Todd Boyce in the role of detective novelist Andrew Wyke in Anthony Shaffer’s Sleuth, on tour at the Grand Opera House, York. Picture: Jack Merriman
CORONATION Street villain Todd Boyce and ex-EastEnders soap star Neil McDermott team up in Sleuth, Anthony Shaffer’s “dark psychological thriller about thrillers”, at the Grand Opera House, York, from next Tuesday to Saturday.
Boyce’s character, wealthy, world-famous detective novelist Andrew Wyke, invites his wife’s lover and adversary (McDermott’s Milo Tindle) to his impressive English home for the deal of a lifetime.
Cue a jewellery heist, insurance fraud and the ultimate revenge as Milo finds himself unwittingly drawn into a tangled web of intrigue and cat-and-mouse gamesmanship, where nothing is quite as it seems.
Directed on tour by Rachel Kavanaugh, who was once at the helm of such plays as Hapgood, His Dark Materials and The Madness Of George III at the West Yorkshire Playhouse, Sleuth is a disorientating study of human conflict, jealousy and manipulation that promises to “baffle even the most proficient sleuth”.
Set to make his debut Grand Opera House appearance next week, Todd Boyce says Sleuth has been drawing a “terrific response” since opening at the Theatre Royal, Windsor, on January 31.
Neil McDermott’s Milo Tindle, left, turning tables on Todd Boyce’s Andrew Wyke in Rachel Kavanaugh’s touring procuction of Sleuth. Picture: Jack Merriman
“It’s being really well received; we’ve had ovations with people standing up. We even overheard one chap say, ‘it’s the best thing I’ve ever seen at this theatre’. Neil took a bit of umbrage at that as he’d played there last year!”
Working with McDermott for the first time, Todd says: “We’ve got on really well through the rehearsals and now on stage, which is so important. It’s a play with humour in it and some shocking moments, and it becomes easier to play as you do it more and more, getting into the rhythm and musicality of the piece.
“Neil’s part requires quite a bit of physicality; he’s nearly 20 years younger than me [Todd is 62], so I’ve left that in his department, while I manage to hang on to the furniture!”
Todd is revelling in working with Rachel Kavanaugh. “She’s so bright, so intelligent, and what’s so reassuring for a play like Sleuth is her eye for clarity,” he says.
“She wanted it to be, not a dusted-off old piece, but really relevant to now. In terms of freshening it up, she wanted to make sure it was specific in its rhythm, with the phrasing being right in every line.”
Sleuth ran for 12 years in London and New York, winning the Tony Award for Best Play, and became the inspiration for the 1972 film starring Laurence Olivier and Michael Caine.
At gun point: Todd Boyce’s Andrew Wyke makes his point to Neil McDermott’s Milo Tindle in Sleuth. Picture: Jack Merriman
Assessing its continuing appeal to audiences, Todd says: “The play is sophisticated, complex, and it turns darker than Wyke had bargained for, prompting Milo to seek retribution.
“Wyke is a guy with a lot of money and not a lot of empathy for those around him. The two-hour traffic on this stage changes from comfy to Wyke not knowing where he’s going in their interactions that turn everything on its head.”
Todd has his place in the record books for his role as bad guy Stephen Reid in Coronation Street, first in 1996-1997, next 2007 and latterly 2022-2023.
“I think I broke the record for the number of episodes in a one-year period, 193. That was extremely intensive,” he recalls. “Afterwards a lot of my colleagues said, go and have a break, but of course I did panto, didn’t I! Mother Goose at Derby Arena, a velodrome for cycling and concerts that switched into this amazing theatre within it.”
Who did Todd play? “Demon Vanity”. The baddie, of course!
Sleuth, Grand Opera House, York, February 26 to March 2, 7.30pm nightly; Wednesday and Saturday, 2.30pm matinees. Box office: atgtickets.com/york.
Pilot Theatre’s cast for A Song For Ella Grey at York Theatre Royal. Picture: Topher McGrillis
BEACH encounters with Orpheus, tandem cyclists divided by Brexit, a joyful mess in art, an Eighties rom-com revisited, Ukrainian opera and big summer concerts brighten Charles Hutchinson’s days ahead.
York play of the week: Pilot Theatre in A Song For Ella Grey, York Theatre Royal, February 20 to 24, 7pm plus 1pm, Thursday and 2pm, Saturday; Hull Truck Theatre, March 5 to 9, 7.30pm plus 2pm, Wednesday and Saturday
IN Zoe Cooper’s stage adaptation of David Almond’s novel for York company Pilot Theatre and Newcastle’s Northern Stage, Claire and her best friend, Ella Grey, are ordinary kids from ordinary families in an ordinary world as modern teenagers meet ancient forces.
They and their friends fall in and out of love, play music and dance, stare at the stars, yearn for excitement, and have parties on Northumbrian beaches. One day, a stranger, a musician called Orpheus, appears on the beach and entrances them all, especially Ella. Where has Orpheuscome from and what path will Ella follow in this contemporary re-telling of the ancient Greek myth. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Hull, 01482 323638 or hulltruck.co.uk.
Displayful artists Luke Beech, Wendy Galloway, Kate Fox and Liberty Hodes, exhibiting at Scarborough Art Gallery. Picture: Tony Bartholomew
Coastal exhibition of the season: Displayful, Scarborough Art Gallery until May 7
DISPLAYFUL celebrates happy accidents and joyful mess, aiming to brighten the winter months by inviting visitors to enjoy uplifting contemporary artistic responses to objects from the collections of Scarborough Museums and Galleries.
The show combines new work by five regional artists, Luke Beech, Kate Fox, Wendy Galloway, Liberty Hodes and Angela Knipe, alongside historical artefacts and asks audiences to consider new possibilities for the lives of objects.
Amber Davies’s Vivian and Oliver Savile’s Edward, centre, in a scene from Pretty Woman The Musical, on tour at the Grand Opera House, York, next week
Musical of the week: Pretty Woman The Musical, Grand Opera House, York, February 20 to 24, 7.30pm, plus 2.30pm Wednesday and Saturday matinees
BILLED as Hollywood’s ultimate rom-com, live on stage, Pretty Woman: The Musical is set once upon a time in the late 1980s, when Hollywood Boulevard hooker Vivian meets entrepreneur Edward Lewis and her life changes forever.
