Iain Harvey’s Jesus in Inspired By Theatre’s Jesus Christ Superstar. All pictures: Dan Crawfurd-Porter
WARNING: “This production contains intense scenes, frightening imagery, stylised violence and themes of death and religious conflict,” states the Joseph Rowntree Theatre website. Parental discretion and a minimum age of 12 are advised.
Such are the signs of 21st century times, whereas it is hard to imagine that 14th century York Mystery Plays performances would have been accompanied by such sensitivities. Or in 1951, when the plays were first revived, or indeed in 1971, when Andrew Lloyd Webber and Tim Rice’s debut musical was premiered on Broadway at the Mark Hellinger Theatre in New York City.
Now comes Inspired By Theatre’s radical, boundary-pushing vision in old York city in rain-saturated 2026, one that has a rawness, frankness and starkness that emphasises why our more sensitive world labels emotional experiences in such cautionary terms.
Rianna Pearce’s Mary
After such startling shows as Green Day’s American Idiot in 2024 and RENT in 2025, company founder Dan Crawfurd-Porter now directs the York company in Jesus Christ Superstar, the Seventies’ hippy musical in which he made his debut as Peter for Ripon Operatics in 2021.
As with American Idiot and RENT, his directorial style is visceral, the drama confrontational, the ensemble bond so strong among his cast as he delivers on his promise of a “gritty, cinematic and unapologetically powerful” show.
“What defines this production is its intensity,” said Crawfurd-Porter in his CharlesHutchPress interview. “Our staging is bold, the choreography [by assistant director Freya McIntosh] demands everything from the cast, and the individual performances are so powerful. There’s no coasting, no safe choices.”
Mickey Moran’s Herod
Without recourse to technological trickery or projections, Crawfurd-Porter puts his trust in physicality, movement, bold lighting (by Daniel Grey) and contrasting costume (lighter colours for the good, dark for the villains of the piece, from Judas to Pilate, Herod to Caiaphas and Annas).
As trailed in his remarkably striking publicity photographs, make-up is all important too, just as it was for David Bowie’s Aladdin Sane, bringing internal character to the surface and providing spectacle when Gi Vasey’s set of moveable, plain building blocks is designed to have more impact through shape-shifting, becoming temple-of-doom towers around Pilate, Caiaphas and Annas, seating for Jesus’s followers or a battle ground when “belief spirals into chaos, power corrupts, and humanity collides with the divine”.
The raised central dais is not ideal for McIntosh’s choreography when calling on the cast to move across the stage at pace in the opening number, enforcing some awkward leaps and landings, but from then on, the ensemble work has momentum, climaxing with Act Two’s title number.
Kelly Ann Bolland’s Judas
Movement matters – and flows well under Crawfurd-Porter’s direction – but this sung-through rock opera stands or falls on the strength of its singing; after all, Deep Purple’s Ian Gillan sang Jesus’s part on the original 1970 concept album.
Iain Harvey hits the high notes spectacularly with absolute assurance while bringing grace and fervour to Lloyd Webber and Rice’s somewhat morose depiction of Jesus. You sense his burden, brought here to save the world and to sacrifice himself for God on the cross. In the one passage where Jesus speaks, perhaps too exhausted to sing, unlike in opera’s finales, he cries out to his mother: the moment that reinforces what a devastating performance Harvey has given.
In Crawfurd-Porter’s most inspired casting, the treacherous role of Judas goes to Kelly Ann Bolland, whose prowess as a classic rock musician “with a strong affinity for music driven by raw energy and power” drives her outstanding performance, singing Heaven On Their Minds. Judas’s Death and the climactic Superstar with harrowing, turbulent vigour, even venom. At the same, the hand rubbing, the awful realisation of the consequence of Judas’s actions, recall Shakespeare’s Lady Macbeth.
Richard Bayton’s Peter
Josh Woodgate’s Pilate
Gi Vasey’s Annas and Joseph Hayes’ Caiaphas
Rianna Pearce’s Mary (Magdalene) impresses too, from leading Everything’s All Right to bringing heartfelt candour to chart hit I Don’t Know How To Love Him and revitalising Could We Start Again Please? with Richard Bayton’s substantial, volatile Peter.
Joseph Hayes’s basso profondo is suitably deep and dark for Caiaphas, joined in condemnation of Jesus by Gi Vasey’s Annas and Josh Woodgate’s exasperated, hand-washing Pilate, while Mickey Moran pops up from lead guitar duty in the orchestra pit for a scene-stealing, ultra-thespian, heavy-metal frontman cameo in King Herod’s Song. Kailum Farmery’s Simon leaps to the fore in Simon Zealotes, his tattoos and shaved cranium providing a bridge to modern times.
