Tag: Elvis Costello Radio Soul!

Ben Arnup: York ceramicist taking part in York Ceramics Fair

THE cream of ceramics, the dancing Gentleman Jack, Harry Enfield’s comedy characters and two cases for Sherlock Holmes make for a cracking week ahead, reckons Charles Hutchinson.   

Top of the pots: York Ceramics Fair 2026, York Racecourse, Knavesmire, York, today, 10am to 5pm; tomorrow, 10am to 4pm

EXPLORE work by more than 70 of the UK’s finest makers in a balanced mix of established artists and emerging talent, complemented by inspiring talks and demonstrations, in this Craft Potters Association event run by the makers.

Among those taking part will be Ben Arnup, Hannah Billingham, Cosmin Ciofirdel, Ben Davies, Sharon Griffin, Jaroslav Hrustalenko, Jin Eui Kim, Ruth King, Francis Lloyd-Jones, Emily Stubbs, Asia Szwej-Hawkin, Shirley Vauvelle and Jo Walker. Tickets: yorkceramicsfair.com.

Heather Lehan, left, and Julie Nunès in rehearsal for Northern Ballet’s Gentleman Jack at Leeds Grand Theatre. Picture: Colleen Mair

Dance premiere of the week: Northern Ballet in Gentleman Jack, Leeds Grand Theatre, today, then March 10  to 14, 7.30pm, plus 2.30pm matinees on March 12 and 14

THIS groundbreaking new ballet marks a trio of ‘firsts’: the first time the story of Anne Lister has been told through ballet, the first large-scale commission for Northern Ballet since 2021 and the first under artistic director Federico Bonelli.

Yorkshirewoman Anne, the “first modern lesbian”, lived, dressed and loved as she desired, not as 19th century society expected of her. Northern Ballet’s interpretation of her life is choreographed by Annabelle Lopez Ochoa. Box office: 0113 243 0808 or leedsheritagetheatres.com.

Candie Payne: Singer-turned-artist taking part in pop-up art fair at RedHouse Gallery, Harrogate. Picture: Chris Morrison

Pop-up art event of the week ART at RedHouse Gallery, Cheltenham Mount, Harrogate, today, 10am to 6pm

REDHOUSE Gallery, in Cheltenham Mount, Harrogate, introduces ART, its inaugural pop-up fair dedicated to contemporary art, prints, archive editions and sculpture, showcasing young and emerging artists from Harrogate and beyond.

Many of the artists will be attending the event. Among those taking part are Schoph, Christopher Kelly, Candie Payne, Thomas James Butler, Florence Blanchard, Alfie Kungu, Gareth Griffiths, David Rusbatch and Siena Barnes.

Harry Enfield: No Chums but a cornucopia of comedy characters on his return to York, where he cut his comedy teeth in his university days

Comedy legend of the week: Harry Enfield And No Chums, Grand Opera House, York, tomorrow, 2.30pm and 7.30pm

FROM the meteoric rise of Thatcherite visionary Loadsamoney to the fury of Kevin the Teenager, satirical comedian and self-styled “stupid idiot” Harry Enfield  reflects on 40 years in comedy, bringing favourite characters back to life on stage.

Then comes your chance to ask the former University of York politics student (Derwent College, 1979 to 1982) how comedy works, what makes him most proud and what would he say to those who suggest “You wouldn’t be allowed to do your stuff today, would you?”. Box office: atgtickets.com/york.

Aisling Bea: Tales of travel, home, history, music, lovers and enemies at York Barbican

Big life answers of the week: Aisling Bea, Older Than Jesus, York Barbican, Sunday, 7.30pm

BAFTA and British Comedy Award-winning Irish stand-up, actor and writer Aisling Bea presents  tales of travel, home, immigration, history, sex, babies, music, lovers and enemies and will even answer your big life questions.

“It’s not about the destination, babes, it’s about the journey, but also the destinations are very important,” says Kildare-born Bea, creator, writer and star of Channel 4 and Hulu series This Way Up. Older than Jesus? Yes, Bea is 41. Box office: yorkbarbican.co.uk.

Josh Jones: Still trying to earn his cat’s respect on tour at Theatre@41, Monkgate

Wrestling with humour: Josh Jones, I Haven’t  Won The Lottery So Here’s Another Tour Show, Theatre@41, Monkgate, York, March 11, 8pm

MANCHESTER comedian Josh Jones follows up Gobsmacked with I Haven’t  Won The Lottery So Here’s Another Tour Show as he finds himself knee deep into his 30s, where nothing thrills him more than a Greggs’ Sausage Roll and an M&S food shop.