Amber Davies plays Vivian opposite Oliver Savile’s Edward; 2016 Strictly Come Dancing champion Ore Oduba, last seen at this theatre in fishnets in March 2022 as Brad Majors in The Rocky Horror Show, has two roles as hotel manager Barnard Thompson/Happy Man, and Natalie Paris will be Vivian’s wisecracking roommate Kit De Luca. Box office: atgtickets.com/york.
The poster artwork for Dnipro Opera’s Madama Butterfly at York Barbican
Opera of the week: Dnipro Opera in Madama Butterfly, York Barbican, February 20, 7pm
DNIPRO Opera, the Ukrainian National Opera, returns to British shores after last year’s visit to perform Puccini’s favourite work, Madama Butterfly, sung in Italian with English surtitles (CORRECT).
Set in Japan in 1904, this torrid tale of innocent love crushed between two contrasting cultures charts the affair between an American naval officer and his young Japanese bride, whose self-sacrifice and defiance of her family leads to tragedy. Box office: yorkbarbican.co.uk.
Carly Bednar in rehearsal for her role as Leila Arden in Griffonage Theatre’s Rope at Theatre@41, Monkgate
Thriller of the week: Griffonage Theatre in Rope, Theatre@41, Monkgate, York, February 21 to 24, 7.30pm
HALFWAY through her MA in theatre studies, Katie Leckey directs York company Griffonage Theatre in their Theatre@41 debut in Patrick Hamilton’s thriller Rope, with its invitation to a dinner party like no other.
Set in 1929 against the backdrop of Britain’s flirtation with fascism, this whodunit states exactly who did it, but the mystery is will they be caught? Cue a soiree full of eccentric characters, ticking clocks and hushed arguments. Box office: tickets.41monkgate.co.uk.
An Eiffel and an earful: Don (John Lister) and Carol (Kate Caute) share a cycle but not political views in Paris in 1812 Theatre Company’s Scary Bikers
Ryedale play of the week: 1812 Theatre Company in Scary Bikers, Helmsley Arts Centre, February 21 to 24, 7.30pm
HELMSLEY’S 1812 Theatre Company stage their first John Godber comedy next week, his 2018 two hander Scary Bikers. Outwardly, redundant miner Don (John Lister) and former private school teacher Carol (Kate Caute) have little in common, but beneath the surface their former spouses are buried next to each other. Soon widowed Don and Carol bump into each other.
An innocent coffee leads to a bike ride through the Yorkshire Dales, then a bike tour across Europe to Florence. All looks promising for a budding romance, but their departure date is June 23 2016 and Don and Carol are on the opposite sides of the Brexit fence. Box office: helmsleyarts.co.uk or in person from the arts centre.
S Club: Post-racing party songs at York Racecourse on July 27
Bring it all back: S Club, York Racecourse Music Showcase Weekend, July 27
JULY 27 will be S Club Party time after the Saturday afternoon race card on the Knavesmire track. Once S Club 7, now the five-piece S Club comprises Jo O’Meara, Rachel Stevens, Jon Lee, Tina Barrett and Bradley McIntosh, following last April’s death of Paul Cattermole from heart complications at 46 and Hannah Spearritt not featuring in 2023’s 25th anniversary tour.
This month finds S Club in the USA playing Boston, New York, Chicago and Los Angeles. Roll on summertime to enjoy chart toppers Bring It All Back, Never Had A Dream Come True, Don’t Stop Movin’ and Have You Ever, plus You’re My Number One, Reach, Two In A Million, S Club Party et al in York. Tickets: yorkracecourse.co.uk.
James: Returning to Scarborough Open Air Theatre in July. Picture: Paul Dixon
Yorkshire gig announcement of the week: James, supported by Reverend & The Makers and Girlband!, Scarborough Open Air Theatre, July 26
MANCHESTER band James play Scarborough Open Air Theatre for the fourth time on July 26, the night when Leeds lads Kaiser Chiefs finish off the evening card at York Races.
“If you haven’t been there before, then make sure you come,” says James bassist and founder member Jim Glennie. “It’s a cracking venue and you can even have a paddle in the sea before the show!” New album Yummy arrives on April 12. Box office: James, ticketmaster.co.uk from 9am on Friday; Kaiser Chiefs, yorkracecourse.co.uk.
Don (John Lister) and Carol (Kate Caute) share a cycle but not political views in Paris in 1812 Theatre Company’s production of John Godber’s Scary Bikers
BIKERS divided by Brexit, beach encounters with Orpheus, a joyful mess in art, an Eighties rom-com revisited, Ukrainian opera and a big summer signing for Scarborough brighten Charles Hutchinson’s days ahead
Ryedale play of the week: 1812 Theatre Company in Scary Bikers, Helmsley Arts Centre, February 21 to 24, 7.30pm
HELMSLEY’S 1812 Theatre Company stage their first John Godber comedy next week, his 2018 two-hander Scary Bikers. Outwardly, redundant miner Don (John Lister) and former private school teacher Carol (Kate Caute) have little in common, but beneath the surface their former spouses are buried next to each other. Soon widowed Don and Carol will bump into each other.
An innocent coffee leads to a bike ride through the Yorkshire Dales, then a bike tour across Europe to Florence. All looks promising for a budding romance, but their departure date is June 23 2016 and Don and Carol are on the opposite sides of the Brexit fence. Box office: helmsleyarts.co.uk or in person from the arts centre.
Grace Long as Ella Grey in Pilot Theatre’s A Song For Ella Grey. Picture: Topher McGrillis
York play of the week: Pilot Theatre in A Song For Ella Grey, York Theatre Royal; February 20 to 24, Hull Truck Theatre, March 5 to 9
IN Zoe Cooper’s stage adaptation of David Almond’s novel for York company Pilot Theatre, York Theatre Royal and Newcastle’s Northern Stage, Claire and her best friend, Ella Grey, are ordinary kids from ordinary families in an ordinary world where modern teenagers meet ancient forces.
They and their friends fall in and out of love, play music and dance, stare at the stars, yearn for excitement, and have parties on Northumbrian beaches. One day, a stranger, a musician called Orpheus, appears on the beach and entrances them all, especially Ella. Where has Orpheuscome from and what path will Ella follow in this contemporary re-telling of the ancient Greek myth? Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Hull, 01482 323638 or hulltruck.co.uk.
Displayful artists Luke Beech, Wendy Galloway, Kate Fox and Liberty Hodes, exhibiting at Scarborough Art Gallery. Picture: Tony Bartholomew
Coastal exhibition of the season: Displayful, Scarborough Art Gallery until May 7
DISPLAYFUL celebrates happy accidents and joyful mess, aiming to brighten the winter months by inviting visitors to enjoy uplifting contemporary artistic responses to objects from the collections of Scarborough Museums and Galleries.
