Gareth Gates in Valentine mood on return to York Barbican to croon movie love songs

Gareth Gates: Bringing Valentine romance to York Barbican

GARETH Gates was visiting York Barbican for the first time on Wednesday – or so he thought – to promote his upcoming visit on February 16 with a concert of love songs from the movies.

A perusal through The Press files revealed the Bradford pop singer, musical theatre actor and pantomime regular, now 40, had performed there in Mad About The Musicals, singing the songs of Rodgers & Hammerstein, Kander & Ebb, Boublil & Schönberg and Lloyd Webber & Rice, in November 2015.

Forgive him for not recalling that York performance. After all, much water has passed under the bridge since former Bradford Cathedral head chorister Gareth was piloted to pop success at 17 by his 2002 Pop Idol clash of the stammering northern working-class lad versus the unstoppable southern posh boy, Will Young.

In York, he also had appeared as bad-boy Warner in Legally Blonde The Musical in September 2012 and in his first comedy role as cowboy Willard in Footloose in May 2017, both at the Grand Opera House. “I did two tours of that show and they asked me to do it a third time, but I thought, ‘I’ve ticked that box,” he says.

Tanned, teeth pearly white, hair and beard matinee-idol dark, full and thick, he looked the very picture of gym-toned good health in the Barbican bar, his vocal coach a calming presence by his side as the stammer that never affects his singing or stage performances only rarely punctuated his affable conversation.

“I used to come to York as a child,” he says. “I’m from Bradford and we’d always have a day out here over the summer, bringing me over for a cruise on the River Ouse. I’ve always loved this place, going to the  Minster, and being able to perform here over the years has been a thrill.”

His latest return, in the week of St Valentine’s Day, will see producer and performer Gareth leading a company of singers and a four-piece band in Gareth Gates Sings Love Songs From The Movies, a show rooted in his 2002 cover of The Righteous Brothers’ Unchained Melody.

“That was my biggest hit and first ever number one, made famous by that scene in the movie Ghost, and I got thinking about how the world’s greatest love songs come from the movies and how I should do a show built on all those incredible movie songs,” says Gareth.

“The more I’ve looked into it and put together the set list, I realised that the synergy between music and movies is huge, and I hope that tapping into that will be a great move.

“If the show is a roaring success, we could look at doing an album, either as a live concert recording or going into the studio.”

Expect songs from Armageddon, Dirty Dancing, Titanic, A Star Is Born, My Girl, Top Gun and Footloose, among others, in a concert show divided into two sets of “beloved classic ballads, heart-warming melodies, electrifying up-tempo modern hits”. “And of course I’ll be doing Unchained Melody too,” says Gareth.

“I’m working again with Carrie Courtney, who booked the tour for Mad About The Musicals, and I’ve put together an incredible cast featuring West End talent. We have Maggie Lynne, who’s done Wicked and worked with me on a show many, many years ago, and Britt Lenting, a Dutch singer, who’s just finished doing panto with me in Snow White And The Seven Dwarfs at the Churchill Theatre in Bromley, where I was Prince Gareth of Greenwich and she was the Evil Queen.

The tour poster for Gareth Gates Sings Love Songs From The Movies

“We started rehearsals when I was looking to cast the show. I heard her sing and thought, ‘I need you to be in the cast’. She’s done The Phantom Of The Opera, Love Never Dies and Little Mermaid, and she can be very operatic when she sings. She has such a powerhouse voice.

“She made a big name for herself in Holland but in 2016 she decided to take a leap across the water to see if she could make it in the West End and she’s absolutely smashing it.”

Completing Gareth’s vocal line-up will be Dan Herrington. “He’s fresh out of college after studying at Performers College in Essex,” says Gareth. “I like to put together an experienced bunch of performers but I also like to give aspiring, budding talent a chance to shine.

“I went to a showcase at Performers College, heard him sing and booked him straightaway for my autumn tour, where he was one of the Four Seasons in my Gareth Gates Sings Frankie Valli & The Four Seasons show.”

The band from that tour – all of them session musicians from big shows in the West End – will be joining Gareth for the 25-date movie music tour of England, Scotland and Wales. “We also had this crazy idea of taking the Frankie Valli show out again at the same time, doing one show in some cities, the other show in other cities. It seemed like a good idea – I’ll tell you how it goes!”

Gareth has worked with lighting designer Matt Boyles on the movie show’s design. “It’s essentially a concert show, but because of my roots in theatre, there will be a narrative to it too, with an old-school TV screen that we’ll start the show on and then we launch into all these amazing songs, which I’m really excited about singing all in the same show.

“Putting the set list together is based on instinct and experience over the years of doing these shows, which counts for a lot.  If, after the first show or two, we feel something doesn’t work where we’ve placed it, we will change things up, based on the reaction of the crowd. I’m a great believer in that: you have to read the room.”

Gareth has lived in London since his Pop Idol discovery at 17, “but any opportunity I get to come back to Yorkshire, I do,” he says. “The first house I ever bought was up here in Yorkshire, on the edge of the Dales, which I bought for my family and I still have a house up here. I come up as often as I can and Yorkshire will always be my home.”

Hence his Love Songs tour will open in Yorkshire in Valentine’s week with shows at Wakefield Theatre Royal on February 10 and Hull Connexin Live on February 13, as well as York Barbican on February 16, and later dates at Bradford St George’s Hall on March 14 and Sheffield City Hall on March 28, while Gareth Gates Sings Frankie Valli & The Four Seasons will play the Victoria Theatre, Halifax, on March 1.

He has filmed a piece for ITV’s Calendar show on Bradford City of Culture 2025, visiting “some of the places where I grew up, like my old school Dixons City Academy and Bradford Cathedral, where I joined the choir when I was nine and was head boy chorister at 11,” recalls Gareth.

“I sang for The Queen at the Maundy Thursday Service in 1997 when I was 12 and was given Maundy money as I was the head boy soprano soloist, so essentially I was working for The Queen!

“For that sort of pressure to land on your shoulders at that age was a challenge, but all great training for what was to come.”

“The more I’ve looked into it and put together the set list, I realised that the synergy between music and movies is huge, and I hope that tapping into that will be a great move,” says Gareth Gates

Gareth had the honour of meeting HM The Queen again on his 18th birthday. “I was invited to Buckingham Palace for a Young Achievers ceremony after I’d helped many people with stammering and speech impediments. She didn’t remember me singing at the Maundy service!.”

Gareth hopes to take part in Bradford’s year as City of Culture, on top of his home-city performance of Gareth Gates Sings Love Songs From The Movies. “We’re in talks about doing a show  at Bradford Live,  the brand new venue at the old  Bradford Odeon, hopefully towards the end of the year,” he reveals. Watch this space.

Gareth’s diary is ever busy. “I’m constantly working, and the biggest thing I’ve learned of late is not to overdo it,” he says. “I’m very fortunate to be as much in demand as I’ve ever been. There’s never been a dry spell – I find it hard to say ‘No’ – though I do have to at times.

“In 2023 I worked the most I’d ever worked with only ten nights off. It was a mixture of work, like performing every night when I was on board on cruise ships, with my own lounge, and also doing pantomime and The SpongeBob Musical, which was a fun show to do.

“I did lots of festivals, lots of Nineties and Noughties shows, and do you know what, I did burn out. I did way too much, so last year I eased off when I could, and this year I’ll be trying to do a little less – and that’s through the fear of my voice becoming slightly smashed.  I do have to be careful with it and look after it.”

Staying fit is important to Gareth. “I’m massively into the gym,” he says. “I’m a health freak! I get all that right but I am very guilty of over-working.”

Twenty-three years on from Pop Idol, he and Will Young maintain their friendship. “I’ve only stayed in touch with Will and with Zoe Birkett too from that time. We’re really good friends; we hook up whenever we can  – I spoke to him last week.”