Living a more sedate life is not without its challenges, however, as he is still trying to earn his cat’s respect. “I’ll be keeping it light: nothing super-political, nothing controversial, and it’s definitely not going to change your life,” he says of a set brimful of history, cats and his love of wrestling. Box office: tickets.41monkgate.co.uk.

Jordan Gray: Asking if the cost of success is worth it at Theatre@41, Monkgate

Gray matter of the week: Jordan Gray, Is That A C*ck In Your Pocket , Or Are You Just Here To Kill Me?, Theatre@41, Monkgate, York, March 12, 8pm

JORDAN Gray, creator of ITV’s Transaction, hits the road with a guitar on her back and some very poorly written death threats in her DMs after she stripped off live on Channel 4, and won a BAFTA in the process, but bigots went ballistic.

Is the cost of success worth it, she asks in her new show. How do you live up to your own sky-high expectations? Join Gray as she explores all this and more in her “rootinest, tootinest, shootinest” hour of musical comedy yet. Box office: tickets.41monkgate.co.uk.

Claire Martin: Joining jazz forces with IG4 at NCEM, York. Picture: Kenny McCracken

Jazz gig of the week: IG4 with Claire Martin, National Centre for Early Music, York, March 12, 7.30pm

VOCALIST Claire Martin joins IG4  pianist and composer Nikki Iles, saxophonist Karen Sharp and rising star bassist Ewan Hastie, 2022 BBC Young Jazz Musician of the Year, to perform Iles’s new arrangements of  Tom Waits, Burt Bacharach, Anthony Newley and Joni Mitchell songs, complemented by her stylish reworking of the American songbook, including Cole Porter and Johnny Mandel. Box office: 01904 658338 or ncem.co.uk.

Baron Productions’ cast for Sherlock Holmes: A Scandal In Bohemia and The Speckled Band at St Mary’s Church, Bishophill Junior

Thriller double bill of the week: Baron Productions in Sherlock Holmes: A Scandal In Bohemia and The Speckled Band, St  Mary’s Church, Bishophill Junior, York, March 13 and 14, 7.30pm

SHERLOCK  Holmes and Dr Watson embark on two of Sir Arthur Conan Doyle’s most captivating cases, presented by York company Baron Productions. London private detective Holmes has always despised love, until the day he pits his wits against mysterious blackmailer Irene Adler, who has a powerful hold over the King of Bohemia, one that could turn Holmes into a changed man if he dares do battle with her.

Then, when a desperate young woman begs Holmes for protection against her cruel stepfather, he and Watson must face a deranged doctor – who can commit horrible murders without entering his victims’ rooms – and a sinister “speckled band”. Box office: ticketsource.co.uk/baron-productions.

Gig announcement of the week: Elvis Costello & The Imposters with Charlie Sexton, Radio Soul!: The Early Songs Of Elvis Costello, York Barbican, June 17

ELVIS Costello will return to York Barbican for the first time since May 2012’s Spectacular Singing Book tour, joined by The Imposters’ Steve Nieve, Pete Thomas and Davey Faragher and Texan guitarist Charlie Sexton.

Costello, 71, will focus on songs drawn from 1977’s My Aim Is True to 1986’s Blood & Chocolate in 1986, complemented by “other surprises”. Tickets: yorkbarbican.co.uk/whats-on/elvis-costello/.

In Focus: Northern Ballet’s world premiere of Gentleman Jack, Q & A with principal dancers Gemma Coutts, Saeka Shirai & Rachael Gillespie

The woman in black: Gemma Coutts’s Anne Lister in Northern Ballet’s Gentleman Jack. Picture: Guy Farrow

Gemma Coutts on playing playing Anne Lister, 19th century icon and Yorkshirewoman, described by some as the “first modern lesbian”

What steps brought you to Northern Ballet?

“I grew up in Thailand, where I attended my first ballet school. At the age of 16, I joined the English National Ballet School and graduated in 2021. After this, I joined Northern Ballet where I am now in my fifth season with the company.”

Were you aware of Anne Lister/Gentleman Jack before being invited to create the ballet? What stuck you most about her story? 

“No, I was not aware of Anne Lister or her story prior to the ballet. Having learned more, Anne’s confidence and the social impact of her actions really stood out to me.”

How have you found the process of working with choreographer Annabelle Lopez Ochoa to create the ballet and originate this role? 

“I have really enjoyed working with Annabelle. She is a passionate woman who knows what she wants. This means that we work quickly and with purpose, which suits my style and has allowed us to really dive into the roles.” 

How would you describe this ballet in three words? 

“Challenging. Evocative. Powerful.”  

