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.”
Something wicked this way comes: Rob Wolfe’s Macbeth and Oriana Charles’s Lady Macbeth in Dickens Theatre Company’s Macbeth, on tour at Grand Opera House, York
FROM textbook theatre for GCSE studies to an original pantomime, a finally finished symphony to orchestral ABC, a silent cinema season to a night of Nashville honky-tonk country, Charles Hutchinson has all manner of recommendations.
York debut of the week: Dickens Theatre Company: Revision On Tour, Grand Opera House, York, Macbeth, Monday, 7.30pm, and Tuesday, 1pm, 7.30pm; Dr Jekyll & Mr Hyde, Wednesday, 1pm, 7.30pm; Romeo & Juliet, Thursday, 1pm, 7.30pm
DICKENS Theatre Company, purveyors of exciting, educational and entertaining stage adaptations of literary classics and GCSE texts since 2015, make their York debut with three productions scripted and directed by Ryan Philpott.
A cast of seven presents Shakespeare’s bloodiest tragedy, Macbeth, narrated by the Porter, as Macbeth and Lady Macbeth make their perilous descent towards Hell; Robert Louis Stevenson’s Gothic horror story Dr Jekyll & Mr Hyde, set in the foggy, dimly lit streets of Victorian London, where an evil predator lurks, and Romeo & Juliet, breathing new life and wit into Shakespeare’s tragic tale of star-crossed lovers. Box office: atgtickets.com/york.
Rob Wolfe, as Dr Jekyll, and Felix Grainger, as Inspector Newcomen, in Dickens Theatre Company’s Dr Jekyll & Mr Hyde at Grand Opera House, York
Pantomime of the week: Blue Light Theatre Company in Nithered!, Acomb Working Men’s Club, York, today, 1pm; Wednesday to Friday, 7.30pm
FORMED by York Ambulance Service staff, Blue Light Theatre Company’s family-friendly tenth anniversary production features an original pantomime script by Perri Ann Barley, with additional material by the dame, Steven Clark, directed by Craig Barley and choreographed by Devon Wells.
They are joined in the cast by Glen Gears, Brenda Riley, Simon Moore, Kevin Bowes, Kristian Barley and new members Aileen Stables and Audra Bryan, among others. Proceeds go to the Motor Neurone Disease Association (York) and York Against Cancer. Box office: 07933 329654 or bluelight-theatre.co.uk.
The (Riding) Hoods in Blue Light Theatre Company’s Nithered!: Kathryn Donley, left, Chelsea Hutchinson and Kalayna Barley
Classical concert of the week: Academy of St Olave’s, St Olave’s Church, Marygate, York, tonight, 8pm
THE “main event” of the Academy of St Olave’s second concert of their 2023-24 season will be Schubert’s “Unfinished” Symphony No. 8 in B minor, but in a finished version! Schubert famously completed only the first two movements, before setting the symphony aside (six years before his death in 1828).
The York chamber orchestra will be adding third and fourth movements compiled and composed by Schubert scholar Professor Brian Newbould, based on material left behind by the Austrian composer. Further works in a programme of late-Classical and early Romantic music will be Mozart’s Symphony No. 25 and Luigi Cherubini’s operatic overture Anacréon. Box office: academyofstolaves.org.uk or on the door.
Miles Kane: One Man Band at Leeds O2 Academy
Miles down the road: Miles Kane, Leeds O2 Academy, Thursday, 7pm
BIRKENHEAD guitarist and singer Miles Kane, former frontman of The Rascals and Alex Turner’s cohort in The Last Shadow Puppets, opens his January and February 2024 solo tour in Leeds. Expect the focus to fall on last August’s album, One Man Band, released on Modern Sky Records.
A deeply personal record, it found Kane reflecting on his journey as he returned to Liverpool, hooking up with Blossoms’ Tom Ogden, Circa Waves’ Keiran Shudall, Andy Burrow and regular writing partner Jamie Biles to record songs with longtime collaborator James Skelly, of The Coral, on production duties. Box office: mileskane.com.
