REVIEW: York Stage, The Great British Bake Off Musical, Joseph Rowntree Theatre, York, baking until Saturday ****

Oops! Nik Briggs’s big Ben sees his Big Ben showstopper topple over in York Stage’s The Great British Bake Off Musical. All pictures: Charlie Kirkpatrick, Kirkpatrick Photography

NIK Briggs’s York premiere of Jake Brunger & Pippa Cleary’s musical spoof could not be better timed, opening the night after the final to series 16 of Channel 4’s The Great British Bake Off, most notable for the winner’s Showstopper being the largest cake in the show’s history.

It measured 1.2 metres in length, should you be wondering. Nothing is baked on quite that scale beneath York Stage’s tented stage decked in bunting and banter, but more than 50 models of cakes have been made in foam and Polystyrene for Technical Challenges and Showstoppers alike.

‘Bake Off’ is the first musical where the Showstopper meets the show-stopper, drawing the increasingly trim producer-director Briggs back to the boards for his first principal role since Shrek – his 2020 pantomime cow doesn’t count! – to sing two of the peachiest numbers, My Dad (with Eady Mensah’s Lily, his chaperoned daughter) and The Perfect Petit Fours (with Harriet Yorke’s outstanding Gemma).

Bake Off contestants for starters: Stu Hutchinson’s Russell, left, Harriet Yorke’s Gemma, Joanne Theaker’s Babs, Grant McIntyre’s Dezza, Alana Blacker’s Francesca, Nik Briggs’s Ben and Fredo’s Hassan

Briggs’s widowed Bristol police detective Ben – “the cooking copper” – and Yorke’s Blackpool carer Gemma are two of the eight contestants, each with a back story and motive for competing to be revealed in song, like cutting through a multi-layered cake.

Joanne Theaker’s Babs, thrice married and looking for a fourth, is a lemon-sharp East London school dinner lady prone to euphemisms and giving back as good as she gets from Chris Wilson’s droll, Knock Knock joke-telling Phil Hollinghurst (the Paul Hollywood caricature).

Grant McIntyre’s powerfully voiced Dezza is the forceful vegan hipster environmentalist with a No Butter policy; Alana Blacker’s Francesca is a thirtysomething primary-school teacher, from Bognor via Bologna, bringing her Nonna’s traditional Italian recipes with her.

Joanne Theaker’s Babs on top form in Babs’ Lament, a show-stopper of the musical kind in The Great British Bake Off Musical

In his musical theatre debut, York busker Fredo (Sudeep Pandey) is Syrian-born  Wembley teenager Hassan, with his lucky T-shirt and happy-go-lucky demeanour. In scene-stealing mode, York Stage regular Stu Hutchinson’s Russell is an aeronautical engineer, married to Mario, as camp as a tent and determined to apply science and spreadsheets to his experimental bakes.

Amy Barrett’s Izzy, the 21-year-old Cambridge student of Home Counties stock, is posh and pushy, taking the biscuit for being so ruthlessly determined to win, dreaming of books deals, TV series.

Introducing proceedings, teasing and goading as the heat rises, are Sam Roberts’s Jim and Mary Clare’s Kim (“Mel and Sue, who?”, they say), while Tracey Rae’s bespectacled grand dame Pam Lee fills the Prue Leith slot with polished glitter and nudge-nudge-wink-wink banter.

Having her cake and eating too much of it: Amy Barrett’s win-at-all-costs Izzy, front and centre, where else, in The Great British Bake Off Musical

Brunger and Cleary bring affection, rather more than tension, to the tent, sending up Hollywood’s motorbike riding, Leith’s myriad business deals and love of a tipple in a recipe, and the baking-hot baking conditions that always befall one episode per series.

All the while, the elimination fun and games must be played out, concertinaed largely into one song, Don’t Send Me Home, with ever reducing numbers and ever-changing harmony demands for the diminishing contestants.

Everyone has their solo moment to parade their singing chops, Theaker’s Babs excelling in the pathos of Babs’ Lament and Yorke’s Gemma rising to the occasion in Rise. Wilson’s Hollinghurst and Rae’s Dame Pam have a rather sweet moment in I’d Never Be Me Without You.

Harriet Yorke’s Gemma: Rising to the occasion in Rise

Bubbling away throughout – as the tables disappear one by one, cakes crumble and contestants tumble – is the growing bond of Briggs’s Ben and Yorke’s Gemma, both in slow recovery from loss, to provide the obligatory love interest of the piece. Eady Mensah’s Lily (in a role to be shared with Abigail Hodgson, Ella Laister and Megan Pickard ) is a delightful conduit between them.