What are you most looking forward to about performing Gentleman Jack?

“I am looking forward to performing in London as my family are coming to watch all the way from Indonesia. I always enjoy my time in London as I get to see many friends from my English National Ballet School days.”

Saeka Shirai, right, in rehearsal with Gemma Coutts for Northern Ballet’s Gentleman Jack. Picture: Colleen Mair

Saeka Shirai on playing the part of Marianna Lawton, friend and lover of Anne Lister,who breaks Anne’s heart by marrying Charles Lawton.

What steps brought you to Northern Ballet?

“I’m from Osaka, Japan and trained with the Yuki Ballet Studio and Canada’s Royal Winnipeg Ballet School. I danced with Canada’s Royal Winnipeg Ballet for four years and then with Poznan Opera Ballet for two. This is my fourth season with Northern Ballet.

Were you aware of Anne Lister/Gentleman Jack before being invited to create the ballet? What stuck you most about her story? 

“I had some awareness of Anne Lister before working on the ballet, and what struck me most was her courage.”

How have you found the process of working with choreographer Annabelle Lopez Ochoa to create the ballet and originate this role? 

“It’s been an inspiring and collaborative process. She knows very clearly what she wants, which I found very similar to Anne Lister herself. That clarity made the creative process focused and exciting, especially when originating a new role.”

What are the defining characteristics of your part and how are you embodying those on stage? 

“I think Marianna is graceful, elegant and emotionally expressive. On stage, I try to bring her character to life with smooth movements and a mature presence.”

Are you excited to be premiering in Leeds, portraying a real person and story rooted here in Yorkshire? 

“Yes, of course we are very excited!”

How would you describe this ballet in three words? 

“Brave, bold and confident.”

What are you most looking forward to about performing Gentleman Jack? Do you have a favourite place to visit?

“Wherever we go, the audience is always so warm and welcoming. It really means everything to us. I hope the ballet brings them as much joy as they give us.”

Rachael Gillespie (Ann Walker), right, rehearsing for Northern Ballet’s Gentleman Jack with Gemma Coutts (Anne Lister). Picture: Colleen Mair

Gentleman Jack choreographer Annabelle Lopez Ochoa. Picture: Colleen Mair

Rachael Gillespie on playing Ann Walker, Anne Lister’s long-term partner and eventual wife, who sets Ann on a path to being a different type of woman.

What has been your dance journey?

“I have been dancing with Northern Ballet for 18 years.” 

Were you aware of Anne Lister/Gentleman Jack before being invited to create the ballet? What stuck you most about her story? 

“Her strength, courage and intelligence really stood out for me. To step out of social expectations to be her true self is so brave and empowering.” 

Are you excited to be premiering in Leeds, portraying a real person and story rooted here in Yorkshire? 

“It’s always so special for us to tour and share our stories across the UK. We have an incredible amount of loyalty from our audiences, old and new, so it’s so important to keep them involved with our performances.”

How would you describe this ballet in three words? 

“Empowering, innovative, enriching.” 

REVIEW: The Ladies Football Club, Crucible Theatre, Sheffield, kicking off until March 28 ****

GO Firth and multiply the possibilities. In the wake of BAFTA and Olivier Award winner Tim Firth being asked to write the book for the Madness musical Our House and adapting his Calendar Girls film script for the stage version and subsequently the musical with composer Gary Barlow, now he puts the Sheffield into Stefano Massino’s 2019 Italian play Ladies Football Club, adding “The” to become the definitive version.

One accompanied in the city known as the “Home of Football” by foyer panels of information on the history of the women’s game, from Dick, Kerr’s Ladies FC and legendary gay star winger Lily Parr to Hope Powell and beyond.

Parr’s story, incidentally, has been told theatrically in Benjamin Peel’s Not A Game For Girls and Sabrina Mahfouz and Hollie McNish’s Offside, a play about football, feminism and female empowerment: themes in common with Firth’s premiere.

In the amphitheatre of the Sheffield Crucible, a theatrical sporting venue more associated with the multi-coloured ball-manoeuvring skills of snooker’s world championship, Sheffield Theatres’ artistic director Elizabeth Newman teams up with Frantic Assembly counterpart Scott Graham, whose trademark storytelling through movement was so crucial to the National Theatre’s The Curious Incident Of The Dog In The Night-Time.

Bringing football alive on stage has been expressed in myriad forms, from the game enacted in the heat of Celtic-Rangers sectarianism in avant-garde ballet maverick’s Michael Clark & Company’s punk liaison with Mark E Smith’s The Fall in I Am Curious, Orange, at Sadler’s Wells Theatre in 1988, to the masks and mannequins for the “Dirty Leeds” players in Anders Lustgarten’s Brian Clough psychodrama The Damned United.