Buster Keaton in Sherlock, Jr: Showing in the ReDiscover programme at City Screen Picturehouse
Time to rediscover: Buster Keaton season, City Screen Picturehouse, York, until February 9
CITY Screen Picturehouse is celebrating the silent cinema of Joseph Frank “Buster” Keaton, the American actor, comedian and director whose graceful physical feats of stoical comedy were marked by a deadpan expression that brought him the nickname “The Great Stone Face”.
Friday’s screening of Steamboat Bill, Jr (U), wherein the effete son of a cantankerous riverboat captain joins his father’s crew, will be followed on February 2 by Sherlock, Jr (U), in which Keaton’s hapless film projectionist longs to be a detective. The season concludes on February 9 with The General (U), with its peerless chase scenes as Keaton’s plucky railway engineer pursues Union spies doggedly across enemy lines when they steal his locomotive. Box office: picturehouses.com.
Dominic Halpin And The Hurricanes: Revelling in A Country Night In Nashville
Country shindig of the week: A Country Night In Nashville, Grand Opera House, York, Friday, 7.30pm
DOMINIC Halpin And The Hurricanes take a journey down country roads, visiting the songs of American stars both past and present as they recreate the atmosphere of a buzzing honky-tonk in downtown Nashville. The music of Johnny Cash, Alan Jackson, Dolly Parton, The Chicks, Willie Nelson and Kacey Musgraves, among others, will be showcased. Box office: atgtickets.com/york.
Martin Fry: Fronting the ABC Lexicon Of Love Orchestral Tour show at York Barbican
Gig of the week: ABC, Lexicon Of Love Orchestral Tour, York Barbican, January 27, doors, 7pm
MARTIN Fry leads ABC in an orchestral performance of their June 1982 chart-topping debut album The Lexicon Of Love, here coupled with further hits and favourites.
Fusing Motown soul with a steely Sheffield post-punk attitude, the album spawned the hits Tears Are Not Enough, Poison Arrow, The Look Of Love and All of My Heart,
now performed with the Southbank Sinfonia, conducted by longtime collaborator Anne Dudley, who orchestrated the original album sessions. Box office: yorkbarbican.co.uk or ticketmaster.co.uk.
Miles And The Chain Gang: New single and first gig of 2024
Miles on the doorstep: Miles And The Chain Gang, The Terrace, New Street, York, February 10, 8pm onwards, free entry
YORK band Miles And The Chain Gang precede their first gig of 2014 with the January 26 release of new single Raining Cats And Dogs, an Americana-tinged track that dates back 30 years.
“Everything takes time,” says songwriter and frontman Miles Salter. “The song started out at a jam session with my friends Dom Jukes and Syd Egan in the summer of 1994. It just came to me, as song ideas do.” Hearing the subsequent recording for the first time in years, Salter has decided to revisit the “very playful and tongue-in-cheek” country number with Egan on harmonica.
Malcolm James in the role of Arthur Kipps, the lawyer burdened with the need to tell his terrifying story and exorcise the fear that grips his soul in The Woman In Black, on tour at the Grand Opera House, York, from January 30. Picture: Mark Douet
QUESTION: Which play marked the reopening of the Grand Opera House, York, after 547 days of Covid-enforced darkness on September 13 2021?
Answer: Stephen Mallatratt’s adaptation of Susan Hill’s ghost story The Woman In Black, first staged in a pub setting by the Stephen Joseph Theatre, Scarborough, as a Christmas ghost story in 1987.
Now, 869 days later, PW Productions’ tour returns to haunt the York theatre once more, “direct from the West End”, with a cast of Malcolm James as lawyer Arthur Kipps and Mark Hawkins as The Actor.
Malcolm and Mark have previous form for presenting the tale of an elderly lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a “Woman in Black” for 50 years.
“We did the show together very briefly in Dubai, for 11 performances, in 2017,” recalls Malcolm. “It might have seemed unusual doing a really ghostly story at Christmas in a modern Dubai building, but it proved very popular, though stepping outside the accommodation and theatre into 40-degree heat was a bit of a learning curve for me!”
Renewing the partnership on the 2023-2024 tour, James and Hawkins will be playing York amid the more apt winter chill, as Arthur Kipps engages a sceptical young actor to help him tell his terrifying story and exorcise the fear that grips his soul. “Mark is a wonderful young actor, very engaged and really committed to the play, bringing such intensity to it, never letting me drop from my A-game,” says Malcolm.