In style, Bake Off echoes most closely the humour and musical diversity of Victoria Wood’s patter songs and Tim Firth & Gary Barlow’s Calendar Girls. The underscore music of the TV series filters cleverly through the songs, ranging from big bluesy ballads to Chicago and Cabaret pastiches.

Songs have a tendency to go on too long, to overegg the moment, to be layered on a bit too thick – you get the picture – but the humorous dialogue is well timed under Briggs’s joyous direction and Danielle Mullan Hill’s musical staging is whisked into pleasing shapes. Likewise, Stephen Hackshaw’s band is on egg-cracking good form throughout, revelling in Jessica Viner’s arrangements.

And then there were seven: York Stage’s Bake Off contestants in the firing line for elimination: Joanne Theaker’s Babs, far left, Fredo’s Hassan, Nik Briggs’s Ben, Stu Hutchinson’s Russell, Harriet Yorke’s Gemma, Amy Barrett’s Izzy and Alana Blacker’s Francesca

We know that Edinburgh-born medical student Jasmine Mitchell won the Bake Off glass cake stand on Tuesday, but who triumphs in York Stage’s Great British Bake Off? Not telling, except to say that you’re the winner if you buy a ticket. Hollyhurst/Hollywood handshakes all round for a recipe delivered so creamily.

Iced buns being handed out on the forecourt before the show was the icing on the cake.

York Stage in The Great British Bake Off Musical, Joseph Rowntree Theatre, York, until Saturday, 7.30pm tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Well judged performances by Tracey Rea’s Pam Lee and Chris Wilson’s Phil Hollinghurst in The Great British Bake Off Musical

Introducing Fredo, playing Hassan in York Stage’s The Great British Bake Off Musical

YORK busker Fredo is making his first venture into musical theatre in York Stage’s The Great British Bake Off as Syrian-born Hassan, a 17-year-old student now living in Wembley, London.

Originally from Nepal, Fredo (real name Sudeep Pandey) came to York to study. He took up director-producer Nik Briggs’s invitation to step into the breach when the original actor, from elsewhere in Yorkshire, had to pull out on the first day or rehearsals.

“York Stage has always been committed to authentic casting, but within York’s acting community there are not a lot of Asian male actors,” says Nik. “I’d seen Fredo busking in York with his fantastic voice, so I looked up his details, contacted him and said ‘would you be interested in playing Hassan?’.

“He said ‘yeah’, and came down straightaway that night to start, with only five weeks of rehearsals to go. It’s his first time in a musical, his first time without his guitar on the street. He said, ‘five weeks ago, I didn’t even know what a musical was’!

Fredo: York busker making musical theatre debut in The Great British Bake Off Musical this week

“It’s been great to support him through his first stage show. He’s just so loveable. He has the biggest heart.”

 Fredo’s programme note states: “Fredo has built a reputation for his soulful vocals, intricate guitar work and dynamic live performances across Yorkshire’s vibrant music scene.

“Drawing inspiration from both Nepali roots and British contemporary sounds, his music blends cultures and genres with authenticity and heart.”

Catch Fredo busking, playing gigs or doing open-mic nights around York. When not performing, he continues to write, record and share his original music with audiences both locally and online.

Recipe for success: Brew & Brownie baker Mary Clare in rehearsal for her role as hostess Kim in York Stage’s Great British Bake Off Musical

Did you know?

JESSICA Viner and Stephen Hackshaw are sharing musical director duties for York Stage’s The Great British Bake Off Musical. “Jess has been with us for all the rehearsals and was set to be the MD for all the shows, but then she was offered the chance to do Singin’ In The Rain in China for three months – having just done the Chitty Chitty Bang Bang UK tour for a year,” says director Nik Briggs.

“Stephen was with us for the first week and will lead the band and conduct us through the shows, having worked with the band last week.”

Did you know too?

YORK Stage cast member Mary Clare (playing Bake Off hostess Kim) is a professional baker, baking for Brew & Brownie, in Museum Street, York. “It’s been hilarious in rehearsals, when there’s been lots of slow-motion ‘baking’ going on, and Mary will say, ‘oh, no, that’s not how you use that implement’, ‘oh, no, that’s not how you sieve’!” says director Nik Briggs. “She’s been our ad-hoc baking expert in the rehearsal room.”

Bake Off hosts Jim (Sam Roberts) and Kim (Mary Clare) mucking around in York Stage’s York premiere

REVIEW: York Stage in Joseph And The Amazing Technicolor Dreamcoat, Grand Opera House, York, until Saturday ****

Gold top performance: Reuben Khan’s Joseph in York Stage’s Joseph And The Amazing Technicolor Dreamcoat. All pictures: Charlie Kirkpatrick

AFTER Lee Mead, Keith Jack, Joe McElderry and Union J’s Jaymi Hensley, Joseph’s coat of many colours fits Reuben Khan delightfully lightly at the Grand Opera House.