Lloyd Webber and Rice cut their musical teeth on Jesus Christ Superstar and musically it is very much a rock opera of its Seventies’ time, more direct, more thrusting, more emotionally in your face than their later works.
Kailum Farmery’s Simon
Mathew Peter Clare’s musical direction captures that thrill of an early work, one that predates the classical embellishments of Lloyd Webber’s later arrangements and whose songs would have fitted early editions of The Old Grey Whistle Test. You will love the moment too where the instruments fall silent for an a cappella finale too.
What’s the buzz, tell me what’s a’happening? Inspired By Theatre have once more delivered exhilarating musical theatre with purpose, passion and panache.
Jesus Christ Superstar, Inspired By Theatre, Joseph Rowntree Theatre, York, tonight, 7.30pm; Saturday, 2.30pm and 7.30pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
A montage of Dan Crawfurd-Porter images for Inspired By Theatre’s Jesus Christ Superstar
Iain Harvey’s Jesus in Inspired By Theatre’s radical reinvention of Jesus Christ Superstar. Picture: Dan Crawfurd-Porter
INSPIRED By Theatre’s “gritty, cinematic and unapologetically powerful” staging of Jesus Christ Superstar will “push the boundaries of what local theatre can achieve”.
Directed by founder Dan Crawfurd-Porter, the York company’s radical new vision of Andrew Lloyd Webber and Tim Rice’s 1971 musical will be unfurled at the Joseph Rowntree Theatre, York, from February 11 to 14.
“What defines this production is its intensity,” says Dan. “Our staging is bold, the choreography [by assistant director Freya McIntosh] demands everything from the cast, and the individual performances are so powerful. There’s no coasting, no safe choices.
“We’re embracing a visual and physical language that gives the story a new edge. It’s a Jesus Christ Superstar that commits fully to the story’s momentum and spectacle.”
Dan continues: “We have leant heavily into the imagery, symbolism and movement because it’s a very ‘dancey’ show, where I think Freya has brought her best choreography to it as the music can only do so much.
Inspired By Theatre director Dan Crawfurd-Porter
“For one of the most popular musicals of all time, we’ve done everything with purpose with our visual decisions, where we keep coming back to the need to help to tell the story.
“Where the narrative is unspoken, we’ve brought in some of our bolder choices, when we hope the visual elements will have an impact on the audience.
“There’ll be no projections, no gimmicks; the main component of the set will be 20 individual blocks that will be moved from musical number to number and that’ll do a large part of our storytelling.”
Set in a shifting space, part temple, part battleground, by designer Gi Vasey, the story will unfold through visceral movement, haunting imagery and a pulsating live score, capturing Jesus’s final days as loyalties fracture, followers demand revolution and rulers fear rebellion.
Taking the lead role of Jesus will be company regular – and man of faith – Iain Harvey. “I directed the show ten years ago in Tadcaster, aged 27 – Dan’s age – when my dad was in the company and Kelly Ann Bolland, who’s now playing Judas, was Mary.
Kelly Ann Bolland’s Judas in Inspired By Theatre’s Jesus Christ Superstar. Picture: Dan Crawfurd-Porter
“Working with Dan, he goes into the real minutiae of the detail, not only for how the show looks but also on the emotional level, and he’s been open minded to every side of the argument, so you can interpret it how you choose to.”
In bringing his interpretation of Jesus to the stage, Iain says: “The physical attributes of Jesus, how he looks, is not the point. I’m just trying to embody the emotive aspects of the character, though don’t get me wrong, I’ve been doing some crunches!
“In Jesus Christ Superstar, there are so many big, vibrant characters, and Jesus can often come across as morose or depressive, but that’s because of the weight of what he has to do, sacrificing himself for his heavenly Father’s vision.”
Dan has previous form for Lloyd Webber and Rice’s musical. “It was my first show in 2021 when I played Peter for Ripon Operatics at the Ripon Arts Hub,” he says. “I remember thinking that often when it’s done, Peter gets a little lost in Act One and suddenly comes to the fore in Act Two. For our production, I’ve told Richard Bayton that I would ask more of him than most Peters.”
Iain adds: “Dan has made the conscious decision to bring certain characters to the fore, like Mary Magdalene, and we have a brilliant Mary in Rianna Pearce. She makes such an emotional connection and brings light in the time of darkness.”