Mark Hawkins as The Actor, left, and Malcolm James as Arthur Kipps in The Woman In Black. Picture: Mark Douet
He first played Arthur Kipps on the 2014-2015 tour and in a subsequent West End run at the Fortune Theatre, London, in 2016, both with Matt Connor in the role of The Actor. “The show certainly changed from where we started, and that’s one of the joys of doing long runs. I keep learning, as I’ve been doing throughout my career,” says Malcolm.
“After drama school, a three-week run at Leeds Playhouse feels huge, when you’ve not done that before, but then, when you start doing tours, you find out how limiting a short run is. And because The Woman In Black is a two-hander, there’s so much more to explore, as you keep discovering new things, where suddenly a new emphasis is thrown up when one actor says a line differently.”
As ever, Robin Herford is directing the latest tour. “Working again with the same director is a joy because it’s my favourite play, my favourite part, so rewarding, as you get the initial feedback from the chills, the thrills, the mystery, but ultimately it’s a very human story of grief,” says Malcolm.
“Arthur Kipps is full of suffering, tormented by the burden of this demon that he needs to purge by telling his story. This time Robin [Herford] wanted to make it grittier, and it’s definitely become darker and richer, so as much as the audience may get caught up in the ‘jump scares’, they’re relating to the human drama too.”
Malcolm thrives on performing a play that revels in its own theatrical setting, steeped in atmosphere, illusion and horror. “It’s set up from the beginning, just two people on stage who are going to rehearse a play from Kipps’s story with basic props,” he says.
“The audience willingly slips into thinking they are watching the real thing unfold, not just watching two actors, and it absolutely shows the power of what theatre can do that no other medium does, where everyone becomes caught up in a brilliant piece of storytelling.
Malcolm James, left, and Matt Connor on the 2014-2015 tour of The Woman In Black that visited York Theatre Royal in November 2014. Picture: Tristram Kenton
“Stephen Mallatratt is absolutely faithful to the novel and to the language of the period, and he’s brilliant at building up the story, where each time he goes back into the drama, he does it for longer, with comedy and anticipation at first, until the story becomes relentless to the point where most of the second half is set in the [haunted] house.”
The 2014-205 tour brought Malcolm to York Theatre Royal in November 2014. “I haven’t played the Grand Opera House before, and that’s another joy of touring because playing different theatres helps to keep it fresh,” he says.
“In London, we played it in a 1920s’ theatre, The Fortune, which was perfect as it was small and close up, but on tour it’s a challenge every week, such as dealing with the differing acoustics.
“If you’re playing a theatre that’s seen better days, in a play with an old theatre setting, that’s fantastic, and I love working in proscenium-arch theatres for that reason, but it still works in a modern theatre, a big wooden barn, where you’re asking for an extra level of suspension of disbelief.”
First Matt Connor, now Mark Hawkins, Malcolm has enjoyed the chemistry of both partnerships, so vital to the play’s impact. “I’ve been very lucky with both Matt and Mark,” he says. “It’s great if there’s a personal rapport as well as a professional one, and I’ve had that each time, making the relationship work on stage, having a pint together afterwards.”
The Woman In Black spooks Grand Opera House, York, January 30 to February 3, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york
Copyright of The Press, York
Favourite play, favourite role: Malcolm James’s verdict on playing Arthur Kipps in The Woman In Black
Black’n’White the Zebra and Hiran Abeysekera (Pi) in Life Of Pi, bound for Leeds Grand Theatre from Wednesday. Picture: Johan Persson
DRAMAS, circus, musical theatre, rock’n’roll, sorrowful folk, one more pantomime and the return of forest concerts attract Charles Hutchinson’s attention.
Theatre event of the week: Life Of Pi, Leeds Grand Theatre, January 10 to 13; 2pm and 7pm, Wednesday, Thursday and Saturday; 7.30pm, Friday
WINNER of five Olivier Awards, not least Best Play, the West End spectacle Life Of Pi is heading north on its debut British tour with its combination of jaw-dropping visuals, magic and puppetry.