Looking back to 2002, he says: “We went into it completely blind, not knowing what to expect, and we had each other to rely on throughout. Then we had a number one hit together with The Long And Winding Road and went on tour together. We were the guinea pigs of it all but we could fall back on each other.”

Pop careers rooted in the hothouse of talent shows can crash and burn, but not so with Gareth. “I’m fortunate that people have not turned on me, but a big part of that is I’ve not changed from the person I was, whereas you open yourself up to criticism if you do. I’ve stuck with the same people, always being grounded, rather than overstepping the mark,” he says.

 “The danger of pop stars losing their way is if they surround themselves with ‘yes’ people, and then the moment someone goes against them and says ‘No’, that’s their downfall. I’ve kept the friends I’ve always had around me and they’ve kept me the person I’ve always been.”

He may live in London, but you cannot take the Yorkshireman out of Gareth. “It’s massively important to me,” he says. “I take a lot of pride in keeping my roots. My accent is still quite broad and I actually enjoy that. I get a lot out of coming from Bradford and Yorkshire.  It’s made me the person I am. I love being from Yorkshire – and I love playing to a home crowd as they love to see a Yorkshireman doing well.”

Gareth Gates Sings Love Songs from The Movies – A Valentine Special, York Barbican, February 16, 7.30pm. Box office: yorkbarbican.co.uk. Also Hull Connexin Live, February 13, 7.30pm. Box office: connexinlivehull.com.

York Theatre Royal to stage world premiere of Jeremy Dyson and Andy Nyman’s twisted thriller The Psychic in Spring 2026

Andy Nyman and Jeremy Dyson: Writers of The Psychic, premiering at York Theatre Royal in 2026

YORK Theatre Royal will stage the world premiere of Jeremy Dyson and Andy Nyman’s twisted thriller The Psychic at York Theatre Royal next year. Tickets go on general sale from 1pm on January 15.

In the wake of the success of Ghost Stories, which spooked the Grand Opera House, York, in March 2020, Dyson and Nyman are to reunite for this electrifying new production. Show dates will be April 29 to May 23 2026, with the first week being previews.

Leeds-born Dyson and Nyman say: “We are so thrilled to have the world premiere of our new play at York Theatre Royal and to be part of their exciting next chapter. We cannot wait to unleash The Psychic at this remarkable venue.”

Theatre Royal chief executive Paul Crewes says: “We are very proud to be producing the world premiere of The Psychic here at York Theatre Royal. Andy and Jeremy have created this wonderful edge-of-your-seat script that we can’t wait to bring to life on our stage in 2026.”

The poster for The Psychic at York Theatre Royal

In The Psychic, popular TV psychic Sheila Gold loses a high-profile court case that brands her a charlatan. It costs her not only her reputation, but also a fortune in legal fees. 

When wealthy parents ask Sheila to conduct a séance to attempt to make contact with their late child, Sheila senses an opportunity to bleed them for money. What follows makes her question everything she has ever believed, leading her on a journey into the darkest corners of her life. Cue thrills, shocks…and laughs.

The Psychic adds to York Theatre Royal’s bill of produced and co-produced work in 2025 and 2026. In the diary for this year are the co-production of North By Northwest with Emma Rice’s Wise Children, HOME Manchester and Liverpool Everyman & Playhouse from March 18 to April 5 and erstwhile pantomime cat Gary Oldman’s return to the Theatre Royal in Samuel Beckett’s Krapp’s Last Tape from April 14 to May 17.

To book tickets, ring 01904 623568 or head to yorktheatreroyal.co.uk.

The night-watchman on his guard in Jeremy Dyson and Andy Nyman’s Ghost Stories (pictured in the 2019 London production)

Jeremy Dyson: the back story

Award-winning Leeds-born writer and director.

Writing credits for theatre include Ghost Stories (Lyric Hammersmith, nominated for Olivier Award for Best Entertainment); The League Of Gentlemen Are Behind You (UK tour); The League Of Gentlemen: A Local Show For Local People (UK tour, Theatre Royal Drury Lane – nominated for Olivier Award for Best Entertainment) and The League Of Gentlemen.

Co-writing credits for television include Psychobitches (winner of Rose d’Or for Best TV Comedy and nominated for two British Comedy Awards); The Armstrong & Miller Show (winner of BAFTA Award for Best Comedy); Billy Goat; Funland (nominated for  BAFTA Award for Best Drama Serial) and The League Of Gentlemen (winner of BAFTA Award for Best Comedy, Golden Rose of Montreux and RTS Award for Best Entertainment).

Co-writing credits for film include Ghost Stories and The League Of Gentlemen’s Apocalypse.

Andy Nyman: the back story

Award-winning actor, director and writer.

As an actor, his theatre work includes The ProducersAssassins (Menier Chocolate Factory); Fiddler On The Roof (Menier Chocolate Factory and Playhouse Theatre – Olivier Award nomination for Best Actor in a Musical); Abigail’s Party (Menier Chocolate Factory and Wyndham’s Theatre); Hello, Dolly! (London Palladium); Martin McDonagh’s Hangmen (Wyndham’s Theatre/Broadway), and the original production of Ghost Stories (Duke of York’s Theatre/Arts Theatre), which he starred in, co-wrote and co-directed with Jeremy Dyson. Later adapted into a film, in which he also starred.

Television credits include Lockerbie; Wanderlust; The Eichmann Show; Campus and Dead Set, as well as playing Winston Churchill in Peaky Blinders

Film credits include Jungle Cruise; Judy; The Commuter; Death At A Funeral; Kick-Ass 2; Black Death; The Brother’s Bloom; Severance and Shut Up & Shoot Me, for which he won Best Actor award at Cherbourg Film Festival in 2006.

Collaborated with Derren Brown for almost 20 years, co-writing and co-creating much of Brown’s early TV work.  Co-written and directed Brown’s stage shows, winning Olivier Award for Best Entertainment for Derren Brown – Something Wicked This Way Comes and New York Drama Desk Award for Best Unique Theatrical Event 2017 for Derren Brown – Secret

More Things To Do in York and beyond in 2025 Part Two when the ice age cometh. Hutch’s List No. 2 from The York Press

Taboo-shattering comedy: Ed Byrne in Tragedy Plus Time at Grand Opera House, York. Picture: Roslyn Grant

FROM Narnia to ice sculptures, comedy in wolf’s clothing to Ayckbourn’s 91st play, Charles Hutchinson finds plenty to perk up the days and nights ahead.

Taboo subject of the week: Ed Byrne: Tragedy Plus Time, Grand Opera House, tonight, 7.30pm

MARK Twain, the 19th century American writer, humorist, and essayist, defined humour as Tragedy Plus Time. Irish comedian Ed Byrne tests that formula by mining the most tragic event in his life – the death of his brother Paul from Hodgkin’s lymphoma at 44 – for laughs.

Byrne’s show carries the content warning “Discussions of death”.  “But as with any subject I do, there are always digressions into asides,” he says. Box office: atgtickets.com/york.

Mark Reynolds’ illustration for Stewart Lee Vs The Man-Wulf, on tour at York Theatre Royal for five nights

Comedy and not comedy: Stewart Lee Vs The Man-Wulf, York Theatre Royal, January 28 to February 1, 7.30pm; The Shed presents Indeterminacy with Tania Caroline Chen, piano, Steve Beresford, piano and objects, and Stewart Lee, voice, National Centre for Early Music, York, February 1, 3.30pm

IN Stewart Lee Vs The Man-Wulf, Lee shares the stage with a tough-talking werewolf comedian from the dark forests of the subconscious who hates humanity. The Man-Wulf lays down a ferocious comedy challenge to the “culturally irrelevant and physically enfeebled Lee”: can the beast inside us all be silenced by  the silver bullet of Lee’s deadpan stand-up? Box office: 01904 623568 or yorktheatreroyal.co.uk.