Gi Vasey’s Annas and Joseph Heyes’ Caiaphas in Inspired By Theatre’s Jesus Christ Superstar
Part of Iain’s preparation has involved having conversations with musical director Matthew Peter Clare about the tone of his singing. “I wouldn’t want to replicate something from previous versions, but working with Matthew, we explore how to bring an individual quality to it, but I’m also aware of not going too far away from what’s familiar,” he says. “I want to be in that place where the audience are comfortable because it brings back memories.”
Dan rejoins: “But I also want someone who hasn’t seen the show before to be blown away by it.”
Since forming under the name Bright Light Musical Productions, and now as Inspired By Theatre, Dan’s company has performed such shows Green Day’s American Idiot in 2024 and RENT in 2025, both at the Joseph Rowntree Theatre.
“Inspired By Theatre was built on the belief that theatre can influence, uplift, and spark meaningful change,” says Dan. “The name itself reflects the countless productions, performers, creatives and audiences that continue to inspire and shape the company’s journey.”
Coming next will be Duncan Sheik and Steven Sater’s Spring Awakening, followed by the Madness musical Our House. “We’ll be shaking up our production team a little bit for Spring Awakening; Mikhail Lim will be directing; Freya [McIntosh] will be by his side, with Jess Viner as musical director,” says Dan. “That gives me a bit of a rest to tee me up for Our House.”
Inspired By Theatre in Jesus Christ Superstar, Joseph Rowntree Theatre, York, February 11 to 14, 7.30pm and 2.30pm Saturday matinee. Age recommendation: 12 plus. Box office: 01904 501935 or https://www.josephrowntreetheatre.co.uk/whats-on/musical/jesus-christ-superstar/2832.
Iain Harvey’s Jesus in Inspired By Theatre’s Jesus Christ Superstar. All pictures: Dan Crawfurd-Porter
YORK company Inspired By Theatre has released the first official promotional imagery for next month’s production of Jesus Christ Superstar at the Joseph Rowntree Theatre, York.
The newly unveiled images form part of a cinematic campaign that reflects director Dan Crawfurd-Porter’s bold, physical and visual approach.
“Shot in a controlled studio environment, the imagery offers a stark and contemporary lens on the characters at the heart of the story,” he says.
Gi Vasey’s Annas and Joseph Hayes’ Caiaphas
Jesus Christ Superstar has taken the most preparation and development of any Inspired By Theatre show. “The stage work has been shaped over several years of planning and refinement,” says Dan.
“From the outset, I was determined that the show should be defined by a strong and distinctive visual language, closely aligned with abstract, physical and emotionally charged storytelling.”
The shoot was led by director and photographer Dan, with creative support from assistant director Freya McIntosh and production designer Gi Vasey. Hair and make-up was delivered by Chloe Pearson, Jasmine Barnard, Gi Vasey, and Freya McIntosh.
Mickey Moran’s Herod
“Central to the success of the imagery is the cast themselves, whose sustained character work and commitment to the production’s vision are evident throughout the final images,” says Dan.
“The photoshoot was conceived and executed with the same care as a full-scale production, treating the imagery as an artwork in its own right while remaining fully aligned with the vision of our stage production.
“Rather than functioning solely as promotional material, the images are designed to establish the cinematic world of our show in advance of its arrival on stage.”
Josh Woodgate’s Pilate
Dan’s radical new vision of Andrew Lloyd Webber and Tim Rice’s musical is set in a shifting space, part temple, part battleground
The story unfolds through visceral movement, haunting imagery and a pulsating live score, capturing Jesus’s final days as loyalties fracture, followers demand revolution and rulers fear rebellion.
“Gritty, cinematic and unapologetically powerful, our staging pushes the boundaries of what local theatre can achieve,” says Dan.
Richard Bayton’s Peter
“What defines this production is its intensity. The staging is bold, the choreography demands everything from the cast, and the individual performances are so powerful. There’s no coasting, no safe choices.
“We’re embracing a visual and physical language that gives the story a new edge. It’s a Jesus Christ Superstar that commits fully to the story’s momentum and spectacle.”
Joining producer-director Dan in the production team are assistant director and choreographer Freya McIntosh; musical director Matthew Peter Clare; assistant producer Annie Roux; stage manager Steven Hibbs; production designer Gi Vasey; costume designer Molly Whitehouse; lighting designer Daniel Grey and sound designer Ollie Nash.