The University of York psychology student, from Burnley, has plenty on his mind: third-year studies; his debut York Stage title role and applications to London drama schools to do a Masters degree in musical theatre.

On the evidence of his assured performance at 23, especially vocally, his future looks as bright as the Technicolor Dreamcoat that had him “saying the colours of Jospeh’s coat before I could spell them” on car journeys with his mum.

Director, producer and designer Nik Briggs returns to Lloyd Webber and Rice’s early musical for the first time since his “Joseph as you’ve never seen it before” show at the Joseph Rowntree Theatre in November 2018 with its  cast of 50 and Joseph in pyjamas.

Performing on crutches: Finn East’s Simeon singing with the Brothers

The Grand Opera House offers the opportunity to deliver a production on a bigger scale, not in cast size, but in lighting, staging and visual impact, aided by the fabulous parade of costume designs from Charades Theatrical Costume, St Helens.

The stage is built from scratch, as first the Narrator, Hannah Shaw, then Joseph and children from York Stage School (divided into Team Canaan and Team Egypt) oversee the creation of the world of Canaan, home to Jacob and his 11 sons (some of them daughters in Briggs’s company).

It looks so inviting, you want to book a holiday there. All it needs now to complete the scene is a camel. Oh, and here comes a camel on wheels, pretty much life-size!

From the off, this sung-through pop musical moves at a lick: typified by Finn East’s Simeon defying his injured knee to speed around on crutches, popping up everywhere and taking on a second role too as the Snake.

Hannah Shaw, who studied music at York St John University, sets the tone and style in glittering dress and shiny boots, engaging with the children like a teacher, driving the show forward and singing with oomph, both in her high notes and a lower register.

Storyteller in song: Hannah Shaw’s Narrator

Reuben Khan’s Joseph sings like a dream, whatever a song demands, whether tenderness, drama, power, or emotion further heightened by standing atop a ladder on a stage suddenly full of them in one of Briggs’s most striking designs.

Khan’s characterisation of Joseph has to be expressed largely through Rice’s narrative lyrics, and he does so particularly strongly in the dark ballad Close Every Door, while Any Dream Will Do is as irresistible as ever.

Lesley Hill’s choreography is as playful, fun and camp as this glitterball of a musical demands, at its best in the glorious ensemble number Joseph’s Coat, where Adam Moore’s lighting design matches every change of colour in the lyric.

Briggs’s company revels in playing old favourites with a knowing campness that has only increased with the passing of the years, especially in Jacob (Martin Rowley) and the brothers’ cod rendition of the sad chanson Those Canaan Days, exaggerated French accents et al.

The York Stage company in Joseph And The Amazing Technicolor Dreamcoat

Benjamin’s Calypso is even dafter, full of Caribbean joy as Cyanne Unamba-Oparah’s Judah has the brothers walking on sunshine.

Pop hit after pop hit hits home in all manner of musical styles, from Alex Hogg leading the brothers in the One More Angel In Heaven hoedown to Matthew Clarke’s vainglorious Potiphar luxuriating in the richness of his self-titled song.

In the absence of Carly Morton with shingles (get well soon, Carly), Amy Barrett takes on the rock’n’roll role of Pharaoh, traditionally played in sequinned-Elvis-in-Las-Vegas style. Not so much Elvis as Elvira here, but her Song Of The King is still a peach (one of the 29 colours in Joseph’s coat, by the way).

Adam Tomlinson’s 15-piece orchestra is on top form throughout, savouring the multitude of song styles and pumping up the beat for the Joseph Megamix finale as the party vibe suffuses the cast and cheering audience alike.

York Stage in Joseph And The Amazing Technicolor Dreamcoat, Grand Opera House, York, 7.30pm tonight, Wednesday and Thursday; 5pm and 8pm, Friday; 2.30pm and 7.30pm, Saturday. Box office: atgtickets.com/york

REVIEW: Charles Hutchinson’s verdict on York Stage’s Kinky Boots ****

Bootiful moment for Damien Poole’s Charlie, left, and Samuel Lewis’s Simon/Lola in York Stage’s York premiere of Kinky Boots

York Stage in Kinky Boots, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: 0844 871 7615 or atgtickets.com/York

YORK Stage director-producer Nik Briggs has made an astute judgement in deciding to bring out the British qualities that marked Julian Jarrold’s 2005 film version of Kinky Boots in his York premiere of Harvey Fierstein and Cyndi Lauper’s 2012 musical.