On John Cage and David Tudor’s 1959 double LP Indeterminacy, Cage read 90 of his stories, each one, whether long or short, lasting precisely one minute. Unheard by Cage, Tudor simultaneously played the piano and other things in another room. Now Stewart Lee joins pianists Tania Caroline Chen and Steve Beresford to do their own version of Cage’s work in a 40-minute performance in one room, where the musicians do their best not to hear Lee’s reading. Box office: 01904 658338 or ncem.co.uk.

York Ice Trail 2025: Taking the theme of Origins on February 1 and 2

After this week’s deep freeze, here comes York Ice Trail 2025, February 1 and 2

YORK’S “free weekend of frosty fun” returns with a 2025 theme of Origins as York’s streets are turned into an icy wonderland of frozen tableau in this annual event run by Make It York. Among the 30 ice sculptures showcasing 2,000 years of city history will be a Roman shield, a Viking helmet, a chocolate bar,  a drifting ghost, a majestic train and a Yorkshire rose, all captured in the language of ice by Icebox. Full details can be found at visityork.org/york-ice-trail.

The book cover for Elizabeth Sharkey’s Why Britain Rocked: Under discussion with musician and environmental campaigner husband Feargal at Pocklington Arts Centre

One-off interview comes into view:  Why Britain Rocked: Elizabeth and Feargal Sharkey, Pocklington Arts Centre, February 13, 7.30pm.

FEARGAL Sharkey, former frontman of The Undertones, will interview his wife, author Elizabeth Sharkey, on one night only of her debut book tour: the final show, which just happens to be in Pocklington.

Together they will explore the history of British pop music, as charted in Why Britain Rocked: How Rock Became Roll And Took Over The World, wherein Elizabeth re-writes the established history by uncovering the untold stories behind Britain’s musical evolution and challenges the American claim to have invented rock’n’roll. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

The Corrs: Kicking off the 2025 season at Scarborough Open Air Theatre

Off to the East Coast this summer: Scarborough Open Air Theatre season

IRISH siblings The Corrs lead off Cuffe & Taylor’s 2025 season in Scarborough with support from Natalie Imbruglia  on June 11. In the diary too are Gary Barlow, June 13; Shed Seven with special guests Jake Bugg and Cast, June 14; Pendulum, June 15; Basement Jaxx, June 21, and The Human League, plus Thompson Twins’ Tom Bailey and Blancmange, June 28.

July opens with The Script and special guest Tom Walker on July 5; UB40 featuring Ali Campbell, with special guest Bitty McLean, July 6; Blossoms, with Inhaler and Apollo Junction, July 10; Rag’n’Bone Man, with Elles Bailey, July 11; McFly, with Twin Atlantic and Devon, July 12; Judas Priest, with Phil Campbell & The Bastard Sons, July 23, and Texas, with Rianne Downey, July 26. Box office: scarboroughopenairtheatre.com.

Bunmi Osadolor (Edmund), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy) and Joanna Adaran (Susan) in The Lion, The Witch And The Wardrobe at Leeds Playhouse. Picture: Brinkhoff-Moegenburg

Touring show of the year: The Lion, The Witch And The Wardrobe, Grand Opera House, York, April 22 to 26, 7pm plus 2pm Wednesday, Thursday and Saturday matinees

STEP through the wardrobe into the kingdom of Narnia for the most mystical of adventures in a faraway land. Join Lucy, Edmund, Susan and Peter as they wave goodbye to wartime Britain and say hello to Mr Tumnus, the talking Faun, Aslan, the Lion, and the coldest, cruellest White Witch. 

Running at Leeds Playhouse until January 25 in the most spectacular production of the winter season, this breathtaking stage adaptation of CS Lewis’s allegorical novel then heads out on a new tour with its magical storytelling, bewitching stagecraft and stellar puppets. Box office: atgtickets.com/york.

Alan Ayckbourn: Directing his 91st play, Earth Angel, at the SJT, Scarborough, in the autumn. Picture: Tony Bartholomew

Alan Ayckbourn’s 91st play: Earth Angel, Stephen Joseph Theatre, Scarborough, September 13 to October 11

 STEPHEN Joseph Theatre director emeritus Alan Ayckbourn directs his 91st play, Earth Angel, wherein Gerald has lost his wife of many years. Amy was the light of his life, almost heaven sent. It is tricky thinking about life without her but he is trying his best to put a brave face on things, accepting help from fussy neighbours and muddling along as best he can.

Then a mysterious stranger turns up at Amy’s wake. He seems like a nice enough chap, washing the dishes and offering to do a shop for Gerald, but is he all that he appears? Box office: 01723 370541 or sjt.uk.com.

In focus: The Waterboys’ new album and tour dates at York Barbican, May 15; Sheffield City Hall, May 9, and Leeds O2 Academy, June 17

Mike Scott: Leading The Waterboys at York Barbican for the eighth time on May 15. Picture: Paul MacManus

THE Waterboys will showcase “the most audacious album yet” of Mike Scott’s 42-year career, Life, Death And Dennis Hopper, on their latest return to York Barbican, having previously played their “Big Music” brand of folk, rock, soul and blues there in 2012, 2013, 2014, 2015, 2018, 2021 and 2023.

Released on April 4 on Sun Records, their 16th studio album charts the epic path of the trailblazing American actor and rebel, as told through a song cycle that depicts not only Hopper’s story but also the saga of the last 75 years of western pop culture. 

“The arc of his life was the story of our times,” says Scott, “He was at the big bang of youth culture in Rebel Without A Cause with James Dean; and the beginnings of Pop Art with the young Andy Warhol. 

“He was part of the counter-culture, hippie, civil rights and psychedelic scenes of the ’60s. In the ’70s and ’80s he went on a wild ten-year rip, almost died, came back, got straight and became a five-movies-a-year character actor without losing the sparkle in his eye or the sense of danger or unpredictability that always gathered around him.”

As a first taste of what lies in store, Hopper’s On Top (Genius) was unveiled on streaming and video this week, capturing the electric, heady moment when Hopper’s Easy Rider became a cultural phenomenon and cemented his place in Hollywood history. Buoyed by Scott’s searing vocals, vibrant instrumentation and a psychedelic edge, the song channels the euphoria and hubris of the 1960s’ counterculture that Hopper epitomised.  

Scott worked for four years on Life, Death And Dennis Hopper. Produced with Waterboys bandmates Famous James and Brother Paul, the album spans 25 tracks that trace the trace the extraordinary ups and downs of Hopper’s life, from his youth in Kansas to his long rise, five wives, tumultuous fall and ultimate redemption.

The album cover artwork for The Waterboys’ Life, Death And Dennis Hopper, set for release on April 4

Every song has its own special place and fascinating, deep-rooted story. “It begins in his childhood, ends the morning after his death, and I get to say a whole lot along the way, not just about Dennis, but about the whole strange adventure of being a human soul on planet Earth,” says Scott.

The album will be The Waterboys’ first for Sun Records. “Hey, we’re label mates with Howlin’ Wolf and young Elvis,”says Scott,  who is joined by a stellar line-up of guests, ranging from Bruce Springsteen, Fiona Apple and Steve Earle to Nashville-based Alt Americana artist Anana Kaye, English singer Barny Fletcher, Norwegian country-rockers Sugarfoot, Taylor Goldsmith of Dawes, Kathy Valentine of The Go-Go’s and punk arch-priestess Patti Palladin.

The 31-date UK and Ireland tour will run from May 1 to June 19.  Box office: York, yorkbarbican.co.uk; Sheffield, sheffieldcityhall.co.uk; Leeds, academymusicgroup.com.