Rianna Pearce’s Mary Magdalene
In the cast will be Iain Harvey as Jesus; Kelly Ann Bolland, Judas; Rianna Pearce, Mary Magdalene; Kailum Farmery, Simon Zealotes; Richard Bayton, Peter; Josh Woodgate, Pilate; Mickey Moran, King Herod, Joseph Hayes, Caiaphas, and Gi Vasey, Annas.
The ensemble will comprise Jack Fry; Charlie Clarke; Molly Whitehouse; Tiggy-Jade; Maddie Jones; Pete Stanford; Megan Overton; Anna Ashfield; Emily Pratt and Jasmine Barnard.
YORK theatre company founded in 2022, originally as Bright Light Musical Productions. “What began as a passion project has grown into a vibrant creative community with a distinctive artistic voice and a commitment to ambitious, impactful work,” says director Dan Crawfurd-Porter.
Previous productions, including Green Day’s American Idiot (2024) and RENT (2025), at the Joseph Rowntree Theatre, have been praised for their energy, integrity, and polish. Jesus Christ Superstar marks the next evolution in the company’s bold storytelling, opening a landmark 2026 season that also will feature Spring Awakening at Theatre@41, Monkgate, York, from May 20 to 23 and Madness musical Our House at the JoRo in October .
“Inspired By Theatre was built on the belief that theatre can influence, uplift, and spark meaningful change,” says Dan. “The name itself reflects the countless productions, performers, creatives and audiences that continue to inspire and shape the company’s journey.”
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
Inspired By Theatre principal cast members for RENT: left to right, Maddie Jones, Jess Gardham, Iain Harvey, Dan Poppitt, Gi Vasey, Mikhail Lim, Tom Collins and Fen Greatley-Hirsch. Picture: Dan Crawfurd-Porter
FROM the York theatre company that brought the Hutch Award-winning production of Green Day’s American Idiot to the Joseph Rowntree Theatre last July comes another iconic American rock musical, RENT.
Directed once more by company founder Dan Crawfurd-Porter, Jonathan Larson’s groundbreaking Tony Award winner will run at the JoRo from April 10 to 12 with its celebration of life, even in the face of adversity.
“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.
Dan Poppitt’s Roger, left, Gi Vasey’s Mimi and Mikhail Lim’s Benny in Inspired By Theatre’s RENT. 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.
Larson’s revolutionary score, with its blend of rock, pop and musical theatre, features such numbers as Seasons of Love, La Vie Bohème and Take Me Or Leave Me.
“This isn’t just another revival; for us, it’s personal,” says director Dan, who credits the show as a major inspiration for his company’s formation and mission to bring bold, meaningful theatre to York audiences.
Fen Greatley Hirsch’s Angel and Joseph Hayes’s Tom Collins. Picture: Dan Crawfurd-Porter
“RENT is the reason we exist and the reason we fell in love with theatre in the first place. It’s a show that has inspired us to tell stories, push boundaries and build a thriving theatre community.
“This production brings together returning favourites and exciting new members of the company, and I’ve never seen a cast quite like this before. We’ve assembled a powerhouse of performers, ready to bring this iconic show to life like never before.”
Crawfurd-Porter’s principal cast comprises 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 musician Jess Gardham as Joanne; Fen Greatley-Hirsch as Angel and Mikhail Lim as Benny.
Iain Harvey’s Mark in Inspired By Theatre’s RENT. Picture: Dan Crawfurd-Porter
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.
Crawfurd-Porter is joined in the production team by choreographer and assistant director Freya McIntosh, musical director Matthew Peter Clare and assistant producer Charlie Clarke.
Inspired By Theatre was known formerly as Bright Light Musical Productions. “We rebranded as Inspired By Theatre to reflect our evolving vision: theatre that moves people, challenges perspectives and delivers unforgettable moments both on and off the stage,” says Dan.
Maddie Jones’s Maureen and Jess Gardham’s Joanne. Picture: Dan Crawfurd-Porter
“We saw this philosophy come to life with our highly successful production of Green Day’s American Idiot last summer when more than 1,000 audience members, many covered head to toe in merchandise, packed the Joseph Rowntree Theatre, proving that a show can be more than just a performance, it can be an event.”
Girl trouble: Gerard Savva’s Booby being given a hard time by Hannah Shaw’s Amy, back left, Alexandra Mather’s Susan, Julie Anne Smith’s Joanne, Jo Theaker’s Jenny, front, left, Mary Clare’s Sarah and, under the covers, Florence Poskitt’s April. Picture: Charlie Kirkpatrick
ON Bobby’s 35th birthday, his friends all have one question on their mind. Why is he not married?