More recently, Amanda Whittington turned the spotlight on the early days of women’s football in Mikron Theatre’s four-hander Atalanta Forever in 2021 and James Graham essayed the state-of-the-nation treatise wrapped inside the so-close-but-no-cigar reinvention of England’s football team under thoroughly decent Gareth Southgate, premiered by the National Theatre in 2023 and now being stretched into a four-part BBC One series.

You could argue that theatre’s best evocation of physical combat on the sports field comes in John Godber’s Up’N’Under, wherein Rugby League’s bruising encounters are played out by actors wearing shirts with one team’s colours on the front and the opponent’s strip on the back. So simple, so economical, so effective, so Godber.

Here, in The Ladies Football Club, no football is kicked with a satisfying thud, although we still feel every lunging tackle, every meaty header, as the cut and thrust, the tension and drama, of a game is evoked by Graham through largely balletic movement, sometimes freeze-frame in the manner of Roy Of The Rovers comic strips, sometimes in cartoonish slow motion, other times with sudden circular bursts of energised running.

There are 11 players on the “pitch”, sometimes fewer, depending on factory resources available, but all representing only the one team. Opponents are a ghostly blur, conjured in your imagination, as the Sheffield foundry team go through their motions and emotions.

Just as the opposing teams are absent, so too are the steel city’s men folk, sent to the front in the Great War. The women take over their Doyle & Walker factory labours, making the munitions for all that senseless fighting and bombing.

We see them on the factory floor, with their banter, their sandwiches and their rivalries, and we see them starting up lunchbreak kickabouts, with their banter, their sandwiched tackles and their rivalries, before progressing from playing with prototype explosives for a ball to local pitches and ultimately to famous stadia.

Teamwork is captured in Graham’s ensemble movement; individual stories are played out in Firth’s script, 11 stories in all, one for each player, each with a back story to tell.

That requires Firth to emphasise one trait or trope to encapsulate a character, a device that is at risk of making them 2D, rather than 3D, but aids the humour in the clashes of personality, beliefs and habits, also brought out in the way each plays the game. The fiery Marxist activist of the team plays, where else, but on the left wing.

Firth and director Newman have to squeeze in too much, but the accumulative effect is to bring the speed and momentum of a match into the storytelling, matched by Joe Ransom’s playful video designs, using projections rather than jumpers for goalposts, as the walls and floor come alive, in tandem with the ‘cabinets’ in Grace Smart’s smart set design, from which the factory work stations are pulled out.

United in defiance in the team line-up are Jessica Baglow’s stoical goalkeeper, Rosalyn; Cara Theobold’s workforce leader, Violet; Leah Brotherhead’s idealist militant, Hayley; Lesley Hart’s minister’s daughter, Berenice; Bettrys Jones’s Olivia, first with the news from the family newsagency, Ellie Leach’s Brianna, Claire Norris’s late-blooming outsider, Melanie; Krupa Pattani’s Cheryl, reluctant player-turned-captain; Cheryl Webb’s Abigail; Chanel Waddock’s Penelope, and, most amusing of all, Anne Odeke’s loud and proud Justine, never short of a salty quip.

When Red Ladder staged The Damned United, artistic director Rod Dixon summed up the play’s attributes thus: “As a story, it has it all – passion, power struggles, tragedy and a classic anti-hero – which lends itself brilliantly to theatre.” In the case of The Ladies Football Club, passion, power struggles and the tragedy of war play out. As for an anti-hero, the Football Association banned women’s football from 1921 to 1971 on the grounds of safety risks (to their anatomy). In a nutshell, the beautiful game was deemed “quite unsuitable for females and ought not to be encouraged.”

And so, women received the red card from both the post-war factory floor and playing pitch. Amanda Whittington wrote Atalanta Forever as her revenge play; Firth concludes The Ladies Football Club with a triumphant coda, celebrating the Lionesses’ victories and welcoming the next generation of young players on stage in full England kit (in a role shared by Evie-Rose Drake, Cristina La Roca, Bonnie Hill and Sophie tanner).

The audience cheers rise all the louder, honouring the wartime past of the foundry’s first flame of players while holding a torch for the future too. Football is indeed coming home…to Sheffield.

Sheffield Theatres in The Ladies Football Club, Crucible Theatre, Sheffield, until March 28. Box office: 0114 249 6000 or sheffieldtheatres.co.uk.

The full squad -including the swings on the wings – for The Football Ladies Club