Adapted from Yann Martel’s 15 million-selling, 2002 Man Booker Prize-winning fantasy novel, Life Of Pi finds Pi stranded on a lifeboat with four other survivors – a hyena, a zebra, an orangutan and a Royal Bengal tiger. Time is against them, nature is harsh, who will survive on this epic journey of endurance and hope. Box office: 0113 243 0808 or leedsheritagetheatres.com.
The poster for Meat Loaf By Candlelight at Grand Opera House, York
Tribute show of the week: Meat Loaf By Candlelight, Grand Opera House, York, January 12, 7.30pm
STARS of the original West End and international productions of Bat Out Of Hell will be accompanied by a rock band in a tribute to Texan rock-operatic singer and actor Meat Loaf “as you have never heard before”.
On the Meat Loaf menu will be I’d Do Anything For Love (But I Won’t Do That), Bat Out Of Hell, Two Out Of Three Ain’t Bad, Dead Ringer For Love, You Took The Words Right Out Of My Mouth, Rock And Roll Dreams Come Through et al. Box office: atgtickets.com/york.
Cirque: Combining musical theatre bangers and circus skills at York Barbican
Move over PT Barnum and Hugh Jackman: Cirque: The Greatest Show, York Barbican, January 13, 2pm and 6pm
CIRQUE: The Greatest Show combines West End and Broadway musical theatre showstoppers with spectacular circus skills, ranging from aerialists and contortionists to thrilling feats of agility and flair.
West End performers join with mesmerising circus acts in the all-star cast for an enchanting variety show that vows to “charm and astonish in equal measure”. Box office: yorkbarbican.co.uk.
Peter Panto: The PQA York pantomime at the JoRo Theatre
Still time to squeeze in another pantomime: PQA York in Peter Panto, Joseph Rowntree Theatre, York, January 14, 7.30pm
PETER Panto, the high-flying PQA Pantomime, features the talented young performers of the Pauline Quirke Academy York’s Friday Academy.
Join Peter Pan as he flies off on a new adventure for one night only in a show featuring “stunning visuals, gorgeous music and barrel-loads of laughter on a swashbuckling journey to Neverland unlike any before”. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Showaddywaddy’s 50th anniversary tour, taking in Grand Opera House, York
Hey, rock and roll nostalgia: Showaddywaddy 50th Anniversary Tour, Grand Opera House, York, January 19, 7.30pm
FORMED in Leicester in 1973, Showaddywaddy like to call themselves “the greatest rock’n’roll band in the world”. Their 50th anniversary travels rock’n’roll on into 2024 with a line-up featuring only one original member, drummer Romeo Challenger, aged 73.
Dave Bartram, the singer on such hits as Hey Rock And Roll, Under The Moon Of Love, Three Steps To Heaven, When, Blue Moon and Pretty Little Angel Eyes, now manages the band, having performed his last gig in Ilkley in 2011. Andy Pelos takes lead vocals. Box office: atgtickets.com/york.
Angeline Morrison: Performing songs of sorrow at the NCEM, York
Leaping ahead: Angeline Morrison, National Centre for Early Music, York, February 29, 7.30pm
SEEKING to make the most of the extra day in this Leap Year? Why not discover why the Guardian picked Angeline Morrison’s The Sorrow Songs: Folk Songs Of Black British Experience (Topic Records) as the number one folk album of 2022.
Birmingham-born, Cornwall-based folk singer, songwriter and multi-instrumentalist Morrison explores traditional song with reverence, love and curiosity, a handmade sonic aesthetic and a feeling for the stories of ordinary human lives. York singer-songwriter Holly Taymar supports. Box office: 01904 658338 or ncem.co.uk.
Paul French: Soon to play Major role in Separate Tables at York Theatre Royal Studio
Classic play of the season: 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, Marie-Louise Feeley, Caroline Greenwood and Linda Fletcher lead the Settlement cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Bryan Adams: Canadian rocker will play Dalby Forest on June 21
Going down to the woods again at last: Forest Live concerts, Dalby Forest, near Pickering, June 21 and 22; gates open at 4pm
FOREST Live concerts are to return to Dalby Forest for the first time since Paul Weller and Jess Glynne’s shows in June 2019. Covid put paid to 2020, since when three more silent summers have passed in the woods, but the hiatus will come to an end after Forestry England’s announcement of two outdoor gigs for 2024.