The show combines new work by five regional artists, Luke Beech, Kate Fox, Wendy Galloway, Liberty Hodes and Angela Knipe, alongside historical artefacts, and asks audiences to consider new possibilities for the lives of objects.
Grant Harris: Making connections at Milton Rooms, Malton
Messages from beyond: Grant Harris: Medium, Milton Rooms, Malton, tomorrow (15/2/2024), 7pm
MEDIUM Grant Harris returns to the Milton Rooms to “connect with your loved ones to provide messages of support, reassurance and much needed clarity at times we require it most”.
“There are things we don’t fully understand about life and death but what I do is bring some peace to those who need it,” says Harris, whose shows promise humour too. Tickets: 01709 437700 or 01653 696240.
Amber Davies’s Vivian and Oliver Savile’s Edward, centre, in Pretty Woman The Musical, on tour at the Grand Opera House, York
Musical of the week: Pretty Woman The Musical, Grand Opera House, York, February 20 to 24, 7.30pm, plus 2.30pm Wednesday and Saturday matinees
BILLED as Hollywood’s ultimate rom-com, live on stage, Pretty Woman: The Musical is set once upon a time in the late 1980s, when Hollywood Boulevard hooker Vivian meets entrepreneur Edward Lewis and her life changes forever.
Amber Davies plays Vivian opposite Oliver Savile’s Edward; 2016 Strictly Come Dancing champion Ore Oduba, last seen at this theatre in fishnets in March 2022 as Brad Majors in The Rocky Horror Show, has two roles as hotel manager Barnard Thompson/Happy Man, and Natalie Paris will be Vivian’s wisecracking roommate Kit De Luca. Box office: atgtickets.com/york.
The poster artwork for Dnipro Opera’s Madama Butterfly at York Barbican
Opera of the week: Dnipro Opera in Madama Butterfly, York Barbican, February 20, 7pm
DNIPRO Opera, the Ukrainian National Opera, returns to British shores after last year’s visit to perform Puccini’s favourite work, Madama Butterfly, sung in Italian with English surtitles.
Set in Japan in 1904, this torrid tale of innocent love crushed between two contrasting cultures charts the affair between an American naval officer and his young Japanese bride, whose self-sacrifice and defiance of her family leads to tragedy. Box office: yorkbarbican.co.uk.
Comedian Chloe Petts heads for York with her If You Can’t Say Anything Nice show
Comedy gig of the week: Burning Duck Comedy Club presents Chloe Petts, The Crescent, York, tomorrow (15/2/2024), 7.30pm
BUOYED by her Edinburgh Fringe run and Soho Theatre sell-out debut in London, Chloe Petts serves up her follow-up hour, If You Can’t Say Anything Nice. Everyone complimented her on how polite she was with big issues in the last show, so now she is cashing in those points and plans on being really rude. “Expect routines on wedding dancefloors, the footie and calling you all a bunch of virgins,” she says. Box office: wegottickets.com/event/588889.
Look out too for Burning Duck’s 8pm show at Theatre@41 Monkgate, York, on Friday: the debut tour of northerner Paddy Young: Hungry, Horny, Scared..and “in the gutter but looking down on all of you”. Box office: tickets.41monkgate.co.uk.
James: Returning to Scarborough Open Air Theatre in July. Picture: Lewis Knaggs
Gig announcement of the week: James, supported by Reverend & The Makers and Girlband!, Scarborough Open Air Theatre, July 26
MANCHESTER band James play Scarborough Open Air Theatre for the fourth time on July 26, the night when Leeds lads Kaiser Chiefs finish off the evening card at York Races.
“If you haven’t been there before, then make sure you come,” says James bassist and founder member Jim Glennie. “It’s a cracking venue and you can even have a paddle in the sea before the show!” New album Yummy arrives on April 12. Box office: James, ticketmaster.co.uk from 9am on Friday; Kaiser Chiefs, yorkracecourse.co.uk.
Laurie Brett’s Annie, left, Maureen Nolan’s Ruth, Honeysuckle Weeks’s Cora, Helen Pearson’s Celia, Lyn Paul’s Jessie and Samantha Seager’s Chris in a village hall scene in Calendar Girls The Musical. Picture: Jack Merriman
CALENDAR Girls The Musical had its belated York premiere in the reet Yorkshire hands of York Stage in April 2022 at the Grand Opera House.
Now its sunflower power radiates from a bunch of music, stage and television stars in Jonathan O’Boyle’s touring production, playing York with four changes of cast since its November run at Leeds Grand Theatre.
It was in this Leeds theatre that Take That head boy Gary Barlow and playwright and screenwriter Tim Firth – fellow sons of the Wirral and friends since teenage days – premiered their very Yorkshire yet universally appealing musical in 2015 under the title of The Girls.
Now toured by Bill Kenwright Ltd, O’Boyle’s 2023-204 production is a stripped-back version of the nude calendar story of a fund-raising group of North Yorkshire Women’s Institution villagers. Stripped back in that the three teenage children’s roles have been removed, although reference is still made to one.
The reasoning: Firth wanted to put the maximum focus on the women in the story, and given the presence of familiar faces (and voices) in the cast, from EastEnders’ Laurie Brett and Foyle’s War’s Honeysuckle Weeks to the New Seekers’ Lyn Paul and Maureen Nolan, that makes sense.
Composer Gary Barlow
You surely know the story, as told previously in the 2003 film, scripted by Firth, and the stage play, but Barlow and Firth’s musical is even better, wittier too, the format suiting what is already an opera-scaled, tragicomic human drama of ordinary women at the centre of an extraordinary story.
When much-loved National Park wall builder and sunflower grower John ‘Clarkey’ Clarke (John R Campbell) dies from leukaemia, his wife Annie (Brett) teams up with Knapely Women’s Institute rebel Chris (Samantha Seager, from Coronation Street), her friend for 40 years, to raise funds to buy a new sofa for the relatives’ room at Skipton General.
They vow to defy the new but old-stick WI chair Marie (Liz Carney) by posing with fellow members for the nudie calendar in John’s memory, honouring his unbreakable call to be inventive and not to follow the well-beaten track.
The curtain, adorned with a giant sunflower, rises to a scene-setting ensemble anthem, Yorkshire, that resonates all the more in the county’s capital before Brett’s Annie sings the first part of a narrative song in three sections interwoven with further songs and scenes.
