what’s going on underneath by developing the characters and their relationships. The book is the starting point and then you look at how you can bring it to life through the music, the puppetry and the sets.
The Storm Whale at York Theatre Royal Studio in 2019. Picture: Northedge Photography
“Whenever I do a show for children, it’s always vital to think about the grown-ups who will be coming with them. It’s important to ensure that the parents, grandparents and carers are not forgotten and that there’s something for them to enjoy. It’s a really moving story about the power of friendship and love overcoming loneliness and both adults and children alike can relate to that.”
Matt is an advocate for children experiencing theatre from a young age. “For me, there isn’t anything like the experience of live theatre,” he says. “The power of just sitting in a room and listening to a good story being simply told is truly magnificent. I really believe that the art of storytelling is central to a child’s development, and whether that’s through music, movement or puppetry, it can make such a difference at an early age to have exposure to that.
“We’ve had some really lovely feedback from parents about how children have been really transported by the stories and going home and acting them out. The power of the live experience of watching theatre is, for me, really special and I can’t wait for a whole new audience of four, five and six-year-olds to come and see it.”
Finally, why should children and adults alike see this show, Matt? “It’s captivating, heartwarming and has a really good heart. There is something for all ages to love – it’s a theatrical experience for the parents as well as the children. For fans of the books, it’s a great way to see them brought to life on the stage and for those new to the stories, you’ll hopefully find a new favourite.”
York Theatre Royal, Engine House Theatre, Little Angel and The Marlowe, Canterbury present The Storm Whale at York Theatre Royal Studio, April 15 to 19, 10.30am and 1.30pm. Running time: 75 minutes, including interval. Age guidance: Four upwards. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Gary Oldman in rehearsal for Samuel Beckett’s Krapp’s Last Tape. Picture: Gisele Schmidt
GARY Oldman’s return to the York Theatre Royal stage after 45 years in Samuel Beckett’s Krapp’s Last Tape from today had sold out, but a combination of returns and additional seats are newly available. Hurry, hurry.
Once the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit in York, Oscar winner Oldman now directs himself – and provides the set design too – in Beckett’s melancholic, tragicomic slice of theatre of the absurd in his first stage appearance since 1987.
“York, for me, is the completion of a cycle,” says Oldman.“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’.”
What happens over the course of 50 minutes in Krapp’s Last Tape? Each year, on his birthday, Krapp records a new tape reflecting on the year gone by. On his 69th birthday, Krapp, now a lonely man, is ready with a bottle of wine, a banana and his tape recorder. Listening back to a recording he made as a young man, Krapp must face the hopes of his past self.
Oldman, who turned 67 on March 21, now takes on a role premiered by Patrick Magee in 1958 and since played by the likes of Albert Finney, Harold Pinter, John Hurt, Stephen Rea and Kenneth Allan Taylor, the long-running Nottingham Playhouse pantomime dame, writer and director, in the play’s last performance at York Theatre Royal in 2009.
Gary Oldman with York Theatre Royal chief executive Paul Crewes surveying the main house auditorium
Oldman has been considering going back to the stage for a long time. “I have never been far from the theatre and, in fact, have been discussing plays and my return to the theatre for nearly 30 years,” he posted on Instagram.
The April 14 to May 17 production of Beckett’s one-act monodrama was set in motion in March 2024, when Slow Horses star Oldman paid a visit to the St Leonard’s Place theatre , where he met chief executive Paul Crewes.
“When Gary visited us, it was fascinating hearing him recount stories of his time as a young man, in his first professional role on the York Theatre Royal stage,” says Crewes. “In that context when we started to explore ideas, we realised Krapp’s Last Tape was the perfect project.”
The youngest of three children in a working-class London family, Oldman left school at 16 and began acting in productions with Greenwich and Lewisham Young People’s Theatre.
He applied for RADA (Royal Academy of Dramatic Art) but his rejection came with the advice to do something else for a living. Advice that he ignored, instead winning a scholarship to Rose Bruford College of Speech and Drama, from where he graduated with a BA in acting in 1979.