On Gerard Savva’s return to the stage for the first time since 2008 to play Bobby, the question is: where has he been all these years?!
“He just applied from our social media posts and came down to audition for us!” explained York Stage director, choreographer and designer, when your reviewer asked him where he had discovered Savva’s talents. “I knew from his energy and initial chemistry that he was our Bobby!”
Just to re-emphasise the point: Savva isn’t just making a test-the-waters return in a chorus line: he is playing the lead, the suave, sleek Bobby, a charmer certainly, if elusive in the marriage stakes. He looks the matinee idol part too: tanned, immaculately coiffured, sharp suited and glittery in his T-shirt detail.
Briggs is in supreme form, not only in his casting – Savva is in good company in Company – but in his staging too, brightening the Theatre@41 black box with the prettiest of drapes and colourful boxes with ribbon that serve as both birthday presents and for standing on. Boxes, coincidence or not, have been prevalent in this autumn’s production in York and beyond, making for quick scene changes.
Company is Stephen Sondheim at his very best, here teaming up with George Furth for a bravura, sophisticated and wittily insightful 1970 American musical comedy that follows Savva’s Bobby as he “navigates the world of dating and being the third wheel to all of his now happily and unhappily married friends”. Where will his exploration of the pros and cons of settling down and leaving his single life behind lead him? Ultimately into a celebration of being alive in Savva’s vocal high point.
The music has the pitter-patter of patter songs, a typically steep challenge, but one met brilliantly by Briggs’s company, in particular by Hannah Shaw’s Amy in Getting Married Today – the unbelievably fast one – and Julie Anne Smith’s heavy-drinking Joanne in The Ladies Who Lunch.
Florence Poskitt, ever the comic gem on the York musical theatre scene, is sublime as ditzy air hostess April, her bedroom scene with Savva’s Bobby receiving the biggest cheer on press night.
Couple after couple delight: Jack Hooper’s Harry and Mary Clare’s ever-questing Sarah; Dan Crawfurd-Porter’s pot-stirring Peter and Alexandra Mather’s hippy-chic Susan; Stu Hutchinson’s David and Jo Theaker’s Jenny; Robbie Wallwork’s Paul and Hannah Shaw’s outstanding Amy, and Matthew Clarke’s Larry and Julie Anne Smith’s intemperate Joanne. Kelly Stocker’s Kathy and Lana Davies’s Marta add to the fun too.
Briggs’s costumes and choreography are full of panache; musical director James Robert Ball and his band play gorgeously, and lighting designer Adam Moore, sound designer Ollie Nash and hair and make-up artist Phoebe Kilvington are at the top of their game too. Don’t miss this savvy, snazzy, snappy New York classic; you will be in the best of Company if you go. Box office: tickets.41monkgate.co.uk.
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. Picture: Dan Crawfurd-Porter
BRIGHT Light Musical Productions will stage the York premiere of punk rock opera Green Day’s American Idiot at the Joseph Rowntree Theatre from tomorrow to Saturday.
Producer/director Dan Crawfurd-Porter’s high-octane, politically driven production opens on American Independence Day and General Election Day in the United Kingdom, while marking the 20th anniversary of Green Day’s groundbreaking album American Idiot.
Produced by North Yorkshire company Bright Light with support from York company Black Sheep Theatre Productions, the Tony Award-winning show with music by Green Day, lyrics by Billie Joe Armstrong and book by Armstrong and Michael Mayer “promises an electrifying experience that captures the spirit and energy of Green Day’s influential music”.
Boasting a cast of 14 and an eight-piece rock band, Bright Light’s production is propelled by the vision of producer/director Crawfurd-Porter, musical director Matthew Peter Clare and choreographer/assistant director Freya McIntosh.
“This show is a powerful statement about a world that remains unchanged since the original album’s release in 2004,” says Dan. “Its relevance to young people today is as strong as ever, with its commentary on America and politics resonating deeply this year, especially on July 4th.”
Inspired by the Californian band’s chart-topping album, American Idiot tells the story of Johnny the “Jesus of Suburbia” (played by Iain Harvey), and his friends Will (William Thirlaway) and Tunny (Dan Poppitt) as they attempt to break out of their mind-numbing, aimless suburban existence.
Their journey embodies the youthful struggle between passionate rebellion and the search for love, echoing the punk voice of their era. From Boulevard Of Broken Dreams to Holiday, Wake Me Up When September Ends to 21 Guns, American Idiot brings the “soundtrack of a generation” to the stage with the promise of captivating and energising audiences with early 2000s’ nostalgia.