Each section tells John’s back story, accompanied by vignettes at home, in the village hall, at the hospital, that capture his humour, his spirit, his character, while charting the devastating path of his blood cancer and the creeping dread of what is to be lost.
Namely, the minutiae of marriage. Why we connect. Love, familiarity, companionship, routine, shared memories, the stuff of the show’s best song, Scarborough, and its Act Two sequel, Kilimanjaro, sung so powerfully by Brett.
Maureen Nolan’s Ruth, nursing her “Russian friend”, the vodka bottle, in Calendar Girls The Musical. Picture: Jack Merriman
To the wit and wisdom of Alan Ayckbourn, Victoria Wood and Willy Russell’s dramas, add Firth, a master of observant humour, northern nous and pathos, writ large here in both his dialogue and lyrics, accompanied by multi-faceted tunes from ballad king and pop puck Barlow, whose keyboard-led compositions so suit the vogue for story-telling, highly emotional musical theatre.
One by one, we meet Brett’s grieving but resilient Annie; Seager’s agitated, brazen Chris; Weeks’s piano-playing Cora, the vicar’s no-nonsense daughter; Helen Pearson’s reupholstered, flashy Celia, the golf-loving former air hostess; Paul’s Jessie, wise-owl ex-teacher and knitting enthusiast, and Nolan’s reserved Ruth.
Each is a given a character-revealing, story-telling solo number, each met with abundant applause from Wednesday’s enthusiastic matinee crowd. Weeks’s Hallelujah Silent Night is a Christmas blast; Pearson’s confessional So I’ve Had A Little Work Done is both cheeky and defiant; Paul’s What Age Expects is all-knowing, and Carney’s Spring Fete is assertively strict, her Mrs Rebellious, scornful. Bloody-minded ‘Yorkshireness’ is everywhere.
In her interview, Maureen Nolan talked of her role as being about “quality over quantity”, and no song is better delivered than My Russian Friend And I, as Nolan’s Ruth reveals how vodka is more present in her life than her philandering husband.
Firth’s writing is matched by the chemistry of Brett’s Annie and Campbell’s Clarkey, whose parting has the audience reaching for tissues. Equally as affecting is the bond of Annie and Chris, as the strains and stresses of friendship play out under the utmost duress.
Sunflowers all round: The Calendar Girls, in trademark black, in the celebratory finale. Picture: Jack Merriman
Calendar Girls is about more than the Girls, even if the men’s roles have been reduced to Campbell’s Clarkey and professional debutant Andrew Tuton’s Rod, the photographer with the idea for the now notorious calendar.
Firth’s best decision is to mirror The Full Monty in making that photoshoot the climax, each month’s calendar girl strip-off greeted with a yet bigger cheer or whoop.
O’Boyle’s direction is equally strong on individual characterisation and teamwork, complemented by Jos Houben’s movement direction on an open-plan set radically different from the 2015 premiere, where Robert Jones built Yorkshire as a green and pleasant Jerusalem with hills made from furniture that turned into doors and prop cupboards too.
Gary McCann favours a more conventional design ideal for touring: a village hall with a kitchen to one side and a Yorkshire Dales skyline beyond the doors and windows, the structure taller to the front, the floor an open expanse to accommodate a piano, a sofa, hospital signage, a meeting of the WI national federation, or a home, whatever each scene demands.
Hurry, hurry, make room on your kitchen calendar to see this Yorkshire story of tears and cheers, grief and loss, spirit and renewal, humour and humanity, cakes and buns, songs and sunflowers.
Performances: 7.30pm, tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: atgtickets.com/york
“It’s such a touching story, especially for my family, where cancer has played such a part – and still is,” says Calendar Girls The Musical actress Maureen Nolan. Picture: Jack Merriman
CALENDAR Girls The Musical has a bucketload of poignancy for Maureen Nolan.
As ever, the collection buckets will be out, raising funds for Blood Cancer UK from tomorrow to Saturday when the Gary Barlow and Tim Firth musical plays the Grand Opera House, York.
“It’s such a touching story, especially for my family, where cancer has played such a part – and still is,” says Maureen, who will be playing Ruth in Jonathan O’Boyle’s touring production.
Sister Bernie, who appeared in the play version of Calendar Girls, died of breast cancer in 2013; eldest sister Anne, diagnosed with breast cancer for the second time in April 2020, is in remission; younger sister Linda last year announced her cancer had spread to her brain.
“That didn’t make it more difficult for me to do the show,” says Maureen, who made her name as part of The Nolans, the Anglo-Irish family of singing sisters from Blackpool. “Calendar Girls is almost empowering, cathartic. People come up constantly afterwards with these very sad stories but they’re still smiling on the way out.”
Quick refresher course: Calendar Girls, the film, the play, now the musical, was inspired by the true story of Rylstone Women’s Institute members raising £5 million (and counting) for blood cancer research.
Maureen Nolan, as Mrs Johnstone, with Sean Jones as her son Mickey Johnstone, in Blood Brothers at the Grand Opera House, York in 2013
The story goes: Following the death to leukaemia of Annie’s much-loved husband, the ordinary women of a small Yorkshire Women’s Institute are prompted to do something extraordinary, whereupon they set about creating a nude calendar to raise money for charity.
However, upturning preconceptions is a dangerous business and none of the women are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.
Explaining those audience smiles, Maureen says: “I think it’s because Annie, who loses her husband, does get over it, raising £5 million for this amazing charity. Life has to go on. People are weeping in the audience, but the reality is that cancer is a a massive part of life but is getting more curable. Like my sister Linda, who has had cancer since 2005 in different forms but is still enjoying life.”
Maureen, whose Grand Opera House appearances included Mrs Johnston in Willy Russell’s musical Blood Brothers in October 13, is joined on the 2024 leg of the Calendar Girls tour by stars of music, stage and television: Laurie Brett as Annie; Liz Carney as Marie; Helen Pearson as Celia; Samantha Seager as Chris; Lyn Paul as Jessie and Honeysuckle Weeks as Cora.
“I first got involved at the end of the summer last year, when they said, ‘would you have a chat with Tim [Firth] and the director, Jonathan [O’Boyle]?’. He’s a young man, 40 this year, who had to work with all these women, seven women of differing ages, menopausal and older, and I can’t imagine anyone handling it better. He never lost his cool,” she says of her rehearsal experience.