Pantomime puss: Gary Oldman’s Cat, with Berwick Kaler’s dame, centre, in Dick Whittington And His Wonderful Cat at York Theatre Royal in 1979-80
Whereupon he headed north to start out in the repertory ranks at York Theatre Royal in 1979 in a repertory season of nine shows, taking in She Stoops To Conquer, Thark, Privates On Parade and Romeo And Juliet, topped off by playing the Cat in furry suit, mittens and nylon whiskers in Berwick Kaler’s third York pantomime, Dick Whittington And His Wonderful Cat, that Christmas.
Dame Berwick later told the Guardian in an interview in 2018: “Gary has gone on to become one of our greatest screen actors but I’m afraid he was a bit of a lightweight when it came to pantomime.
“He kept fainting inside the costume. On at least three occasions I had to turn to the audience and say, ‘Oh dear, boys and girls, I think the poor pussy cat has gone to sleep’!”
Another actor in the rep company, Michael Simkins, has recalled the “bruising schedule of 50 performances in seven weeks, not to mention the drunken and relentless partying in various digs and rented bed-sits after curtain down”.
Oldman moved on to the Colchester rep and Glasgow Citizens Theatre, where he performed with Rupert Everett. He has called his time there “a coming of age – the work was joyful, bold and exhilarating. In the years that followed no other theatre experience could match it,” he said.
While appearing in Edward Bond’s controversial play Saved at the Palace Theatre, in Westcliff, he was “spotted” by Royal Court Theatre director Max Stafford-Clark. Or, rather, he had Oldman drawn to his attention – by Oldman himself.
Gary Oldman in the York Theatre Royal dressing rooms. Picture: Gisele Schmidt
Like many young actors, he had written to the director setting out why he wanted to work at the cutting-edge London theatre. Stafford-Clark recalls that “it was a particularly well-argued letter”, so he went to see Saved.
Many of the audience – only about 30-strong – walked out but the director duly cast him in Bond’s The Pope’s Wedding, at the Royal Court. Saved, meanwhile, won him the British Theatre Association Drama Magazine award for 1985 and the Time Out Fringe award as best actor.
Roles ensued with the Royal Shakespeare Company and at the Royal Court in new works by Bond and Caryl Churchill. Harold Pinter was lined up to direct him in his play The Caretaker in the West End.
Oldman’s last stage performance was in 1987 in Churchill’s satirical play Serious Money at the Royal Court. By then, he had appeared in his break-out screen role as damaged punk Sid Vicious in Sid And Nancy, his 1986 alarm call to herald a career in films that have grossed 11 billion dollars. “I never thought I’d get into films in a thousand years,” he once said.
Today, he opens in a theatre show for the first time in 38 years, back in York for his “completion of a cycle”, banana in hand in Krapp’s Last Tape.
Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17. Box office: 01904 623568 or at yorktheatreroyal.co.uk.
Gary Oldman’s programme note for Krapp’s Last Tape: Returning Home
Gary Oldman: Picture: Gisele Schmidt
“I MADE my professional public acting debut on the stage in front of you. It is on that stage, over four decades ago, I gained confidence and self-discipline; no small thing. More importantly, I learned a work ethic – one that has never left me to this day.
“It’s impossible to think that I have spent nearly the entirety of my professional life since then in front of the camera. But, camera or not, the theatre never leaves you. Shortly after I entered the world of film, I met Douglas [Urbanski], my producing partner, whose roots in the theatre were as deep as it gets.
“In the thousands of conversations we have had, spanning more than 30 years, a theatre reference or an anecdote or experience is almost always present. We both pull from a giant mental museum of theatre references, knowledge and experience. And, he and I, in fact, have been discussing plays and my return to the stage since the day we met.
“Recently my wife, Gisele [Schmidt], and I adapted a television comedy pilot based solely in and around a British theatre. The writing process, as you might imagine, was punctuated with fond remembrances of my days on the boards.
“It was this project, in part, that reignited the conversation. If I were to do a play, where would I do it? We danced around the usual suspects and ultimately landed on York Theatre Royal. After all, it is the where it all began. York, in a very real sense, for me, is coming home. I met with YTR’s chief executive, Paul Crewes, and the play, the how, and the when , were mapped out.
