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 Beautiful: The Carole King Musical, Grand Opera House, York, moving the earth until Saturday ****

Grace Lancaster at the piano in her role as Carole King in York Stage’s York premiere of Beautiful. Picture: Charlie Kirkpatrick

BEAUTIFUL is “filled with the songs you remember – and a story you’ll never forget”, says Nik Briggs, director and producer of York Stage’s York premiere of The Carole King Musical.

Put another way, there are songs you know but may not know they are by Brooklyn-born Carole, whose story stayed in the background, much like Carole herself did until moving centre stage with Tapestry, before Douglas McGrath wrote the book for the musical. Tony and Grammy awards have ensued.

Leeds Grand Theatre played host to the first British tour in June 2018, and now Briggs delivers a sparkling York production every note as enjoyable, as lushly musical and, typical of Briggs, visually impactful too, with a wonderful lead performance by Grace Lancaster, a York-raised triple threat of singer, musician and actress.

McGrath’s book does not reveal the full tapestry – King’s flop 1970 debut album, Writer,  is as absent as James Taylor – but it wholly captures the spirit, courage and resilience of her constant creativity that blossomed as a teenager, told here with warmth, wit and charm, pathos too, and bursts of frank Jewish humour in her exchanges with her wise, if cautious mother, Genie Klein (Sandy Nicholson, perfect casting), a Manhattan teacher who would prefer her daughter to follow that career path too.

Teenagers in love: Grace Lancaster’s Carole King and Frankie Bounds’ Gerry Goffin in Beautiful. Picture: Charlie Kirkpatrick

Bookended by Carole’s celebrated performance at Carnegie Hall, with Lancaster at the grand piano, Beautiful’s storyline opens with ordinary schoolgirl Carole Klein writing incessantly at 16, landing her first songwriting deal with Donnie Kirshner (an urbane Bryan Bounds) as Carole King.

Utilising cast members for scenery moves, Beautiful cracks on in a whirl, much like Carole’s songwriting success. She meets lyricist and putative playwright Gerry Goffin (Frankie Bounds), her fellow teen, and is pregnant and married at 17. What a productive partnership!

The hits keep piling up from their Kirshner-administered songwriting factory for the likes of The Drifters (Faisal Khodabukus, Christopher Knight, Munya Mswaka and Baz Zakeri) and The Shirelles( Cyanne Unamba Oparah, Maria Ghurbal, Nicole Kilama and Lauren Charlton-Matthews, who also plays Janelle Woods). Delightful performances all round.

Even their babysitter (Kilama’s Little Eva) hits the chart peak with The Loco-Motion – and everyone’s doing The Loco-Motion in black and white in the show’s best ensemble choreography by Danielle Mullan-Hill.

Frankie Bounds’ Gerry Goffin, centre, performing Pleasant Valley Sunday in an ensemble number in Beautiful. Picture: Charlie Kirkpatrick

Unlike too many jukebox musicals, McGrath’s script does more than link the songs, telling the story behind them with breezy dialogue, yet giving due space to life-changing events, as the story moves between recording studio, record company offices, the home and the concert hall.

If Beautiful underplays the ugly side of the story, the restless, unfaithful Goffin’s straying from the happy-at-home Carole, Frankie Bounds (in his Marlon Brando white vest) seeks to invest the role with more darkness of the soul. He is no pantomime villain, even though one stage entry is greeted with a boo from one voice in the dress circle at Saturday’s matinee.

For contrast with the brooding Bounds’s increasingly troubled Goffin and the downward spiral of the Goffin-King marriage, the friendly rivalry at Kirshner’s 1650 Broadway building with fellow songwriting partners Barry Mann (Alex Hogg) and Cynthia Weil (Harriet Yorke) is depicted with lightness and plenty of laughter, as they progress, step by slower-than-Gerry and-Carole step to a number one hit (You’ve Lost That Lovin’ Feeling) and wedding bells. Hogg’s somewhat hangdog, anxious Mann is ever humorous; Yorke’s Weil more spiky.

Canny operator: Bryan Bounds as recording company boss Donny Kirshner. Picture: Charlie Kirkpatrick

Throughout, Lancaster conquers York. What a talent! Leeds Conservatoire tutor by day, New York Brass Band saxophonist and clarinet player by night, she has polished up her piano playing too to complement her delightful singing voice, as uplifting and moving as King’s, especially on Tapestry’s songs from the broken heart.

From precociously gifted yet demure teenager, to diligent young mother, to solo singer-songwriter, embracing the spotlight at last after such hurt, Lancaster evokes all facets of the King character. Her renditions of It’s Too Late and (You Make Me Feel Like) A Natural Woman are the crowning glory for King and Lancaster alike.

You will feel the earth move, thanks not only to Lancaster, but also to Briggs’s potent direction, full of drama, emotion and humour, to go with his snappy, snazzy costumes and Phoebe Kilvington’s hair and make-up, propelled by the fabulous playing of Stephen Hackshaw’s band, always in view at the back.

Tickets for Tuesday to Saturday’s 7.30pm evening performances and Saturday’s 2.30pm matinee are on sale at atgtickets.com/york.