Life, Death And Dennis Hopper track listing:

1.   Kansas (featuring Steve Earle)
2.   Hollywood ’55
3.   Live In The Moment, Baby
4.   Brooke/1712 North Crescent Heights
5.   Andy (A Guy Like You)
6.   The Tourist (featuring Barny Fletcher)
7.   Freaks On Wheels
8.   Blues For Terry Southern
9.   Memories Of Monterey
10. Riding Down To Mardi Gras
11. Hopper’s On Top (Genius)
12. Transcendental Peruvian Blues
13. Michelle (Always Stay)
14. Freakout At The Mud Palace
15. Daria
16. Ten Years Gone (featuring Bruce Springsteen)
17. Letter From An Unknown Girlfriend (featuring Fiona Apple)
18. Rock Bottom
19. I Don’t Know How I Made It (featuring Taylor Goldsmith)
20. Frank (Let’s F**k)
21. Katherine (featuring Anana Kaye)
22. Everybody Loves Dennis Hopper
23. Golf, They Say
24. Venice, California (Victoria)/The Passing Of Hopper
25. Aftermath

Panto queen Suzy Cooper and RSC actor Mark Holgate to star in York Stage’s A Midsummer Night’s Dream from May 6 to 11

Suzy Cooper and Mark Holgate: Playing Titania and Hippolyta and Oberon and Theseus respectively in York Stage’s A Midsummer Night’s Dream

GARY Oldman will not be the only former Berwick Kaler co-star returning to a York stage in 2025.

Suzy Cooper, for more than 20 years the ditzy, posh-voiced, jolly super principal gal in the grand dame’s pantomimes, will lead Nik Briggs’s cast alongside York actor Mark Holgate as the quarrelling Queen and King of the Fairies, Titania and Oberon, in York Stage’s A Midsummer Night’s Dream from May 6 to 11.

In his tenth anniversary of producing and directing shows at the Grand Opera House, Briggs relocates his debut Shakespeare production from the court of Athens to Athens Court, a northern council estate, where magic is fuelled with mayhem and true love’s path still does not run smooth.

Presented as York Stage’s first co-production with the Cumberland Street theatre, Briggs’s Dream will feature a new score by musical director Stephen Hackshaw. “Whilst not being a musical, the show will include a live band alongside powerhouse vocals that York Stage are famous for with their musical production,” says Nik. “Keep your eyes peeled over the coming weeks for more Dreamy cast announcements. The next one will be very soon.”

Suzy last trod the Grand Opera House boards in dowager dame Berwick Kaler’s valedictory pantomime after 47 years on the York stage in Robinson Crusoe And The Pirates Of The River Ouse from December 9 2023 to January 6 2024.

Britannia rules the waves: Suzy Cooper’s fairy in Robinson Crusoe &The Pirates Of The River Ouse at the Grand Opera House, York, in December 2023. Picture: Charlie Kirkpatrick

“It will be lovely to be back in York, performing at the Grand Opera House again,” says Suzy, who will take the role of Hippolyta too opposite Holgate’s Theseus. “I’ve never played Titania before, but I did play the fairy, Mustardseed, at York Theatre Royal, with Malcom Skates as Bottom and Andrina Carroll as Titania, and then Peter Quince in Shakespeare’s Rose Theatre’s production at Blenheim Palace in 2019 [when she also appeared as Lady Macbeth in Macbeth].

“I’ve not worked with Mark before, but he did the Shakespeare’s Rose Theatre season the same summer that I did, and it’s going to be a lot of fun working with him.”

Explaining how this production and the initial casting came to fruition, producer-director Nik says: “This is a new venture for York Stage in our first co-production with the Grand Opera House, so as part of that we were looking at how we could create the next generation of York Stage productions.

“Like when we did our first pantomime [the socially distanced Jack And The Beanstalk in the Covid-shadowed winter of 2020] and we’ve also talked about using professional casting alongside our community casting, where a lot of our actors have professional credits too.

“It was important for York Stage to use professional actors with connections with York, and Suzy was someone I had wanted to work with for a long time. We’d talked several times about doing a show, and this was the perfect opportunity. It’s been in the offing since late-summer when we started talking about it.”

York Stage director Nik Briggs: Relocating Shakespeare’s A Midsummer Night’s Dream from the court of Athens Court, a northern council estate

Nik continues: “We were thinking about making ‘Dream’ like Brassic or Shameless, set on a northern council estate. In the original telling, Hippolyta is the Amazon queen, who is almost a prisoner of the Athenian court, and the idea struck me that with Suzy being a southerner but adopted by York after performing here for nigh on 30 years, she would be ideal as the southern counterpoint to the northern world in the tumultuous battle that unfolds, adding a North-South divide to it.”

Nik will be directing Mark Holgate for the first time too. “Our paths have never crossed before. Mark’s father had seen a piece in The Press about us looking for actors and said that Mark had had a career with the Royal Shakespeare Company, Cheek By Jowl, Sheffield Crucible and theatres across the UK and was a real master of Shakespearean acting, but he’d never performed at the Grand Opera House or York Theatre Royal.

“The opportunity to perform in one of the big theatres in his home city, with his family living in the city, was a real draw for him.  He’s played such roles as Banquo in Macbeth and Duke Orsino in Twelfth Night – he was sensational in that – for Shakespeare’s Rose Theatre but until now I wasn’t aware that he was from York.

“So we met up, he did some readings and he was exactly what I’d envisaged for Oberon. It really hinges on Oberon in this play, and Mark got my vision; he had just what I wanted from the role. It’s really exciting to see what he’ll bring to it.”

Suzy Cooper and Mark Holgate will star in York Stage’s A Midsummer Night’s Dream, Grand Opera House, York, May 6 to 11, 7.30pm plus 2.30pm Wednesday, Saturday and Sunday matinees . Box office: atgtickets.com/york.

More Things To Do in York and beyond in 2025, whether new or Oldman. Here’s Hutch’s List No. 1, from The Press, York

Laura Fraser’s DI Bea Metcalf on the York waterfront in Channel 4’s crime drama Patience. Picture: Channel 4

FROM a neurodiverse TV crime drama to an Oscar winner’s stage return, Charles Hutchinson picks highlights of the year ahead.

Seeing York through a different lens: Patience, Channel 4 from January 8, 9pm

CHANNEL 4’s six-part police procedural drama Patience, set in York, opens with the two-part Paper Mountain Girl, on January 8 and 9, wherein autistic Police Records Office civilian worker Patience Evans (Ella Maisy Purvis) brings her unique investigative insight to helping DI Bea Metcalf (Laura Fraser) and her team.

Written for Eagle Eye Drama by Matt Baker, from Pocklington, Patience is as much a celebration of neurodiversity as a crime puzzle-solver. “The centre of York itself is a little bit like a puzzle,” he says.   

Lara McClure: Atmospheric storytelling at A Feast Of Fools II at the Black Swan Inn

Out with the old, in with the new: Navigators Art presents A Feast Of Fools II, Black Swan Inn, Peasholme Green, York, Sunday, 7pm to 10.30pm; doors, 6pm

YORK collective Navigators Art presents a last gasp of mischief in an alternative end-of-season celebration of Twelfth Night and Old Christmas, packed with live folk music, spoken word and a nod to the pagan and the impish.

Dr Lara McClure sets the scene with atmospheric storytelling, joined by York musicians Oli Collier, singer, guitarist and rising star Henry Parker, York alt-folk legends White Sail and poet and experimental musician Thomas Pearson. Book tickets at  bit.ly/nav-feast2.

Seeing eye to eye: Rob Auton in his new touring comedy vehicle The Eyes Open And Shut Show

The eyes have it:  Rob Auton: The Eyes Open And Shut Show, Burning Duck Comedy Club at The Crescent, York, March 5, 7.30pm; Leeds City Varieties Music Hall, May 3, 7.30pm

“THE Eyes Open And Shut Show is a show about eyes when they are open and eyes when they are shut,” says surrealist York/Barmby Moor comedian, writer, artist, podcaster and actor Rob Auton. “With this show I wanted to explore what I could do to myself and others with language when eyes are open and shut…thinking about what makes me open my eyes and what makes me shut them.”