The cast had to work on a condensed version of Barlow and Firth’s original version of the musical, premiered at Leeds Grand Theatre in November-December 2015 under the title of The Girls (returning there on the 2023-2024 tour’s first leg last November) .
Maureen Nolan as Ruth, holding her “Russian friend”, in Calendar Girls The Musical. Picture: Jack Merriman
“They don’t have the children in the show now, with Tim wanting to concentrate on the women, not the back story, with new songs as well, so we were a little under-rehearsed when we opened after only three weeks,” says Maureen, who had seen only the film and an amateur production of the before taking on the role of Ruth.
“I had nothing to go on, having not seen the original musical, so I play Ruth like Mavis [Thelma Barlow’s Mavis Riley] from Coronation Street! Others think she’s a bit OCD-ish, but it turns out she’s had a mentally abusive relationship [with a philandering husband] and she’s hiding a drink problem.
“At first I didn’t think Ruth was in it much, but it’s about quality not quantity, and at my age [she will turn 70 on June 14] I get the chance to stand in the dressing room making tea – and Ruth has some great comedy lines.”
Maureen enthuses: “Along with Blood Brothers, it’s the best show I’ve ever done. We were laughing and crying throughout rehearsals: the writing is genius by Tim and Gary; like Willy Russell’s shows, you can’t go wrong.
“Between Tim’s words and Gary’s music, the songs are beautiful and uplifting, and the music really adds to the show. I’ve been in things that I wish I hadn’t been in, but I am so proud of this musical.”
Sunflower power: The principal cast for Calendar Girls The Musical, including Maureen Nolan, right. Picture: Jack Merriman
Not least because of Ruth’s song, the tragicomic My Russian Friend And I, that ‘friend’ being the vodka bottle. “It’s a funny scene but then tragic: what people like her go through and yet keep hidden.”
Ruth ostensibly quaffs a drink to quell her fears of undressing, until the darker truth is revealed, but how did Maureen come to terms with the need to strip for the calendar photoshoot each show? “It was really funny because for about two weeks of rehearsals we didn’t really talk about it, and it became the elephant in the room!” she recalls.
“Then the director said there would be a meeting to talk about the photography scene – taking clothes off on stage was something I couldn’t imagine at my age! – but we talked about how much we would show, what we could wear, and then it’s one of those moments where you think, ‘oh, just get them off!’.
“It was all done so beautifully by our director, where we were really treated with respect. Every night, the tech team has to leave stage left.”
Back on the road, with four new cast members, after a winter break when she found time to appear as the Wicked Queen Cruella in Snow White in Cannock for a week, Maureen says: “I love, love, love going to York. It’s so beautiful.”
Calendar Girls The Musical, Grand Opera House, York, tomorrow (February 6) to Saturday, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.
Did you know? Maureen Nolan’s real name is Marie Antoinette Nolan; Mo for short
Neil Vincent, left, Clare Halliday, Chris Pomfrett, Victoria Delaney and Mick Liversidge in rehearsal for York Actors Collective’s Beyond Caring
A GLUT of York theatre companies, a nocturnal sky festival, a Yorkshire musical and a colourful installation light up the dark nights of February for culture guide Charles Hutchinson.
Social drama of the week: York Actors Collective in Beyond Caring, Theatre@41, Monkgate, York, Tuesday to Friday, 7.30pm; Saturday, 2.30pm and 5.30pm
DEVISED by Alexander Zeldin and the original Yard Theatre cast in London, this 90-minute play highlighting the social damage inflicted by zero-hours contracts forms York Actors Collective’s second production, directed by founder Angie Millard.
Performed by Victoria Delaney, Clare Halliday, Mick Liversidge, Chris Pomfrett and Neil Vincent, Beyond Caring follows meat-packing factory cleaners Becky, Grace and Sam on the night shift as they confront the reality of low wage employment, never sure whether their ‘job’ will continue. Box office: tickets.41monkgate.co.uk.
Robert Rice: Recital at Unitarian Chapel, St Saviourgate tonight
Late Music at the double: Steve Bingham, violin and electronics, 1pm today; Robert Rice, baritone, and William Vann, piano, 7.30pm tonight, Unitarian Chapel, St Saviourgate, York
PET Shop Boys’ It’s A Sin chills with Bach’s Allemande in D minor, while a tango from Piazzolla is thrown in for good measure, as Steve Bingham explores four centuries of solo violin music this afternoon. World premieres of David Power’s Miniatures, Wayne Siegel’s Salamander (violin and electronics) and Rowan Alfred’s Cuckoo Phase will be performed too.
York composer David Power has curated Robert Rice and William Vann’s evening recital, featuring the first complete performance of Power’s Three Char Songs (1985 and 2016). Works by Gerald Finzi, Cecil Armstrong Gibbs, Herbert Howells, Robert Walker, William Rhys Meek, Charlotte Marlow, Liz Dilnot Johnson, David Lancaster, Hannah Garton, Ruth Lee, Hayley Jenkins and Phillip Cooke. Power gives a pre-concert talk at 6.45pm with a complimentary glass of wine or juice. Tickets: latemusic.org or on the door.
Jonny Holbek as Sebastian in York Light Opera Company’s production of Disney’s The Little Mermaid. Picture: Matthew Kitchen
Nautical adventure of the week: York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, February 7 to 17, except February 12
BASED on the classic 1989 Disney animated film, The Little Mermaid tells the enchanting story of Ariel, a mermaid who dreams of trading her tail for legs and exploring the human world. Aided by her mischievous sidekick, Flounder, and the cunning Ursula, Ariel strikes a bargain that will change her life forever.
Martyn Knight’s production for York Light features stunning projection, dazzling costumes, unforgettable musical numbers, such as Under The Sea and Kiss The Girl, and choreography by Rachael Whitehead. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The poster for Colour & Light, soon to illuminate the facade of York Art Gallery
Installation launch of the week: Colour & Light, York Art Gallery, February 7 to 25
YORK BID is linking up with York Museums Trust for the return of Colour & Light: an innovative project that will transform the facade of York Art Gallery to counter the cold winter with a vibrant light installation.
This “high impact and large-scale visual arts project” uses 3D projection mapping to bring York’s iconic buildings to life, first York Minster last year, now York Art Gallery, where the projection will play every ten minutes from 6pm to 9pm daily in a non-ticketed free event.