Director Dan Crawfurd-Porter
“Personally, the issues it tackles have affected me profoundly, as they have many others. The aim is to give a voice to those who feel unheard, just as it has given one to me,” says Dan, 25.
“American Idiot is talking about America, but the issues reach across the world – war, drugs, depression and longing for a better world – and they resonate everywhere. Twenty years on, in Britain, those issues are still completely relevant, even if the world is in a different place, but there are still wars going on.
“Obviously, in an ideal world, this musical would no longer be relevant, but the reality is that will keep on being relevant – and Green Day’s songs still resonate too. I was among 50,000 people watching them at Old Trafford [the Lancashire cricket ground) on June 21.
“Those songs speak to anyone who was a teenager or young adult, in the Nineties or 2000s, and they appeal to the teenagers and young adults of today as much as they ever did. ”
Why does American Idiot work so well in its transfer from studio album to stage musical, Dan? “Because it has a defined story,” he says. “It was the producer/director who saw its potential, starting the process of turning the album into a show by having to convince Green Day.
“There’s a brilliant documentary called Broadway Idiot that charts that process, taking the band from the concept to eventually Billy Joe Armstrong starring on Broadway in the lead role.
“The show takes those great songs, where there are only three of them in the band, playing with so much energy, and then adds five more instruments, multiple characters and an ensemble to give those already powerful songs extra oomph.”
Mickey Moran’s St Jimmy, centre, with Tiggy-Jade, Diane Wilkinson, Rebecca Firth, Charlie Clarke, Jack Fry and Josh Woodgate. Picture: Dan Crawfurd-Porter
Assessing those songs’ impact, Dan says: “Green Day’s songs, particularly in this show, are full of life, and with a running time of one hour 45 minutes, non-stop, no interval, it’s almost designed like a rock concert that tells a story, with guitars and strings to the fore.
“There’s a lot of emotion behind it as well as energy, so it’s not just shouting! Like Billy Joe writing Wake Me Up When Saturday Comes after his dad had passed away. Seeing Green Day play last month, you could tell Billy Joe was singing about himself, and the songs were so real because they were written from personal experience.”
Green Day’s American Idiot forms the first York production for Bright Light after making their debut in 2023 in Ripon. “When I founded the company in 2022 with William Thirlaway, at the time we were doing shows with RAOS [Ripon Amateur Operatic Society], and we did our first Bright Light show, Tick, Tick…Boom!, as an independent production at Ripon Arts Hub,” says Dan, who lives at Killinghall, near Harrogate, where he works as head of design and innovation for Clevershot, utilising his video and photography skills in content-led marketing.
“Tick, Tick…Boom! was the show Jonathan Larson wrote before Rent, and after seeing the film version on Netflix, it seemed like a good choice for us to do, with a cast of four doing eight shows, where we could learn how to put on a show, working with Black Sheep’s experienced Matthew Peter Clare as our musical director.”
Explaining the choice of the Joseph Rowntree Theatre for Bright Light’s York debut, Dan says: “Matthew was my introduction to York, playing Whizzer in his production of Falsettos and appearing in the Joseph Rowntree Theatre Company’s Musicals In The Multiverse, when he was the MD, both at the Rowntree theatre.
“It was a move up from a black-box theatre in Ripon to doing shows in York, where I found there were many companies already, but I thought ‘why not add another one’?! Having performed Falsettos and ‘Multiverse’ there, the Rowntree theatre seemed like a very accessible space for a company new to York.
“It’s an achievable theatre to perform in, and I immediately realised on contacting them that they’re a really helpful theatre – helping with all aspects of putting on a show.”
Giving it the finger: Charlie Clarke, left, Ellie Carrier, Chloe Pearson, Tiggy-Jade and Rebecca Firth in Green Day’s American Idiot.Picture: Dan Crawfurd-Porter
The JoRo is a suitable size too, says Dan. “It’s big, and a show like this needs a big set, with a scaffold design. We needed room for 14 people on that set, to go with all the resources the theatre offers.”
Looking ahead, “it seems like Bright Light are going to transition to York and potentially stay there, but we haven’t decided yet,” says Dan.
Watch this space. In the meantime, “join us for a memorable and high-energy performance that promises to be both a tribute to a seminal album and a resonant voice for today’s issues,” advises Dan.
“It will be interesting to see who comes, but I expect a passionate audience, who will probably already know the show or at least the album, so it could be quite a specific group that forms a large part of the audience. There’ll be Green Day fans but there’ll also be a crossover with musical fans.”