For all its parochial Northampton setting, the American coupling of writer Fierstein and songwriter Lauper had crafted a show more rooted in grander Broadway stylings.

Briggs has retained the glitz, but located the grit too, making Kinky Boots more in keeping with Billy Elliot, Calendar Girls or even Harold Brighouse’s 1915 comedy-drama Hobson’s Choice, while still striving to match the glorious drag staging posts La Cage Aux Folles and Priscilla Queen Of The Desert The Musical.

Whether on Broadway, in the West End or now at the refurbished Grand Opera House, Kinky Boots applies a thigh-high boot up the derriere to prejudice and intolerance, championing diversity and rallying to the cause of letting people be who they are.

The Price & Son factory in York Stage’s Kinky Boots

Charlie Price (Damien Poole) needs to learn that lesson, just as his father, factory boss Mr Price (Martyn Hunter), did before him.

“Inspired by true events”, the setting is Price & Son, a fraying shoe factory on its last legs, where Charlie feels duty bound to fill his late father’s outmoded shoes, even though factories all around have lost their sole and closed.

Girlfriend Nicola (Nicola Holliday) wants him to climb the property ladder in London, but Charlie has only gone there to please her, his boot laces still tied to his hometown and his family’s loyal workforce.

He needs more than a patriarchal conscience, however. He requires a new direction and so does Price & Son. Help sashays his way in the fabulous form of Lola (York stage debutant Samuel Lewis), an outré drag act, seeking sturdy yet slinky stilettos for not only his act but all his attendant Angels drag queens too.

Coming to blows: Finn East’s Don takes on Samuel Lewis’s Simon/Lola in a boxing challenge

Outwardly poles apart, nevertheless they find common ground: both Charlie from Northampton and Lola, boxer’s son Simon from Clacton, have endured struggles with meeting their fathers’ expectations.

Poole has all the assurance, singing craft and emotional connection that characterised his lead role as Buddy in York Stage’s Elf, but he has to negotiate the rather forced sudden switches in tone in Fierstein’s script that do not wholly convince.

The buzz surrounds Samuel Lewis’s swaggering, staggeringly good performance as Lola/Simon. What a singing voice, one to catch you like when you first heard Bronski Beat’s Jimmy Somerville.

He can do the drag queen moves too, the shrug, the catwalk twirl, the eyes, but what marks him out is his ability at characterisation: beneath the glam carapace, the waspish putdowns and the bold front of Lola, he shows Simon’s wounded core. The complete performance, in other words.

Second York Stage new signing Amy Barrett, who has moved to the city to teach drama, brings zest, resourcefulness, fun and not a little cheek to Lauren, the factory worker on the path from chorus line to lead. Nicola Holliday does not bat an eyelid at having to be myopic, miserable, irritating, as Nicola.

Bringing to heel: York Stage’s cast members pull on the boots for the finale to Kinky Boots

Finn East is a knockout, as he so often is as the factory neanderthal, Don, while Katie Melia’s Pat, Andrew Roberts’s Harry/Delivery Guy, Jack Hooper’s George and Jess Main’s Trish all have their moments. So do Harry Kennely and Harrison Turner-Hazel’s Young Charlie and Jacob Clarke and Tom Hampshire’s Young Lola.  

AJ Powell’s choreography brings out the best in both Lewis and the factory-worker ensemble, and seeing is believing with the cross-dressing Angels, where “they do boys like they’re girls”, as Blur once sang, with such swish relish.

Fierstein’s book is uneven, veering towards the histrionic on occasion, revelling in Lola’s drag queen but dragging a little too. Lauper’s lyrics are sassy; her songs are not overt pop hits but carry the panache and drama that big musical numbers should, especially Sex Is In The Heel and What A Woman Wants.

A word too for the band, under Stephen Hackshaw’s direction in the first week, and especially for Jessica Douglas, who has dashed back from her wedding to resume musical-director duties for week two.

As for the boots, they even outstrut York hen parties on a Saturday night.

York Stage’s Kinky Boots is a shoe-in for drag-queen drama and bootilicious songs

 Samuel D Lewis’s drag queen Lola, centre, has a laugh with the Angels ahead of York Stage’s York premiere of Kinky Boots opening tomorrow

THE stage has always been the place to break down boundaries first, to give everyone a voice, to celebrate individuality but common humanity too.

All the more so in this age of diversity and letting people be whom they are, when the York premiere of West End hit Kinky Boots can apply a particularly glittery boot up the backside to prejudice and intolerance in the wake of such drag staging posts as Priscilla, Queen Of The Desert and La Cage Aux Folles.