Watching the detective: Steven Jobson’s Lieutenant Frank Cioffi in Joseph Rowntree Theatre Company’s Curtains. Picture: Jennifer Jones
It’s Curtains for…Joseph Rowntree Theatre Company, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm and 2.30pm Saturday matinee
WHEN the leading lady of a new musical mysteriously dies on stage, a plucky local detective must solve this 1959 case at Boston’s Colonial Theatre, where the entire cast and crew are suspects in Kander & Ebb’s musical with a book by Rupert Holmes.
Cue delightful characters, a witty and charming script and glorious tunes in the Joseph Rowntree Theatre Company’s staging of Curtains. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Sunflower power: The Calendar Girls cast on tour at the Grand Opera House, York, from Tuesday to Saturday
Touring musical of the week: Calendar Girls The Musical, Grand Opera House, York, Tuesday to Saturday, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
YOU know the story, the one where a husband’s death to leukaemia prompts a group of ordinary women in a small Yorkshire Women’s Institute to do an extraordinary thing, whereupon they set about creating a nude calendarto raise money for charity.
Premiered at Leeds Grand Theatre in 2015, Gary Barlow and Tim Firth’s musical is now touring with a cast of music, stage and television stars. Baring all will be Laurie Brettas Annie;Liz Carneyas Marie; Helen Pearson as Celia; Samantha Seager as Chris; Maureen Nolan as Ruth; Lyn Paul as Jessie and Honeysuckle Weeks as Cora. Once more the tour supports Blood Cancer UK. Box office: atgtickets.com/york.
Nicola Holliday (as Jean Tanner) and James Lee (as Charles Stratton) in rehearsal for Settlement Players’ Separate Tables. Picture: John Saunders
English manners of the week: York Settlement Community Players in Separate Tables, York Theatre Royal Studio, February 8 to 17, 7.45pm except Sunday and Monday, plus 2pm Saturday matinees
AFTER directing four Russian plays by Chekhov, Helen Wilson turns her attention to Separate Tables, two very English Terence Rattigan tales of love and loss, set in a shabby Bournemouth hotel in the 1950s.
Guests, both permanent and transient, sit on separate tables, a formality that underlines the loneliness of these characters in a play about class, secrets and repressed emotions. Chris Meadley, Paul French, Molly Kay, Jess Murray, Marie-Louise Feeley, Caroline Greenwood and Linda Fletcher are among the Settlement cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Festival of the month: North York Moors and Yorkshire Dales Dark Skies Festival, February 9 to 25
TEAMING up for the ninth time since 2016, the North York Moors and Yorkshire Dales National Park authorities celebrate the jewels of God’s Own Country’s night sky this month.
Discover nocturnal activities to heighten the senses such as the Dark Skies Experience (February 9 to 25) night navigation (February 16); trail run and yoga (February 17, sold out); canoeing; planet trail and constellation trail at Aysgarth Falls (February 9 to 25); astrophotography workshops at Castle Howard (February 22), stargazing safaris, children’s daytime trails, art workshops and mindful experiences. More details: darkskiesnationalparks.org.uk; yorkshiredales.org.uk/things-to-do/whats-on/shows/dark-skies-festival/.
Richard Ashcroft: Heading to the woods for Forest Live at Dalby Forest in June. Picture: Dean Chalkley
Outdoor gig announcement of the week: Richard Ashcroft, Forest Live, Dalby Forest, near Pickering, June 23
FORESTRY England completes its Forest Live return to Dalby Forest for the first time since 2019 with Richard Ashcroft, the two-time Ivor Novello Award-winning Wigan singer, songwriter and frontman of The Verve.
Canadian rocker Bryan Adams and disco icons Nile Rodgers & CHIC were confirmed already for June 21 and 22 respectively. New addition Ashcroft’s set list will draw on his five solo albums, along with The Verve’s anthems Bittersweet Symphony, The Drugs Don’t Work, Lucky Man and Sonnet. Leeds band Apollo Junction will be supporting. Box office: forestlive.com.
In Focus: York Ice Trail, City of Dreams, York city centre, today and tomorrow, from 10am
York Ice Trail: City of Dreams this weekend
THE theme for York Ice Trail 2024 transforms York into the City of Dreams, inviting visitors to dream big.
The last York Ice Trail, in February 2023, drew 40,000 visitors to York to view 36 sculptures. Organised by Make It York, the 2024 event again sees the “coolest” sculptures line the streets of York, each conceived and sponsored by businesses and designed and created by ice specialist Icebox.
Sarah Loftus, Make It York managing director, says: “York Ice Trail is one of the most-loved events in the city for residents and visitors alike, and we’re excited to be bringing it back for another year in 2024.
“It’s a huge celebration of our city and businesses, and the concept will inspire everyone’s inner child, encouraging people to let their imagination run wild.”
Icebox managing director Greg Pittard says: “Returning to York for the 2024 Ice Trail is a true honour for us. The York Ice Trail holds a special place in our hearts, and we are thrilled to bring this year’s theme to life.
“Our talented team of ice carvers pour their passion into crafting magnificent ice sculptures that will transport visitors to a world of wonder and delight.”
The 2024 ice sculptures:
Our City Of Dreams, provided by Make It York, Parliament Street.
A Field Of Dreams, Murton Park, Parliament Street.
A Journey In ice, Grand Central, Parliament Street.
City Of Trees, Dalby Forest, Parliament Street.
Chasing Rainbows, in celebration of York band Shed Seven topping the UK official album chart in January, York Mix Radio, Parliament Street.
I’m Late, I’m Late! For A Very Important Date!, Ate O’Clock, High Ousegate.
Sewing Like A Dream, Gillies Fabrics, Peter Lane.
Mythical Beasts: The Yeti, York BID, Walmgate.
Hop On Your Bike, Spark:York, Piccadilly (Spark:York will be open from 12 noon).
Belle Of The Ball, York Castle Museum, Eye of York.
The Calendar Girls The Musical cast, appearing at the Grand Opera House, York, from next Tuesday to Saturday. Picture: Jack Merriman
LOOK out for York and North Yorkshire East Women’s Institute Federation members at February 6 to 10’s performances of Calendar Girls The Musical at the Grand Opera House, York.
Celebrating the storyline of a cancer charity fund-raising group of ordinary women from a small Yorkshire Women’s Institute, they will have leaflets and information on hand in the public areas of the Cumberland Street theatre, giving audience members the chance to ask about the groups.
Janice Whiteford, WI advisor for the North Yorkshire East Federation, says: “I think it’s marvellous that we’re able to highlight all the groups available in the area during the week at the Grand Opera House. There are lots of WI groups in the York and North Yorkshire East areas and we’d love to chat about the fun we have and encourage new people to join.”