On the back of last summer’s Edinburgh Fringe trial run, Auton goes on the road from January 27 to May 4 with his eyes very much open. Box office: York, thecrescentyork.com; Leeds, 0113 243 0808 or leedsheritagetheatres.com.

York-raised artist Harland Miller with his title work for the XXX exhibition at York Art Gallery. Picture: courtesy of White Cube (Ollie Hammick), 2019

No stopping him this time, please: Harland Miller: XXX, York Art Gallery, March 14 to August 31, Wednesday to Sunday, 10am to 5pm

AFTER the first Covid lockdown curtailed his York, So Good They Named It Once show only a month into its 2020 run, international artist and writer Harland Miller returns to the city where he was raised to present XXX, a new exhibition that showcases paintings and works on paper from his Letter Paintings series.

Coinciding with the release of a book of the same title by Phaidon, XXX features several new Miller works, including one that celebrates his home city, in a hard-edged series that melds the sacred seamlessly with the everyday. The exhibition will be accompanied by a Q&A with the artist plus community activities to “inspire, inform and involve all”. Tickets: yorkartgallery.org.uk/tickets.

Gary Oldman in the dressing room when visiting York Theatre Royal last March to plan this spring’s production of Krapp’s Last Tape

Theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17

ONCE the pantomime Cat that fainted thrice in Dick Whittington in his 1979 cub days on the professional circuit, Oscar winner Gary Oldman returns to the Theatre Royal to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since the late-1980s.

“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Box office: 01904 623568 or yorktheatreroyal.co.uk.

Suzy Cooper and Mark Holgate: Teaming up as Titania and Oberon – and Hippolyta and Theseus too – in York Stage’s A Midsummer Night’s Dream

Look who’s back too: Suzy Cooper in York Stage’s A Midsummer Night’s Dream, Grand Opera House, York, May 6 to 11

GARY Oldman will not be the only former Berwick Kaler co-star returning to a York stage in 2025. Suzy Cooper, for more than 20 years the ditzy, posh-voiced, jolly super principal gal in the grand dame’s pantomimes, will lead Nik Briggs’s cast alongside York actor Mark Holgate as the quarrelling Queen and King of the Fairies, Titania and Oberon.

Briggs relocates his debut Shakespeare production from the court of Athens to Athens Court, a northern council estate, where magic is fuelled with mayhem and true love’s path still does not run smooth. Box office: atgtickets.com/york.

Beach hut five, Shed Seven: York band to make Scarborough Open Air Theatre debut in June

“Biggest ever headline show in their home county”: Shed Seven, TK Maxx Presents Scarborough Open Air Theatre, June 14

IN the aftermath of their 30th anniversary celebrations and two number one albums in 2024, refulgent York band Shed Seven will focus on the great outdoors in the summer ahead, fulfilling a dream by making a long-overdue Scarborough OAT debut, when Jake Bugg and Cast will be their special guests. “It’s a stunning and historic venue…Yorkshire’s very own Hollywood Bowl!” enthuses lead singer Rick Witter.

The Sheds also return to Leeds Millennium Square on July 11, supported by Lightning Seeds and The Sherlocks. Box office: Scarborough, scarboroughopenairtheatre.co.uk or ticketmaster.co.uk; Leeds,  gigsandtours.com and ticketmaster.co.uk.

Bridget Foreman: Co-writer of York Theatre Royal and Riding Lights’ community play His Last Report

Community play of the year: York Theatre Royal and Riding Lights Theatre Company in His Last Report, York Theatre Royal, July 22 to August 3

YORK Theatre Royal creative director Juliet Forster and York company Riding Lights artistic director Paul Birch will co-direct a large-scale community project that focuses on pioneering York social reformer Seebohm Rowntree and his groundbreaking 1900s’ investigation into the harsh realities of poverty.

Told through the voices of York’s residents, both past and present, Misha Duncan-Barry and Bridget Foreman’s play will ask “What is Seebohm’s real legacy as the Ministry begins to dismantle the very structures he championed?” Box office: 01904 623568 or yorktheatreroyal.co.uk.

Irish comedian Ed Byrne shatters taboo of discussing death in Tragedy Plus Time in shows in York, Leeds and Doncaster

Taboo or not taboo? Ed Byrne shatters the glass ceiling of not conversing about death by doing just so in Tragedy Plus Time. Picture: Roslyn Gaunt

LOOK at these snippets from the reviews for Irish comedian Ed Byrne’s groundbreaking tour show, bound for the Grand Opera House, York, on January 11.

“Genuinely reflective and deeply emotional”. “Grief, regret”. “From rage to dark humour to poignancy”. “Dead funny”. “Cathartic storytelling”. “Tear-jerking observations”. “Poignant, touching, spiky”. “Plumbs the very depths of his soul”.  “Delicate, sensitive high-wire act of a show”.

Just checking: this is a comedy gig, right?  Yes indeed, one that takes its title from a quote from 19th century American writer, humorist, and essayist Mark Twain, who defined humour as “Tragedy Plus Time”.

Putting that metric to the test by mining the most tragic event in his life for humour, 52-year-old Byrne “manages to make dying and death very funny” (to quote the Daily Business Group review] in a show that carries the content warning “Discussions of death” with an age guidance of 14 plus.

At the time of this interview, Byrne, who grew up on the east coast of Ireland in Swords, County Dublin, had just finished a run of Irish dates where some had proved challenging, even for such an experienced act.

“The last night was a breeze, really, really good, not having to shut down drunken ****holes, but in Dunleary there was a noisy works outing and then four lads in Kilkenny on the front row that just wouldn’t shut up: one table of quite drunk people who I had to address for joining in too much,” Ed says.

“I don’t know if it [raucous behaviour] is on the increase, but with this show, it’s full of jokes but there are a couple of moments where it’s more serious, so you need some quiet, though it’s punctuated with a couple of laughs, but the last thing you want is someone who’s drunk to use that moment to butt in.”

Byrne’s material refracts the concept of Tragedy Plus Time through the prism of two ‘tragedies’. “One was my car being broken into, which I was raging about by the following night’s show. It was an enormous ball ache but I ended up with eight minutes of stand-up,” Ed says.

“The rest of the show is about how my brother Paul died [of Hodgkin’s lymphoma, a form of cancer, in February 2022, aged 44, after being diagnosed initially in 2013].” He had suffered a short illness in lockdown. “Then the Covid finished him off,” adds Ed.

“There is now comedy for everybody: whatever your demographic, race, creed, sexual orientation,” says observational Irish comedian Ed Byrne

“In the show I’m arguing with those who locked us down but at the same time didn’t take it seriously enough, and the reaction will depend on people’s political sensibilities.”

On stage, Byrne talks of how he argued with comedy director Paul, who he had called “my pain in the a*** little brother” in his 2022 tribute, but also of how he reconnected with him. “I will miss him so much,” his tribute had ended.

He is playing York as part of an extended tour that began in 2023, will visit Leeds City Varieties for the third time on January 25 and end in April 2025, almost two years after the first date. “My tours have been getting longer,” he says. “I always say that the hard part of the show is writing it and then getting out and doing it is the reward – and now there are just more and more places to play.

“When I was starting out, even playing a comedy night outside London in the Nineties, you were worried about how it would go because people had this idea of comedy as end of the pier and pub jokes, so observational comedy was something of an unknown quantity.

“I remember playing in Southend, where it was always one observational comedian and one end-of-the-pier comedian on the bill. Now, if people go and see a comedy club night, they know there’ll be some one-liners but a lot more storytelling, so you don’t feel like a visionary any more – and outside pantomime, comedy now draws the biggest audiences to theatres.”

Comedy has its broadest scope ever too, Byrne suggests. “I think people previously were perhaps slightly put off when they thought it was all going to be too political or too ‘ladsy’, but I think it’s a fact there is now comedy for everybody: whatever your demographic, race, creed, sexual orientation, there is humour designed just for you, comedy for all stripes,” Ed says.