The poster for Gary Oldman’s return to York Theatre Royal after 45 years in Krapp’s Last Tape, performed, directed and designed by the erstwhile pantomime puss
“York Theatre Royal is one of the oldest theatres in England, with a rich and varied history dating back to 1744. This ancient building still holds many charms, but has undergone some massive redevelopment.
“You no doubt entered through the glass and concrete extension on the building’s north face. A 1960s addition by architect Patrick Gwynne. A new cafe, box office, studio theatre, and a renovation to the main auditorium were completed in 2016.
“Yet, despite all the structural upgrades, the same old challenges remain. Finding funding, the upkeep of the building, and, more importantly, getting the people to come. It’s not easy. There are just too many distractions for the eyes, ears, and pulling at one’s purse strings, particularly for the new, younger audience.
“I think it’s important to remember, for those who live outside London, a local theatre is their only access to the arts. Without a local theatre, the younger generation will never get the chance to see theatre. We need these future generations if theatre is to thrive.
“I hope this production of Krapp’s Last Tape whets the appetite, giving those new to the theatre a completely revelatory experience. And who knows? It may encourage them to visit the theatre again. And again. And again. They may even invite a friend. And hopefully a devoted theatregoer, or two, will emerge!”
Gary Oldman in rehearsal for Krapp’s Last Tape, opening at York Theatre Royal on April 14. Picture: Gisele Schmidt
GARY Oldman’s return to York Theatre Royal tops the bill of Charles Hutchinson’s recommendations. Chocolate is in the air too.
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 in York, 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 yorktheatreroyal.co.uk.
Margaret Beech: Making “paper magic” for York Open Studios in Oaken Grove, Haxby, York
Art event of the week: York Open Studios, Saturday and Sunday, 10am to 5pm
YORK Open Studios showcases 163 artists and makers at 116 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.
Wrongsemble: Performing Three Little Vikings, a tale of cooperation, bravery and making your voice heard, at Helmsley Arts Centre
Ryedale children’s show of the week: Wrongsemble in Three Little Vikings, Helmsley Arts Centre, Saturday, 2.30pm
LEEDS company Wrongsemble present a 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 won’t listen, can the three littlest Vikings figure out how to save the day in a 50-minute tale of cooperation, bravery and making your voice heard. Box office: 01439 771700 or helmsleyarts.co.uk.
Mark Stratford in Macready! Dickens Theatrical Friend, on tour at Theatre@41, Monkgate
Dickens of a good show of the week: Mark Stratford in Macready! Dickens’ Theatrical Friend, Theatre@41, Monkgate, York, tonight, 7.30pm
WRITER-PERFORMER Mark Stratford’s solo play tells the story of Macready, the Victorian actor-manager to whom Charles Dickens dedicated his novel Nicholas Nickleby. Capturing the joy, graft and tribulations of a life lived in theatre with passion, humour, emotion and multiple characters, Stratford journeys through the fascinating world of Victorian theatre and the extraordinary, conflicted life of Macready, from his first tentative steps on stage in a tatty country theatre to his final Drury Lane performance. Box office: tickets.41monkgate.co.uk.
Daniele Coombe, left, Rebecca Wheatley, Maureen Nolan and Carli Norris in Menopause The Musical 2 – Cruising Through The Menopause at the Grand Opera House
Musical of the week: Menopause The Musical 2 – Cruising Through The Menopause!, Grand Opera House, York, Sunday, 6pm
CARLI Norris, from Doctors, Hollyoaks and EastEnders, Maureen Nolan, of The Nolans, Rebecca Wheatley, from Casualty, and West End actress Daniele Coombe star in the final UK tour of this menopausal sequel.
Fast forward five years as the same characters set off on the high seas in this heartfelt, reassuring look at the “joys” of the menopause. Cue hot flushes, mood swings, memory lapses and weight gain on a bumpy trip of self-discovery, love and friendship, backed by a soundtrack of parodied hits. Box office: atgtickets.com/york.
The Storm Whale: Returning to York Theatre Royal next week after its first plunge in 2019. Picture: Northedge Photography
Revival of the week: The Storm Whale, York Theatre Royal Studio, April 15 to 19, 10.30am and 1.30pm
YORK writer and director Matt Aston revives his 2019 stage adaptation of Benji Davies’s tales of loneliness, love and courage, The Storm Whale, in a show built on puppetry, original songs and dialogue.