Bright Light Musical Productions present Green Day’s American Idiot, Joseph Rowntree Theatre, York, tomorrow (4/7/2024) to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Who’s in the cast?
IAIN Harvey as Johnny; Dan Poppitt as Tunny; William Thirlaway as Will; Mickey Moran as St Jimmy; Chloe Pearson as Whatsername; Ellie Carrier as Heather; Rebecca Firth as Extraordinary Girl/Dance Captain and Richard Bayton as Favourite Son/ensemble. Jack Fry, Kailum Farmery, Tiggy-Jade, Charlie Clarke, Josh Woodgate and Diane Wilkinson will be on ensemble duty.
Rehaearsals began on March 15 and have since been held on Friday nights and Sundays each week. “The casting didn’t come without its challenges,” says Dan. “I had to pull in Richard Bayton as a replacement. I’d worked with him at the National Centre for Early Music in Black Sheep’s Cages Or Wings? and you could see what he could do with a specific role for him in this show. He’s been an exceptional addition to the cast.”
Richard Bayton, as Favourite Son, with Charlie Clarke (red), Ellie Carrier (silver), Tiggy-Jade (blue) and Rebecca Firth (gold). Picture: Dan Crawfurd-Porter
Stars and stripes: Bright Light Musical Productions’ cast for Green Day’s American Idiot at the Joseph Rowntree Theatre, York
BRIGHT Light Musical Productions will stage the York premiere of punk rock opera Green Day’s American Idiot at the Joseph Rowntree Theatre from July 4 to 6.
Dan Crawfurd-Porter’s high-octane, politically driven production opens on American Independence Day and General Election day in the United Kingdom, also marking the 20th anniversary of Green Day’s groundbreaking album American Idiot.
Produced by Bright Light Musical Productions with support from York company Black Sheep Theatre Productions, the Tony Award-winning show with music by Green Day, lyrics by Billie Joe Armstrong and book by Armstrong and Michael Mayer “promises an electrifying experience that captures the spirit and energy of Green Day’s influential music”.
Inspired by the Californian band’s chart-topping 2004 album, American Idiot tells the story of Johnny, “Jesus of Suburbia”, and his friends Will and Tunny as they attempt to break out of their mind-numbing, aimless suburban existence.
Their journey embodies the youthful struggle between passionate rebellion and the search for love, echoing the voice of their era. From Boulevard Of Broken Dreams to Holiday and 21 Guns, American Idiot brings the “soundtrack of a generation” to the stage with the promise of captivating and energising audiences with early 2000s’ nostalgia.
Boasting a cast of 14 and a seven-piece rock band, Bright Light’s production is propelled by the vision of producer/director Dan Crawfurd-Porter, musical director Matthew Peter Clare and choreographer/assistant director Freya McIntosh.
The poster artwork for Bright Light Musical Productions’ York premiere of Green Day’s American Idiot
In the cast will be Iain Harvey as Johnny; Dan Poppitt as Tunny; William Thirlaway as Will; Mickey Moran as St Jimmy; Chloe Pearson as Whatsername; Ellie Carrier as Heather; Rebecca Firth as Extraordinary Girl/Dance Captain and Richard Bayton as Favourite Son/ensemble. Jack Fry, Kailum Farmery, Tiggy-Jade, Charlie Clarke, Josh Woodgate and Diane Wilkinson will be on ensemble duty.
“This show is a powerful statement about a world that remains unchanged since the original album’s release in 2004,” says director Dan Crawfurd-Porter. “Its relevance to young people today is as strong as ever, with its commentary on America and politics resonating deeply this year, especially on July 4th.
“Personally, the issues it tackles have affected me profoundly, as they have many others. The aim is to give a voice to those who feel unheard, just as it has given one to me.”
Green Day’s American Idiot will be the first York production from a North Yorkshire musical theatre company that was founded in 2022 and made its debut in 2023 with Tick, Tick…BOOM! at Ripon Arts Hub.
“Join us for a memorable and high-energy performance that promises to be both a tribute to a seminal album and a resonant voice for today’s issues,” says Dan.
Bright Light Musical Productions present Green Day’s American Idiot, Joseph Rowntree Theatre, York, July 4 to 6, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Hospital drama: Dan Crawfurd-Porter’s bed-ridden Whizzer with Helen Spencer’s Dr Charlotte, left, Rachel Higgs’s Cordelia, Chris Mooney’s Marvin, James Robert Ball’s Mendel, Nicoloa Holliday’s Trina and Matthew Warry’s Jason (seated)
FALSETTOS, William Finn and James Lapine’s “very Jewish, very gay” 1992 Tony Award winner, had been made unavailable for the British stage after a London production met with opposition over a lack of authenticity and accuracy.