He does add a note of caution, however: “The worrying thing is that it is becoming a bit polarised, and if a comedian is not tailored exactly to someone’s taste, they’ll say, ‘well, I’m not going to laugh at that’. I feel it’s post-Brexit where it’s become more divisive.”

As for Ed Byrne, he is breaking the unspoken barrier of death still being considered a taboo subject for conversation in Tragedy Plus Time, a show that has done anything but divide opinion. Oh, and for the record: “As with any subject I do, there are always digressions into asides,” he says.

Ed Byrne: Tragedy Plus Time, Grand Opera House, York, January 11, 7.30pm; Leeds City Varieties Music Hall, January 25, 7.30pm, and Cast, Doncaster, January 28, 7.30pm. Box office: York, atgtickets.com/york; Leeds, 0113 243 0808 or leedsheritagetheatres.com; Doncaster, 01302 303952 or castindoncaster.com.

Copyright of The Press, York

Meet Samuel Wyn-Morris, the man behind The Beast in Grand Opera House pantomime Beauty And The Beast

Samuel Wyn-Morris: Playing the Beast for the second year running, in York this winter after the Sunderland Empire last year. Picture: Charlie Kirkpatrick

ENOUNTERING the tornado power and might of his voice in the role of The Beast in Beauty And The Beast at the Grand Opera House, York, Samuel Wyn-Morris had a surprising admission to make.

“I never sang until I was 17,” says the Welshman from Llanelli. “There was a lad who was a tenor at my school and one day I heard him singing. I was more a rugby boy at the time. Until then I thought, ‘I’m not into music’, but when he didn’t hit his big note, I sang it and hit it!”

In that transformative moment, a career was born, but not without bumps in the road. “I horrified by mum and dad by applying to only one drama school, Guildford [School of Music and Drama], but I got in.

“Then after I graduated, I suffered an incredible loss of confidence. Two years of not working in theatre. Instead I was selling wine and I worked as a butcher too, but kept cutting myself. I gave myself an ultimatum: if I don’t get into Les Miserables, that’s it, it’s all over.”

Glory be, he did, landing three separate contracts with Cameron Mackintosh’s company over the next, Covid-interrupted five years, starting as the 2nd Cover for the role of Enjolras.

When the actor playing Enjolras caught Covid and the 1st Cover suffered a sinus infection, Samuel’s big moment came. “The cover hadn’t missed a show for something like seven years. As chance would have it, Cameron Mackintosh, Claude-Michel Schönberg and Alain Boublil [the writers] were all in the audience that night! “ Samuel would soon go on to play the role in his own right.

Welsh actor and teacher Samuel Wyn-Morris

Now that wonderful  voice can be heard in York in a five-star performance in Beauty And The Beast. “It’s been a fantastic show to do,” he says. “My only previous experience of York was an unsuccessful date. She was from Scotland, I was from Wales, so we thought, ‘let’s meet in the middle’: York!

“We stayed at Grays Court. Lovely hotel. Very good bar, which is important to a Welshman! But it just didn’t work out.”

 This time, romance in York is confined to the Grand Opera House stage as The Beast falls for pantomime debutante Jennifer Caldwell’s Belle. “I played The Beast last year at the Sunderland Empire in my first ever pantomime. Same show, different songs, different director too, Paul Boyd, and the theatre was huge: 2.000 seats!

“I got the call for York in July and I thought ‘why not’?! Theatre work had been quite dry for me this year, with producers being tentative about putting on shows.”

Samuel works as a supply teacher in London, teaching History and Religious Education to Key  Stage 3 pupils in Years 7 to 9 when not performing in musical theatre.

Now it has been his turn to learn once more: lines for his role as The Prince/The Beast. “It’s different from Les Miserables, where you have four weeks in the rehearsal room and then go on stage,” he says. “For this pantomime, to get to grips with it was a challenge. It’s so, so quick in the rehearsals and so easy to get lost!”

Samuel Wyn-Morris’s The Beast and Jennifer Caldwell’s Belle in Beauty And The Beast at the Grand Opera House, York. Picture: Charlie Kirkpatrick

Director George Ure had his cast running the full show by the end of the first week in the rehearsal room. “Know your lines on day one,” advises Samuel. “And you have to put so much energy into it from the word go.

“That’s not to say that’s not the case with Les Miserables or Titanic [the musical that Samuel toured to China], but from the start in panto it’s go-go-go. Twelve shows in a week is the maximum. You have to deal with the tiredness and exhaustion from all the energy you spend.”

Not that he is complaining. He loves pantomime. “There are elements of stand-up comedy, romance, drag with the dame, big songs and wonderful choreography. I’ve got a more classical voice, Jennifer has more of a pop voice, so it’s a pick’n’mix that works really well.”

Before taking on the role of The Beast for the first time, Samuel had a conversation with his director for Titanic. “I said, ‘what do I do in the show? I’m not funny’. He said, ‘you’re not meant to be’! All UK Productions pantomimes are story driven, and this show [written by Jon Monie] is a good example of that.

“I like the freedom that panto brings, as opposed to the demands of Les Miserables, which hammers your voice. Playing Enjolras is one of the hardest roles you can do. With pantomime, you can bring more physicality to it, you can play around with the pace – and working with Jennifer has been a joy.”

UK Productions present Beauty And The Beast, Grand Opera House, York, until January 5 2025. Box office: atgtickets.com/york.

What’s On in Ryedale, York & beyond when Wonderland dazzles into the New Year. Hutch’s List No. 47, from Gazette & Herald

Born to pun: Robin Simpson’s Dame Dolly in Aladdin at York Theatre Royal. Picture: S R Taylor Photography

PANTOMIMES, theatrical family adventures and a Wonderland experience are still delighting in 2024 as Charles Hutchinson also looks ahead to 2025.

Still time for pantomime: Aladdin, York Theatre Royal, until January 5 2025

LOOK out for CBeebies’ Evie Pickerill at the double, dashing between the Spirit of the Ring and the Genie of the Lamp in the fifth collaboration between Theatre Royal creative director Juliet Forster and Evolution Productions script writer Paul Hendy.

Paul Hawkyard’s villain returns to York after a winter away doing panto in Dubai to renew his Theatre Royal double act with Robin Simpson’s dame, playing bad-lad Ivan Tobebooed to Simpson’s Dolly (not Widow Twankey, note). Box office: 01904 623568 or yorktheatreroyal.co.uk.

In the frame: Phil Atkinson’s bodacious baddie, Hugo Pompidou, in UK Productions’ Beauty And The Beast at the Grand Opera House, York. Picture: Charlie Kirkpatrick

Still time for pantomime part two: Beauty And The Beast, Grand Opera House, York, until January 5 2025

THE jokes are as cheesy as the French setting of the village of Camembert, brassier and fruitier too in Jon Monie’s script, as George Ure directs the Grand Opera House pantomime for the first time.

Tracy Beaker star Dani Harmer is a magically bouncy Fairy Bon Bon; Jennifer Caldwell delights as Belle; Samuel Wyn-Morris is a stentorian-voiced Beast/Prince; comedian Phil Reid’s Louis La Plonk and Leon Craig’s towering dame, Polly La Plonk lead the comic japes with gusto and Phil Atkinson sends up his French-accented dastardly hunk, Hugo Pompidou, to the max. Box office: atgtickets.com/york.

Bea Clancy’s Harrietty Clock and Marc Akinfolarin’s Pod Clock in The Borrowers at Hull Truck Theatre

“Perfect alternative to pantomime”: The Borrowers, Hull Truck Theatre, until January 4 2025

SET against a backdrop of Christmas in the East Riding of Yorkshire during the 1940s’ Blitz, artistic director Mark Babych’s enchanting production explores themes of adventure, friendship and the joy of love and togetherness in the tale of adventurous, spritely Borrower Arrietty Clock, who lives secretly under the floorboards of a country house.