Bryan Adams, forever associated with (Everything I Do) I Do It For You’s 16-week chart-topping run from the 1991 film soundtrack to the forest tale of Robin Hood: Prince Of Thieves, will play on June 21. Nile Rodgers & CHIC will be supported by Sophie Ellis-Bextor and Deco on June 22. Ellis-Bextor previously guested at Erasure’s Dalby date in 2011. Box office: forestlive.com.
Nile Rodgers: Good times ahead at Dalby Forest on June 22 in the company of CHIC
Shed Seven: Launching new album with meet & greet at HMV, York, on Friday
WHAT lies ahead in the New Year? Charles Hutchinson picks his path through highlights across the city’s venues.
It’s only A Matter Of Time before: Shed Seven release their new album
YORK band Shed Seven will mark the January 5 release of their sixth studio album, A Matter Of Time, on new home Cooking Vinyl with a meet & greet/signing session that day at HMV, in Coney Street, York, at 4.30pm (tickets: shedsevenn.lnk.to/instores). Their midday appearance and stripped-back performance on the same day at Vinyl Whistle, in Otley Road, Headingley, Leeds, has sold out.
In the summertime, when the weather is hopefully fine, The Sheds will celebrate their 30th anniversary with a brace of outdoor concerts in York Museum Gardens on July 19 and 20, supported by Peter Doherty, no less. Both have sold out already. Box office: seetickets.com.
Joseph Rowntree Theatre Company cast members peer out through and beneath the JoRo curtain in Curtains
It’s Curtains for…Joseph Rowntree Theatre Company, Joseph Rowntree Theatre, York, February 7 to 10, 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.
Steve Mason: Independent Venue Week gig at The Crescent. Picture: Gavin Watson
Beta times ahead: Brudenell Presents Steve Mason, The Crescent, York, January 30, 7.30pm
SCOTTISH indie songwriter Steve Mason, founder of The Beta Band, returns to The Crescent as part of Independent Venue Week. Combining a rare melodic gift with an itch to experiment, as heard on his 2023 album Brothers & Sisters, he investigates where the boundaries lie between the craft of songwriting, technology and free expression.
Taking part in Independent Venue Week too will be Leeds band English Teacher, whose January 28 night of dreamy pop and post-punk noise has sold out already. Box office: thecrescentyork.com.
Monster show: The Apatosaurus in Jurassic Live, bound for York Barbican
Dinosaurs take over York: Jurassic Live 2024 World Tour, York Barbican, February 16, 5pm; February 17, 11am and 3pm; February 18, 1pm
LIFE-SIZED monstrous beasts roar into York in an interactive all-star theatrical spectacular featuring the world’s only Tylosaurus in a giant tank (new for 2024), the last flying Pterodactyl, a Tyrannosaurus Rex called Suzie and more dinosaur species than any other show on Earth.
Join little Amber, Ranger Joe, Ranger Nora and the rest of the Jurassic Live rangers on a musical journey to help save the day from an evil man who is trying to shut down the Jurassic facility. Box office: yorkbarbican.co.uk.
Amber Davies’s Hollywood prostitute Vivian Ward and Oliver Savile’s wealthy businessman Edward Lewis in Pretty Woman: The Musical at Grand Opera House, York
Most anticipated touring musical: Pretty Woman: The Musical, Grand Opera House, York, February 20 to 24, 7.30pm plus 2.30pm, Wednesday and Saturday
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 Vivian (Amber Davies) meets Edward (Oliver Savile) and her life is changed forever.
Strictly champ Ore Oduba’s Happy Man/Mr Thompson and Natalie Paris’s Kit De Luca will be in the cast too for a musical featuring original music and lyrics by Bryan Adams and Jim Vallance and a book by Garry Marshall and the film’s screenwriter, J.F. Lawton. Box office: atgtickets.com/york.
The tour poster for Wise Children’s Blue Beard, opening the bl**dy door at York Theatre Royal from February 27
World premiere of the season: Emma Rice’s Wise Children in Blue Beard, York Theatre Royal, February 27 to March 9, 7.30pm and 2pm Thursday and 2.30pm Saturday matinees
BLUE Beard will be Wise Children’s fourth visit to York after Wise Children, Malory Towers and Wuthering Heights, this time in a co-production between Emma Rice’s Bristol company, York Theatre Royal, Birmingham Rep, HOME Manchester and the Royal Lyceum, Edinburgh.