Inspired by the true North Yorkshire story of the Calendar Girls at Rylstone Women’s Institute, who raised £5 million (and counting) for blood cancer research, the musical features songs by Take That’s Gary Barlow and a reimagined book by playwright Tim Firth.
What happens? Following the death to leukaemia of a much-loved husband, a group of ordinary women in a small Yorkshire Women’s Institute are prompted to do an extraordinary thing, whereupon they set about creating a nude calendar to raise money for charity.
However, upturning preconceptions is a dangerous business and none of thewomen are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.
Who’s in the cast? Find out below. Picture: Jack Merriman
Calendar Girls The Musical brings together a touring cast of music, stage and television stars. Baring all in 2024 are Laurie Brett (EastEnders) as Annie; Liz Carney(The Full Monty, The Mousetrap) as Marie; Helen Pearson(Hollyoaks) as Celia; Samantha Seager (Coronation Street) as Chris; Maureen Nolan (The Nolans, Blood Brothers) as Ruth; Lyn Paul (The New Seekers, Blood Brothers) as Jessie and Honeysuckle Weeks (Foyle’s War) as Cora.
They are joined by Colin R Campbell as John, Andrew Tutonas Rod, alongsideJayne Ashley, Lucas August and Victoria Hayin the ensemble.
The tour is supporting Blood Cancer UK, the charity dedicated to funding research into all blood cancers, including leukaemia, lymphoma and myeloma, as well as offering information and support to blood cancer patients.
Every performance continues to add to the millions already raised for Blood Cancer UK and prove that there is no such thing as an ordinary woman. During next week’s run, collections will take place at the Grand Opera House to increase awareness and raise additional funds.
Calendar Girls The Musical, Grand Opera House, York, February 6 to 10, 7.30pm nightly plus 2.30pm Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.
Calendar Girls: the (front and) back story
THE real-life Calendar Girls launched a global phenomenon: a million copycat calendars, a record-breaking film, a stage play and Gary Barlow and Tim Firth’s musical, premiered at Leeds Grand Theatre in November-December 2015 under the original title of The Girls. The show coined the term “craughing”: the act of crying and laughing at the same time.
As intuitive as a double act: Mark Hawkins, as The Actor, front, and Malcolm James, as Arthur Kipps, in The Woman In Black. Picture: Mark Douet
THE chill night air. Water, water, everywhere. York, the city with even more ghosts than hotel rooms, was putting on its own show for the umpteenth yet ever-welcome return of The Woman In Black, the ghost story by Susan Hill from up the road in Scarborough.
The Grand Opera House has its resident ghost, said to greet new members of staff by name on first acquaintance in the auditorium, but once more there was a rival in town: one Jennet Humphrey, the “Woman” in the title of Stephen Mallatratt’s meta-theatrical adaptation, first staged at the Stephen Joseph Theatre in December 1987 in winter ghost-story season tradition.
That said, The Woman In Black could be staged anywhere, any season, as the latest touring partnership of Malcolm James and Mark Hawkins can testify. They first teamed up as tormented lawyer Arthur Kipps and the whippersnapper-keen Actor for 11 performances in the 40-degree heat of Dubai, modern Madinat Theatre auditorium et al, in 2017.
James has his long service medal already, having appeared in the play’s 2014-2015 tour, visiting York Theatre Royal on that itinerary, and undertaking a subsequent London stretch at The Fortune in 2016.
Hawkins has played The Fortune too, and bringing that combined experience to Mallatratt’s adroit storytelling they make for a terrific partnership, as intuitive as a double act and admirably unfazed when the smog engulfing the stage sets off the smoke alarm.
Sitting next to the 13 to 16-year-olds from Stokesley, North Yorkshire, attending the opening night as part of their theatre studies, was a chance for a veteran reviewer to encounter The Woman In Black as if for the first time. Their changing reactions, as the early humour made way for the gravest, ghostly, ghastly deeds, added to the joys of this masterpiece of theatre’s unrivalled powers of imagination and invention.
As ever, Robin Herford is still directing the fright night’s scares, with Antony Eden, The Actor in the previous tour to York en route to more than 1,000 performances, as his associate director. As ever too, as billed in the programme, “the action takes place in this theatre in the early 1950s”.
Harder to imagine in Dubai, maybe, but the Grand Opera House is the perfect grand setting for the play within the play in a disused theatre within a theatre, where Michael Holt’s design, with its clever use of gauze, takes delight in gradually revealing a shadowy stairwell, dark passages, a mysteriously locked door and, spoiler alert, a children’s bedroom with toys untouched from 50 years ago.
Rod Mead’s sound design, administered on tour by Sebastian Fost, has a way of utilising all the theatre to surprise and jolt, while Kevin Sleep’s light design, now “re-lit” on tour by Alexander Hannah, is, pardon the pun, a highlight of the show, adding to the tension, constantly showing the stage in a different light that has you wondering where the Woman In Black might next appear. Not so much Sleep as sleepless, such is the disturbing presence.
As for the storytelling, James and Hawkins, as much as Mallatratt and Herford, excel in the more-is less-approach as James’s haunted, stultified Kipps seeks to exorcise the fear that has burdened his soul for so long, to end the curse on his family.
“For my health, for reason”, his story must be told, he says, and with the help of Hawkins’s Actor, on the wings of imagination, his rambling book of notes will become a play so powerful, it no longer feels like a play, but an all-consuming reality destined to play out forever.
The Actor becomes Kipps, the young solicitor sent to attend to the murky, isolated, wretched English marshland estate of the newly dead Alice Drablow, while James’s Kipps, once he sheds his stage novice reserve, takes on all manner of roles, from narrator, hotel host and taciturn pony and trap driver, to an even more haunted old solicitor and wary landowner.
All the while, Kipps is ever more traumatised by his fears rising anew, and likewise Mallatratt applies the sleight of hand of a magician as the drama within takes over from the act of making it, while simultaneously glorying in theatre, acting skills and the British love of a ghost story.
No need for high-tech special effects, The Woman In Black is old-fashioned, storytelling theatre-making, in which the terrifying theatrical re-enactment is applied with only two chairs, a stool, a trunk of papers, a hanging rail of costume props, dust sheets over the stage apron and a frayed theatre curtain.