Her small but perfectly formed family borrows from the humans above, but Arrietty longs for freedom and fresh air. However, the Borrowers have one simple rule: to remain hidden from the “human-beans”, especially bad-tempered housekeeper Mrs Driver and rebellious gardener Crampfurl. When an evacuee, a human boy from neighbouring Hull, arrives in the main house, Arrietty becomes curious… and starts making mistakes. Box office: 01482 323638 or hulltruck.co.uk.

Checks and stripes: Alice’s Christmas Wonderland at Castle Howard. Picture: Charlotte Graham

Madder than the Mad Hatter if you don’t see: Alice’s Christmas Wonderland, Castle Howard, near Malton, until January 5 2025

FALL down the rabbit hall into “an experience like no other”: Lewis Carroll’s Alice in her Christmas Wonderland at Castle Howard, where the CLW Event Design creative team, headed by Charlotte Lloyd Webber and Adrian Lillie, has worked on the spectacular project since January.

The stately home has been transformed into an immersive Christmas experience, dressed in set pieces, decorations and floristry, coupled with projections, lighting and sound by Leeds theatre company imitating the dog. Box office: castlehoward.co.uk.    

Casting a shadow: James Willstrop’s villainous bruiser, Bill Sikes, in Pick Me Up Theatre’s Oliver Twist at Theatre@41, Monkgate, York

Dickens of a good show: Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York, 7.30pm on December 28 and 30, plus 2.30pm, December 28 and 29

HELEN Spencer takes the director’s reins and plays Fagin in York company Pick Me Up Theatre’s staging of Deborah McAndrew’s adaptation of Charles Dickens’s 1838 novel, described as a “a new version of Oliver with a festive twist”.

Not to be confused with Lionel Bart’s musical Oliver!, it does feature John Biddle’s musical arrangements to complement Dickens’s fable of Oliver Twist being born in a workhouse, sold into an apprenticeship and recruited by Fagin’s band of pickpockets and thieves as he sinks into London’s grimy underworld on his search for a home, a family and love. Box office: tickets.41monkgate.co.uk.

Party invitation: The poster for Irie Vibes Sound System’s New Year’s Eve Party at The Crescent, York

New Year’s Eve Party: Irie Vibes Sound System, The Crescent, York, December 31, 8pm to 2am

IRIE Vibes Sound System bring the full rig and crew for a joyous night of reggae, roots, dancehall, dub and jungle to the closing hours of 2024 and beyond midnight. MC Sherlock Art will be on hosting duties, bringing the fire, while Lines Of Duty will be delivering their brand of dance music in Room 2, “manipulating long- playing micro-grooves for a full frequency audio experience”. Box office: thecrescentyork.com.

Music talk to note: The Arts Society, Helmsley presents Christmas In Bach’s Leipzig: The Christmas Oratorio of 1734/5, Helmsley Arts Centre, January 6 2025, 7.30pm

IN his illustrated talk, commentator, broadcaster, performer and lecturer Sandy Burnett explores how Johann Sebastian Bach brings the Christmas story alive in his Weihnachtsoratorium or Christmas Oratorio, written for Lutheran congregations in 1730s Leipzig.

An overview of Bach’s life and achievement precedes a close look at this magnificent work, where the  German composer draws on various forms, ranging from recitative, arioso, aria, chorale and instrumental sinfonia through to full-blown choruses infused with the joyous spirit of the dance. Box office: 01439 771700 or helmsleyarts.co.uk.

Malton & Norton Musical Theatre’s poster for January’s production of Jack And The Beanstalk

First big show of the New Year at Milton Rooms, Malton: Malton & Norton Musical Theatre in Jack & The Beanstalk, January 18 to 25. Performances: January 18, 1pm and 5.15pm; January 19, 2pm; January 21 to 24, 7.15pm; January 25, 1pm and 5.15pm

MALTON & Norton Musical Theatre pantomime stars promise a family-friendly giant adventure packed with laughs, toe-tapping songs and plenty of audience participation.

Jack, his brave mother and their quirky friends will face off against the towering giant in a magical world full of comedy and surprises in an enchanting tale of bravery and beanstalks. Box office: 07833 759263 or yourboxoffice.co.uk.

More Things To Do in York and beyond when brain-bending puzzle attraction opens. Hutch’s List No. 53, from The Press

Paul Hawkyard’s villain Ivan Tobebooed and Robin Simpson’s Dame Dolly in York Theatre Royal’s Aladdin. Picture: S R Taylor Photography

OUT with the old, in with the new, as the pantomimes season concludes and Charles Hutchinson’s 2025 diary starts to take shape.

Still time for pantomime: Aladdin, York Theatre Royal, until January 5 2025

LOOK out for CBeebies’ Evie Pickerill at the double, dashing between the Spirit of the Ring and the Genie of the Lamp in the fifth collaboration between Theatre Royal creative director Juliet Forster and Evolution Productions script writer Paul Hendy.

Paul Hawkyard’s villain returns to York after a winter away doing panto in Dubai to renew his Theatre Royal double act with Robin Simpson’s dame, playing bad-lad Ivan Tobebooed to Simpson’s Dolly (not Widow Twankey, note). Box office: 01904 623568 or yorktheatreroyal.co.uk.

Samuel Wyn-Morris’s Beast and Jennifer Caldwell’s Belle in Beauty And The Beast at Grand Opera House, York. Picture: Charlie Kirkpatrick

Still time for pantomime part two: Beauty And The Beast, Grand Opera House, York, until January 5 2025

THE jokes are as cheesy as the French setting of the village of Camembert, brassier and fruitier too, in Jon Monie’s script, as George Ure directs the Grand Opera House pantomime for the first time.

Tracy Beaker star Dani Harmer is a magically bouncy Fairy Bon Bon; Jennifer Caldwell delights as Belle; Samuel Wyn-Morris is a stentorian-voiced Beast/Prince; comedian Phil Reid’s Louis La Plonk and Leon Craig’s towering dame, Polly La Plonk lead the comic japes with gusto and Phil Atkinson sends up his French-accented dastardly hunk, Hugo Pompidou, to the max. Box office: atgtickets.com/york.

Marc Akinfolarin’s Pod Clock in The Borrowers at Hull Truck Theatre

“Perfect alternative to pantomime”: The Borrowers, Hull Truck Theatre, until January 4 2025

SET against a backdrop of Christmas in the East Riding of Yorkshire during the 1940s’ Blitz, artistic director Mark Babych’s enchanting production explores themes of adventure, friendship and the joy of love and togetherness in the tale of adventurous, spritely Borrower Arrietty Clock, who lives secretly under the floorboards of a country house.

Her small but perfectly formed family borrows from the humans above, but Arrietty longs for freedom and fresh air. However, the Borrowers have one simple rule: to remain hidden from the “human-beans”, especially bad-tempered housekeeper Mrs Driver and rebellious gardener Crampfurl. When an evacuee, a human boy from neighbouring Hull, arrives in the main house, Arrietty becomes curious… and starts making mistakes. Box office: 01482 323638 or hulltruck.co.uk.

The poster for Irie Vibes Sound System’s New Year’s Eve Party at The Crescent, York

New Year’s Eve Party: Irie Vibes Sound System, The Crescent, York, December 31, 8pm to 2am

IRIE Vibes Sound System bring the full rig and crew for a joyous night of reggae, roots, dancehall, dub and jungle to the closing hours of 2024 and beyond midnight. MC Sherlock Art will be on hosting duties, bringing the fire, while Lines Of Duty will be delivering their brand of dance music in Room 2, “manipulating long- playing micro-grooves for a full frequency audio experience”. Box office: thecrescentyork.com.

Professor Kettlestring: Launching a new attraction in York next month

First grand opening of the New Year: The Puzzling World Of Professor Kettlestring, Merchantgate, York, from January 10 2025

WELCOME to Matthew and Marianne Tritton-Hughes’s new attraction, The Puzzling World Of Professor Kettlestring, an immersive, educational world of more than 20 optical illusions, interactive exhibits and brain-bending challenges designed for curious minds of all ages.