Rice brings her brand of theatrical wonder to the beguiling and disturbing folk tale of Bluebeard meeting his match when his young bride discovers his dark and murderous secret. Summoning all her rage, all her smarts and all her sisters, she vows to bring the curtain down on his tyrannous reign. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Rob Auton: At his most Rob Auton in The Rob Auton Show at The Crescent, York
Welcome home: Rob Auton, The Rob Auton Show, Burning Duck Comedy Club, The Crescent, York, February 28, 7.30pm
AFTER nine Edinburgh Fringe shows on themes as diverse as the colour yellow, the sky, faces, water, sleep, hair, talking, time and crowds, York writer, comedian, artist and actor Rob Auton delivers his most autobiographical work, exploring the memories and feelings that create his life on a daily basis. Box office: thecrescentyork.com.
Rhod Gilbert’s poster for his tour show with a Giant Grapefruit at York Barbican
Comedy comeback : Rhod Gilbert & The Giant Grapefruit, York Barbican, June 20, 8pm
IN his last show, The Book Of John, firebrand Welsh comedian Rhod Gilbert dealt with “some pretty pungent life citrus” and an idiot called John. Little did he know that things were about to turn even more sour.
Gilbert, 55, required surgery for metastatic cancer of the head and neck as well as chemotherapy and radiotherapy, receiving his first clear cancer scan in October after undergoing treatment.
“Not bitter, he’s bouncing back and feeling remarkably zesty”, returning with a dark, passionate and way-too-personal tour show that squeezes every last drop out of life’s latest curveballs…with a little help from an old adversary. Box office: yorkbarbican.co.uk.
Jason Donovan: Doin’ fine at York Barbican in…wait for it…2025
Even further ahead:Jason Donovan, Doin’ Fine 25 Tour, York Barbican, March 8 2025, 8pm
IF 2023 was the year of Kylie, all that attention on Tension, Padam Padam and ITV’s An Audience With, then 2025, yes 2025, promises a York date with her Neighbours beau, Jason Donovan, in celebration of his “incredible ride” through 35 years in music, theatre, film and television.
His long-awaited sequel to Doin’ Fine 90 will feature Jason’s most beloved songs from his stage shows, nods to his TV times in Neighbours and Strictly Come Dancing and his biggest pop hits. Box office: yorkbarbican.co.uk.
In Focus: York Actors Collective in Beyond Caring, Theatre@41, Monkgate, York, cleaning up from February 6 to 10
Neil Vincent, left, Clare Halliday, Chris Pomfrett, Victoria Delaney and Mick Liversidge in rehearsal for York Actors Collective’s February production of Beyond Caring
YORK Actors Collective follows March 2023’s debut production of Joe Orton’s Entertaining Mr Sloanewith Beyond Caring, a play that highlights the social damage inflicted by zero hours contracts.
Devised by Alexander Zeldin and the original Yard Theatre cast in East London in 2014, later transferring to the National Theatre, the story of agency cleaners at a meat factory will be directed in York by Angie Millard, working with a cast of Victoria Delaney, Clare Halliday, Mick Liversidge, Chris Pomfrett and Neil Vincent.
Over 90 unbroken minutes, Beyond Caring follows two women, Becky and Grace, and one man, Sam (replacing Sarah from past productions in a directorial decision), as they confront the reality of low wage, zero-hour contract employment, never sure of how many hours they have to work, when they will be paid and whether their ‘job’ will continue.
Director Angie Millard says: “This play is remarkable in its structure and power. It totally represents 2024 where many workers are on the breadline, trapped in employment with no guarantee of further work and no way to improve their position.
“What drew me to the play, however, is the message it conveys about people surviving and keeping a sense of humour. I loved the intensity of the piece with its silences, its disappointments and its determination to get pleasure out of the smallest things. It gave me hope.”
Stage managed by Em Peattie, Millard’s production will play nightly at 7.30pm, Tuesday to Friday, followed by Saturday shows at 2.30 and 5.30pm. “Ticket sales for our first production indicated that a Saturday matinee was very popular,” says Angie.