Smoke, shrieks, horse’s hooves and the Woman In Black’s spectral face play their part too, James and Hawkins handling the reins as deftly as an Olympic equestrian yet in thrall to a story beyond their control. Theatre at its best. Box office: atgtickets.com/york.
Following the science? James Willstrop as Dr Frederick Frankenstein, creator of the Creature in Pick Me Up Theatre’s Young Frankenstein. Picture: Jennifer Jones
YORK company Pick Me Up Theatre’s delayed northern premiere of Mel Brooks’s comedy horror musical Young Frankenstein opens at the Joseph Rowntree Theatre next Wednesday.
Unforeseen circumstances had forced the late postponement of last autumn’s run at the Grand Opera House, but rehearsals re-started in York in early December under the direction of Andrew Isherwood.
All the original principal cast chosen by Pick Me Up artistic director and designer Robert Readman was still available, not least former squash world number one James Willstrop in the lead role of mad scientist Dr Frederick Frankenstein, first played by Gene Wilder in Brooks’s 1974 horror-movie spoof of Mary Shelley’s 1818 novel Frankenstein.
“You hear of other shows where it’s happened, but it was a really sad feeling when we couldn’t do it as were just about to start our run,” recalls James.
“I was feeling pretty depressed afterwards, thinking ‘this show isn’t going to happen’ – and when people ask, ‘how are you feeling?’, it’s unusual to have to explain to anyone as it’s not ‘real life’, but you do feel really deflated.
Pick Me Up Theatre principals in Young Frankenstein: back row, from left, James Willstrop’s Dr Frederick Frankenstein, Helen Spencer’s Frau Blucher and Jennie Wogan-Wells’s Elizabeth Benning; front row, Jack Hooper’s Igor and Sanna Jeppsson’s Inga. Picture: Jennifer Jones
“But then we got this text from Bells [production management assistant and actress Helen Spencer] asking, ‘Can you do these dates?’, as Robert said we could go ahead with a new run.”
Out went Pick Me Up’s planned production of Chicago at the JoRo, replaced by Young Frankenstein. Rehearsals have been a matter of “going again”. “We had the best part of a month off when the last thing I was thinking of doing was listening to the soundtrack!” says James.
“It’s been a case of getting into the scenes again, with the choreography kept largely the same. Andrew has been really great on the detail, which actors love, and that’s been good. He’s trusted our instincts and he’s been very alive to the comedy.”
James, who made his Pick Me Up debut as Captain Von Trapp in The Sound Of Music in December 2022, has enjoyed becoming acquainted with Brooks’s parody songs.
“Going into the audition, I didn’t know a lot about the show, but I love Pick Me Up and working with Robert, and I loved the opening number, The Brain, which I decided to learn for the audition.
James Willstrop: Men’s doubles squash gold medallist at the 2022 Commonwealth Games in Birmingham, his fifth Games
“A week out from the audition, I hadn’t been sure about the show, but by the time I did the audition, I was thinking, ‘this part is great, I’ve got to do it’!
“The first few times, listening to the soundtrack, it took me a while to get a feel for the songs, but then you realise they’re just great, simple songs. I love the tunes, they have a vaudeville quality, and the humour is always there.”
James, now 40, had first performed in “serious dramas” before branching out into musicals, and last year found him heading to the Cornish coast to play deluded mystery novel writer Charles Considine in Ilkley Playhouse’s production of Noel Coward’s supernatural comedy Blithe Spirit at the Minack Theatre.
“Doing that humorous role, and being tall [James is 6ft 4ins], with all the physicality that goes with that, just seemed to link perfectly to then playing Frederick Frankenstein,” he says.
. “It’s not subtle but it’s a great comedy genre,” says James Willstrop of Mel Brooks’s humour. Picture: Jennifer Jones
In Brooks’s spoof, the grandson of infamous scientist Victor Frankenstein, Dr Frederick Frankenstein, has inherited his family’s castle estate in Transylvania. Aided and hindered by hunchbacked sidekick Igor, Scandinavian lab assistant Inga, stern German Frau Blucher and needy fiancée Elizabeth, he strives to fulfil his grandfather’s legacy by bringing a corpse back to life.
Cue comedy in the bold Brooks style. “It’s lovely to be doing something silly, full of innuendos and jokes that some people might hate but are just daft,” says James. “It’s not subtle but it’s a great comedy genre,”
James, whose father grew up in York, lives in Harrogate and now divides his time between coaching squash – and “still playing a bit” – at the Pontefract Squash and Leisure Club and performing on stage.
Coming next will be his role as recovering alcoholic Harry in Bingley Little Theatre’s production of Stephen Sondheim’s Company at Bingley Arts Centre, West Yorkshire, from July 1 to 6.
Pick Me Up Theatre in Young Frankenstein, Joseph Rowntree Theatre, York, January 31 to February 32024, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk
The tour poster for An Evening With The Fast Show, booked into the Grand Opera House, York, this spring
THE Fast Show stars are reunitingfor a 30th anniversary tour. The Grand Opera House, York, awaits Charlie Higson, Paul Whitehouse, Simon Day, John Thomson, Arabella Weir and Mark Williams on March 19 at 7.30pm.
Tickets go on sale at 10am tomorrow atatgtickets.com/york for An Evening With The Fast Show, whose 15-date itinerary takes in a second Yorkshire gig at Sheffield City Hall on March 25 (tickets: sheffieldcityhall.co.uk) .
The quickfire sketch show first aired on BBC Two on September 27 1994 and ran for three series until 1997 with the late Caroline Aherne as part of the cast. Special editions ensued, such as the three-part The Last Fast Show Ever in 2000, and tours were staged in 1998 and 2002.
An Evening With The Fast Show will provide a behind-the-scenes insight into the award-winning comedy’s favourite characters and catchphrases as they come alive anew on stage.
The cast will discuss how it all began, how they made the TV show and created the characters, and the fun they had doing it. This will be interspersed with performances of some of their best-loved sketches, monologues and songs, with on-screen inserts and a moment to remember former collaborator Aherne, who died in 2016.
Fans can expect the return of such favourites as Ted & Ralph, Jesse, Swiss Toni, Does My Bum Look Big In This?, Dave Angel, Jazz Club, The Suit You Tailors, Ron Manager, The Mad Painter, Rowley Birkin, Bob Fleming, Competitive Dad, Professor Denzil Dexter and The Girl Who Boys Can’t Hear.
Looking forward to reassembling on stage for the first time in 20 years, Higson says: “Taking The Fast Show out on tour is very much like making love to a beautiful woman.”