Visitors can walk into the Professor’s sideways living room, disappear into his incognito chamber and discover a kitchen parlour where heads appear severed on platters. Box office: puzzlingworldyork.co.uk.

Jessica Steel: Performing at The Crescent in aid of Millie Wright’s Children’s Charity

Fundraiser of the month ahead: Lindow Man and Jessica Steel & Stuart Allan, The Crescent, York, January 11 2025, 7.30pm

ELECTRIFYING York soul, blues and rock’n’roll trio Lindow Man and York blues and soul singer Jessica Steel and guitarist Stuart Allan will play in aid of Millie Wright’s Children’s Charity. 

Based at Leeds General Infirmary, the charity is committed to addressing inequalities in hands-on charitable support for families looking after children with life-threatening conditions by working towards providing practical and emotional help to parents and carers via Family Support Workers. Pizzas from Curious Pizza Company will be available on the night. Box office: thecrescentyork.com.

Chris McCausland: Playing the Grand Opera House in 2025 and 2026

Comedy gig announcement of the week: Chris McCausland, Yonks!, Grand Opera House, York, February 3 2025 and May 17 2026

AFTER lifting the glitterball trophy as the ground-breaking first blind contestant on Strictly Come Dancing, Liverpool comedian Chris McCausland will return to his “day job” on his Yonks! tour, now to be extended into 2026.

Appearing on Sky Max over Christmas with fellow comic Lee Mack as sparring neighbours who must take on a gang of thieves in the festive film Bad Tidings, McCausland has added a second York date after selling out the first. Box office: atgtickets.com/york.

Public Service Broadcasting: Heading to York Barbican in March

Belated York debut announced: Public Service Broadcasting, York Barbican, March 27 2025, doors 7pm

AFTER 15 years of “teaching the lessons of the past through the music of the future”, London archivist art rock pioneers Public Service Broadcasting will make their York Barbican debut next spring with a line-up of corduroy-clad J Willgoose Esq., drummer companion Wrigglesworth, flugelhorn player J F Abraham and Mr B, specialist in visuals and set design for live performances.

Last October’s fifth studio album, The Last Flight, was built around the ill-fated final flight of American aviator Amelia Earhart on July 2 1937, when she disappeared over the Pacific Ocean while attempting to become the first woman to fly around the world. Box office: yorkbarbican.co.uk.

George Ure is so happy to be directing panto in ‘favourite city’ of York as Beauty And The Beast plays Grand Opera House

George Ure: Director of Beauty And The Beast at the Grand Opera House, York

GEORGE Ure has returned to a York rehearsal room for the first time since 2012 to direct the Grand Opera House pantomime Beauty And The Beast.

“I was last here to play Tom, one of the pilots in The Guinea Pig Club, the play by Susan Watkins, the wife of neurosurgeon Professor Sid Watkins, about the Second World War pilots who became the “guinea pig club” for pioneering plastic surgeon Archibald McIndoe,” says the Scotsman, recalling artistic director Damian Cruden’s premiere at York Theatre Royal in October that year.

The Guinea Pig Club, by the way, was set up as an exclusive club for Battle of Britain pilots with extensive burns injuries who had been operated on by Sir Archibald. “We all stayed in touch with the Guinea Pig Club and got invited to their Christmas party,” recalls George.

“Fiona [Fiona Dolman, who played Sister O’Donnell] stayed the best of friends with one or two of the families.”

Born In Airdrie, 13 miles from Glasgow, George moved south in 2005 to study at Mountview [Academy of Theatre Arts].  “I’ve been based in London for nearly 20 years now, but York is my favourite place in the UK outside of Scotland, it really is,” he says of a city that has drawn him here for the joy of a “romantic weekend with my other half”.

“I love this city; it is a bit of me now, so when UK Productions asked me to do this pantomime, they didn’t have to ask me twice. I was contacted in the summertime by Anthony Williams, the executive pantomime director, who manages all 11 of their pantomimes. 

Phil Atkinson’s villainous Hugo Pompidou performing his mash-up of Work Of Art and Da Ya Think I’m Sexy? in Beauty And The Beast. Picture: Charlie Kirkpatrick

“We were reconnecting after not seeing each other for many years. He asked me what I was up to and I said I was looking for a show to direct. We discussed my ideas and I’ve been on the project since August.”

George brings directorial experience aplenty to staging Beauty And The Beast. “I’ve been working in drama schools for a long time: I’ve just finished a ten-year run at Urdang Academy, and I’m now working with one of my graduates, Hattie Dibb, who’s in the ensemble here after playing my leading lady in her leaving musical, Anne Pornick in Kipps.”

George has performed in panto on several occasions. “I played Peter Pan twice, once at Milton Keynes Theatre, then at New Wimbledon Theatre in 2015 [with Marcus Brigstocks as Captain Hook and Verne Troyer as Lofty the Pirate], and then I did Jack And The Beanstalk, back in Scotland at Perth Theatre, where I was Angus.” Angus, who is he? “Jack’s brother, the ‘dafty’. It was a brilliant show!”

George was raised on Scottish pantomimes. “I used to go to the King’s Theatre, Glasgow, where Gerard Kelly played the ‘Silly Billy’ role for 20 years. Stanley Baxter was a legend there too, and Elaine C Smith is still doing the show there after so many years [playing Mrs Smee in Peter Pan this winter],” he says.

“My aunt’s brother, Edward O’Toole, was the stage manager there for more than 20 years and he used to get us in to watch the preview, and my dad did a bit of shift work there at Christmas.”

George loves panto. “It’s such a cliché to say it’s a child’s first experience of theatre, but it’s true, and panto doesn’t have to be naff! I believe that if you can find the balance of humour and heart, it has the power to speak to everyone. At some point in the show it will touch everyone – and it has to have really good storytelling too.”

Directing a commercial pantomime is a flat-out experience, ‘hothousing’ a show in less than a fortnight. “I started on the Monday and ran the full show by Saturday morning; the next Monday was the tech day with a producer’s run, followed by notes, and then we flew over to the theatre to work towards opening on Saturday that week [December 7],” says George.

Jennifer Caldwell’s Belle and Samuel Wyn-Morris’s Beast in a pas de deux in Beauty And The Beast. Picture: Charlie Kirkpatrick

“I’m a meticulous planner. Working in a drama school, you get used to tight schedules, so I had to plan ahead with a wish list for every department, and I’m happy to say that we were ahead of the game after the first week of rehearsals.”

George first met up with choreographer Alex Codd and musical director Arlene McNaught in September. “We talked through everyone’s music choices. I’m a collaborator; I don’t think there should be a dictator; I’m a team person as you can only succeed like that – though fundamentally I did have some strong feelings on what the music should be as I didn’t want it to be just chart hits.

“Beauty And The Beast is all about the plot, and the music should match that, and not just become an excuse to change lyrics of a pop hit to make it work.

“We’ve gone for pop music from many decades, from Carole King to Taylor Swift’s Shake It Off in a mash-up with Chappell Roan’s Hot To Go!; Lovin’ Spoonful’s Do You Believe In Magic for Fairy Bon Bon to Meat Loaf’s I’d Do Anything For Love (But I won’t Do That), plus songs from Wicked and  Les Miserables.

“We also have Work Of Art from Everybody’s Talking About Jamie mashed up with Rod Stewart’s Da Ya Think I’m Sexy? for the baddie, Phil Atkinson’s Hugo Pompidou, who’s really like an anti-baddie because he’s so funny.

“The music was really important to me because it has to serve the plot and you have to have the balance right, and thankfully the producers were very welcoming of all my nonsense!”

Beauty And The Beast runs at Grand Opera House, York, until January 5 2025. Box office: atgtickets.com/york.