“We thought that having two early Saturday performances would give the audience an opportunity to see the show and still have time to go for a drink or meal afterwards, making a night of it.” Box office: tickets.41monkgate.co.uk.
Chris Pomfrett and Victoria Delaney in rehearsal for Beyond Caring
GO, go, go, Joseph! Audition registration time is here for York Stage’s “dazzling” spring production of Joseph And The Amazing Technicolor Dreamcoat.
“Alongside our main adult casting, we’re also looking for children aged seven to 12, at the time of the audition, to join our cast,” says producer Nik Briggs.
Auditions will be held this month, beginning with initial adult auditions on January 9 from 7pm, followed by children’s ensemble auditions on January 11 from 7pm and recall auditions on January 14 from 1pm, all at Theatre@41, Monkgate. Nik will aim to release the cast list within 48 hours.
Joseph was first written by Andrew Lloyd Webber and Tim Rice at the request of a friend of Andrew’s father, Colet Court School choirmaster Alan Doggett, for the school’s 1968 end-of-term concert.
The full-scale musical will be presented by York Stage at the Grand Opera House, York, from April 12 to 20, at 7.30pm, except Fridays and Sunday; Fridays, 5pm and 8pm, and Sunday matinee, 4pm.
Set in ancient Egypt, this vibrant musical tells the biblical story of Joseph, his coat of many colours, and his prophetic journey as he learns that dreams really can come true. Among the songs are Any Dream Will Do, Go, Go, Go, Joseph, Close Every Door and the Elvis pastiche Song Of The King.
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. All pictures: Jennifer Jones
YORK company Pick Me Up Theatre will stage the northern premiere of Mel Brooks’s musical Young Frankenstein in the New Year after the late postponement of last autumn’s run at the Grand Opera House.
Andrew Isherwood has picked up the directorial reins for this stage conversion of Brooks’s comedy horror movie, produced in York by artistic director and designer Robert Readman.
Rehearsals re-started in early December for the January 31 to February 3 run at the Joseph Rowntree Theatre, York, with the original principal cast still in place and Helen Spencer assisting with production management.
“This show is by the creators of the record-breaking Broadway sensation The Producers,” says Robert. “The comedy genius Mel Brooks has adapted his legendary comedy film from 1974 into a brilliant stage show of Young Frankenstein. I saw the West End production and loved it.
Following the science: James Willstrop’s Dr Frederick Frankenstein in Young Frankenstein
“Every bit as relevant to audience members who will remember the original as it will be to newcomers, the musical has all the of panache of the screen sensation with a little extra theatrical flair added. Young Frankenstein is scientifically proven, monstrously good entertainment.”
In Brooks’s spoof, the grandson of infamous scientist Victor Frankenstein, Dr Frederick Frankenstein (pronounced “Fronk-en-steen”, he insists), has inherited his family’s castle estate in Transylvania.
Aided and hindered by hunchbacked sidekick Igor (pronounced “Eye-gore”), leggy lab assistant Inga (pronounced normally), devilishly sexy Frau Blucher (“Neigh”!) and needy fiancée Elizabeth (“Surprise”!), Frederick finds himself filling the mad scientist shoes of his ancestor.
After initial reluctance, his mission will be to strive to fulfil his grandfather’s legacy by bringing a corpse back to life. “It’s alive!”, he exclaims as his experiment yields a creature to rival his grandfather’s monster. Eventually, and inevitably, this new monster escapes.
Working in tandem with Thomas Meehan, Brooks gleefully reanimates his horror-movie send-up of Mary Shelley’s 1818 novel, Frankenstein, or The Modern Prometheus, with even more jokes, set-pieces and barnstorming parody songs that stick a pitchfork into good taste. Among those songs will be Puttin’ On The Ritz, Please Don’t Touch Me, He Vas My Boyfriend, The Transylvania Mania and There Is Nothing Like A Brain!, among many more Transylvanian smash hits.
Helen Spencer’s Frau Blucher and Jack Hooper’s Igor
Leading Pick Me Up’s cast will be former world squash champion James Willstrop, continuing his transfer from court to stage player as Dr Frankenstein after his Captain Von Trapp in Pick Me Up’s The Sound Of Music at Theatre@41, Monkgate, last Christmas.