Noi lives with his dad and six cats by the sea. One summer, while dad was busy at work, Noi rescued a little whale, washed up on the beach. A friendship began that changed their lives forever. The following winter, his dad takes one last trip in his fishing boat. Alone once more, Noi longs to see his friend again. Will it take another storm to bring them back together? Box office: 01904 623568 or yorktheatreroyal.co.uk.
York Chocolate Festival: City centre will be chock-a-block with chocs’n’eggs for Easter
Festival of the week: York Chocolate Festival 2025, April 16 to 20, 10am to 5pm
YORK Chocolate Festival showcases everything sweet and chocolate from independent businesses in Parliament Street and around the city.
Highlights include the York Chocolate Festival Market; Chocolate Taste Trail; Ashley McCarthy’s Chocolate Sculpture and Family Easter Egg Hunt. Entry to the festival and market is free; some activities and events require tickets. Full programme at: yorkfoodfestival.com/programme.
Showaddywaddy: Rock’n’roll revivalists standing under the moon of love at the Grand Opera House
Rock’n’roll nostalgia of the week: Showaddywaddy, Grand Opera House, York, April 17, 7.30pm
SHOWADDYWADDY make the bold claim to be “the greatest rock’n’roll band in the world”, living up to that title for the past five decades, they say.
Formed in 1973 in Leicester, they have sold more than 20 million records. Here come Hey Rock And Roll, Under The Moon Of Love, Three Steps To Heaven, When, Blue Moon, Pretty Little Angel Eyes et al. Box office: atgtickjets.com/york.
The Talkinator: Written by a human, performed by a human, Patrick Monahan
Comedy gig of the week: Patrick Monahan: The Talkinator, Theatre@41, Monkgate, York, April 18, 8pm
IN 2024, amid much talk of about AI taking over humans, only one man can out-talk the chat-bots and robots. Step forward Irish-Iranian comedian Patrick Monahan for one hour of stand-up comedy written by a human, performed by a human. Box office: tickets.41monkgate.co.uk.
The Divine Comedy: New album and York Barbican tour date. Picture: Kevin Westerberg
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.
Thomas Frere and Cal Stockbrige in Clap Trap Theatre’s Switcheroo
NORTH Yorkshire company Clap Trap Theatre will stage Tom Needham’s Switcheroo at York Theatre Royal Studio from May 22 to 24.
Billed as “unique and entertaining”, the play is based on the very simple premise that “it’s not what you say, it’s the way that you say it”.
Penned by the BAFTA-nominated Needham, the story follows three siblings who, when it comes to scattering their mother’s ashes, are hit with a bombshell revelation that turns their world upside down.
The first act is a full-blown, larger than life comedy. After the interval, the actors swap characters to repeat it as a serious drama.
Directed by Riding Lights artistic director Paul Birch, the cast features Thomas Frere (Alex/Sam), whose credits include Candide(Liverpool Everyman) and Return To The Forbidden Planet (UK tour), Clap Trap co-founder Cal Stockbridge (Sam/Pat), who has starred in A Midsummer Night’s Dreamand Doubt andDominic Goodwin (Pat/Alex), seen previously in Two, The Long Mirror and Not About Heroes.
Dominic Goodwin, left, and Thomas Frere in Clap Trap Theatre’s production of Tom Needham’s Switcheroo
Clap Trap Theatre was founded in 2007 by Stockbridge and Gareth Jenkins to “bring intimate theatrical productions of both new and classical works to a wide variety of venues around Yorkshire and beyond”.
They rehearse at a small holding near Pickering, in Ryedale, in a converted barn shared with bats. “Over the past 18 years, we’ve performed in arts centres, major theatres, village halls, Methodist chapels, and Quaker meeting houses all over the UK,” says Cal.
“We’ve commissioned and performed seven new plays during this period and we’re delighted to be touring Tom Needham’s Switcheroo, opening at the York Theatre Royal Studio in May.”
Clap Trap Theatre in Switcheroo, York Theatre Royal Studio, May 22, 7.45pm; May 23, 7.45pm with post-show discussion; May 24, 2.30pm and 7.45pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
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