Nik Briggs’s company York Stage will be pulling on the thigh-high boots and staggering stilettos from tomorrow (16/9/2022) to present the York premiere of a joyous show with 16 songs by Cyndi Lauper and a book by Tony-winning Harvey Fierstein to add yet more sparkle to the newly refurbished Grand Opera House.

Leading players Damien Poole (Charlie Price) and Amy Barrett (Lauren) get to grips with a thigh-high boot

“What perfect timing,” says Nik of a storyline where young Charlie Price must step into his late father’s outmoded shoes to run Price & Son, a fraying Northampton shoe factory on its last legs.

“Charlie has to take over this ageing institution that his father has looked after so dutifully at a time when all the other shoemakers are closing. In the light of what’s happened in the past week [with the passing of HM The Queen], it’s even more poignant, especially when they talk of Charlie.

“But it’s also an uplifting show, so it’ll be a lovely show for people to see at this time when they need a lift.”

Charlie’s Angels: Damien Poole’s Charlie Price with two of the Angels in Kinky Boots  

Charlie’s girlfriend wants him to climb the ladder in London, but he seems tied by the laces to his hometown, his workforce, especially when help swishes into view in the unlikely but fabulous form of Lola, a drag queen supreme in need of sturdy yet slinky stilettos for not only Lola but all the Angels that strut their stuff and fluff with him.

“The whole show is based around the story of two men who grew up in the 1980s and Nineties, trying to deal in different ways with the legacy of their father. Simon/Lola’s father, who was a boxer, didn’t want him to explore his love of female clothes, whereas Charlie was always expected to take over the family business, and they come together at that point.”

Based on the true story of Steve Bateman saving a small shoe factory in Earls Barton, Northamptonshire, by deciding to focus on fetish footwear, Kinky Boots has had two lives, both as a 2005 British comedy-drama film, directed by Julian Jarrold and written by Geoff Deane and Tim Firth, and as the Lauper-Fierstein musical directed and choreographed by Jerry Mitchell of Hairspray and Legally Blonde The Musical fame.

“We’ve now struck a better balance that allows the story to come across better,” says York Stage director and producer Nik Briggs

“When I saw the musical, I hadn’t seen the film, and it jarred on me as a British tale that came across as very American musical, whereas the film was very British in character,” says Nik. “I felt the musical needed to be stripped back to look at what it is to be a man in this toxic environment. I think we’ve now struck a better balance that allows the story to come across better.”

Turning his thoughts to American pop singer Cyndi Lauper’s songs, Nik says: “There are a lot of ballads, which is not what we think of from Cyndi’s pop career, but she can write a really good ballad: Soul Of A Man; Hold Me In Your Heart; Not My Father’s Son, Charlie and Lola’s ballad, which really encapsulates the story.

“The music has that electropop vibe of the late-1990s, but still feels modern and that comes through in the performances of the drag queens, so it’s very entertaining.”

The Angels size up the shoe boxes for Kinky Boots

York Stage’s cast of 25 will be led by Damien Poole, playing Charlie Price after his outstanding turn as Buddy in York Stage’s November 2021 production of Elf The Musical, and company debutant Samuel D Lewis as Lola. 

“Samuel happens to be Emily Ramsden’s best friend [Emily played Audrey II in York Stage’s Little Shop Of Horrors at York Theatre Royal this summer], and he’s got a voice like the male equivalent of Emily. He can belt almost as high as she can!” says Nik.

“Samuel is from South Yorkshire and he’s been travelling the world on cruise shows as a vocalist/performer, but he had a gap in his diary that’s enabled him to do our show.”

 If the shoe fits: Daniel Poole prepares to play Charlie Price in Kinky Boots

Another York Stage debutant, Amy Barrett, will play the show’s leading lady, Lauren, the assembly line worker. “Originally from the North East, she’s recently graduated from Oxford University, and she’s now teaching drama at schools in York,” says Nik. “She turned up at the auditions having heard of our company and she just filled the room with fun.”

When it comes to the kinky boots for Kinky Boots, “the postman keeps looking quizzically at me as he brings these boxes to the door, and I’ve been getting some very interesting sites popping up on the screen on my laptop,” says Nik.

York Stage presents Kinky Boots at Grand Opera House, York, from tomorrow (16/9/2022) to September 24. Performances: 7.30pm, Friday, Saturday, Tuesday to Saturday; 2pm, 6.30pm, Sunday; 2.30pm, Saturday matinees. Box office: 0844 871 7615 or atgtickets.com/York.

Copyright of The Press, York