However, negotiations spanning two years have paid off for “art with a point” York company Black Sheep Theatre Productions, whose director, Matthew Clare, has acquired exclusive UK rights to present the off-Broadway hit.
It would be good to see such persistence rewarded at the box office, but York theatregoers’ resistance to try out unfamiliar works is long established. Nevertheless, the support from Wednesday’s audience was admirably vocal from start to finish.
Matthew Warry’s Jason makes a move on the chess set. Is he a pawn in a game between his father, Chris Mooney’s Marvin, and his mother, Nicola Holliday’s Trina?
Falsettos pairs 1981’s March Of The Falsettos, a humorous study of men’s immaturity, with 1990’s Falsettoland, a graver piece penned in reaction to the devastating impact of the Aids epidemic on New York’s gay community.
In 1979, New Yorker Marvin (Chris Mooney) leaves his wife Trina (Nicola Holliday) and son Jason (Matthew Warry, aged 13) to live with Whizzer (Dan Crawfurd-Porter), his younger lover. They have known each other for nine months, says Whizzer; ten, insists the older, more hooked Marvin. They are arguing already.
Naively, Marvin expects to retain a tight-knit family. A subject he has discussed with his psychiatrist, the neurotic, insomniac Mendel (James Robert Ball), who in turn becomes a listening ear for latest client Trina. So much so, they marry, setting up the family unit Marvin had envisaged.
Nicola Holliday’s Trina with James Robert Ball’s Mendel mid-exercise
All this is expressed in song in a sung-through musical full of Sondheim emotional truths and vexatious Woody Allen humour (especially in Ball’s Mendel). All have their say, not only Marvin and the fast-exiting, exasperated Whizzer, but Trina and Jason too. Mendel listens and listens, cross-legged and looking as awkward as the conversations.
On opening night, sound balance favoured band over voice in this first act, meaning not everything was clear to the ear, for all the heart-felt, often beautiful singing. Such a hindrance to comprehending fully what was going on was detrimental to the show’s impact at this juncture, and the standalone March Of The Falsettos number in luminous white only added to that sense of bafflement.
Ollie Kingston’s choreography was fun here, but that scene came and went like a ghost. Such are the limitations of a sung-through structure, where more narrative would be helpful.
Fresh impetus in Falsettoland: Rachel Higgs’s Cordelia. left, and Helen Spencer’s Dr Charlotte
Post-interval, frustration vanishes. The voices can be heard far better; the singing is more dramatic; the songs are superior, as two storylines play out two years later in 1981: Jason’s preparation for his bar mitzvah and Whizzer’s reunion with Marvin under the spreading cloud of Aids.
Into the story, and very welcome too, come Marvin and Whizzer’s lesbian neighbours, Dr Charlotte (Helen Spencer), struggling with the rising tide of Aids patients, and girlfriend Cordelia (Rachel Higgs), forever cooking up another nibble.
Just as Marvin and his family learn to grow up, so Falsettoland is a far more mature piece than March Of The Falsettos. It is better balanced too with the presence of Charlotte and Cordelia being all important. Spencer brings gravitas; Higgs, puppyish devotion, amid the “hospital bed humour”.
Performances all round settle down as the night progresses to match the high quality of the singing. Ball’s Mendel is the comic driving force; Jarry delights as Jason, being pulled hither and thither but remaining single-minded too; Holliday’s resolute Trina handles the big ballads with aplomb.
Black Sheep Theatre’s poster for Falsettos
In a heightened drama without conventional heroes and villains, the gay characters of Marvin and Whizzer are depicted with three-dimensional complexity, devoid of any stereotyping. They play chess, they play squash, they bicker, they learn, their love blossoms, and in turn the stage chemistry of Mooney and Crawfurd-Porter grows too.
Staging Falsettos has been a passion project for Matthew Clare, who leads his four-piece band with suitable conviction from the keyboards, while Kingston’s choreography is alive to both humour and dramatic effect and the building-block set design is practical and amusingly adaptable.
Art with a point? Yes, indeed. Black Sheep Theatre Productions and the JoRo are to be commended for bringing Falsettos to York’s attention. The more variety there is to the city’s theatre portfolio, the better, when playing safe would be the easier path.
Black Sheep Theatre Productions perform Falsettos at 7.30pm tonight and tomorrow; 2.30pm and 7.30pm, tomorrow. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