Starring opposite him again will be Swedish-born Sanna Jeppsson (Maria in The Sound Of Music), here cast as Inga, while Jack Hooper, Mr Poppy in York Stage’s Nativity! The Musical in November 2022, will be Dr Frankenstein’s puppy dog of an assistant, Igor, “the classic Hammer Horror sidekick with a hump that keeps moving around”.
Helen Spencer (Mother Abbess in The Sound Of Music and Dolly Levi in Joseph Rowntree Theatre Company’s Hello, Dolly!) will play Frau Blucher, “the very stern housekeeper with surprising hidden depths”; Jennie Wogan-Wells, the Narrator in York Musical Theatre Company’s Joseph And The Amazing Technicolor Dreamcoat last May, will be ingenue Elizabeth Benning, Frankenstein’s fiancée from America. “Think Legally Blonde,” says Helen. “Very conscious of her image; very high maintenance, throwing a spanner in the works when she turns up.”
Craig Kirby (Tom Oakley in Pick Me Up’s Goodnight Mr Tom) will be in Monster mode and further roles will go to Tom Riddolls as Sgt Kemp, Sam Steel as Bertram Bartam and Andrew Isherwood, fresh from directing Agatha Christie’s And Then There Were None for Pick Me Up last September, can be spotted as The Hermit as well as directing.
Rivals for Dr Frankenstein’s affections: Jennie Wogan-Wells’s Elizabeth Benning, left, and Sanna Jeppsson’s Inga
A supporting ensemble will play Transylvanians, students and more besides. Choreography is by Ilana Weets and the orchestra will be led by musical maestro Sam Johnson.
Readman had to call off Pick Me Up’s Halloween double bill of Emma Reeves and Lucy Potter’s The Worst Witch and Young Frankenstein at the Grand Opera House due to unforeseen circumstances. It has not been possible to re-mount Rosy Rowley’s production of The Worst Witch, featuring a young cast, but Young Frankenstein will take over the JoRo slot allocated originally to Pick Me Up’s now jettisoned production of Chicago, whose principal casting was in place, but whose rehearsals were yet to start.
Helen Spencer is relishing the resumption of rehearsals for Young Frankenstein. “Ilana had already put us through a huge amount of tap-dancing work: a very delayed return to tap in my case, having not done it since school, and she’s been very patient,” she says. “We’re having such fun again.
“Young Frankenstein is very silly with some brilliant numbers and really vibrant comedy, and we’re very lucky to have such amazing actors. Robert says it’s the best principal cast he could have wished for, such a safe pair of hands and so skilled that it would have been such a shame not to have done it. Thankfully we’re going ahead in January.”
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
NEWSFLASHES…Curtains…The Hollywood Sisters…Joseph Rowntree Theatre Musical Theatre Awards…Musicals In The Multiverse…
Joseph Rowntree Theatre Company cast members for Curtains poke their heads out from beneath the JoRo curtain, which will fom part of the musical mystery whodunit’s set in February, along with the auditorium at large
JOSEPH Rowntree Theatre Company’s next show will be Curtains, the 2007 Broadway musical mystery comedy with a book by Rupert Holmes, lyrics by Fred Ebb, music by John Kander and additional lyrics by Kander and Holmes.
What’s the plot? Boston’s Colonial Theatre is host to the opening night performance of a new musical in 1959. When the leading lady – a fading Hollywood star and diva, who has no right to be one – dies mysteriously on stage, the entire cast and crew are suspects.
Enter a local detective – and musical theatre fan to boot – who tries to save the show, solve the case, and maybe even find love before the show reopens, all without being killed.
Delightful characters, a witty and charming script and glorious tunes await you from February 7 to 10 at 7.30pm nightly plus a 2.30pm Saturday matinee. In the cast will be Steven Jobson, Jennifer Jones, Jennie Wogan-Wells, Rosy Rowley, Jonathan Wells, Paul Blenkiron, Ben Huntley, Jennifer Payne, Anthony Gardner, Chris Gibson and Jamie Benson, among others.
Proceeds from ticket sales on 01904 501935 or at josephrowntreetheatre.co.uk will go to the JoRo.
The Hollywood Sisters: from left, Helen Spencer, Henrietta Linnemann, Rachel Higgs and Cat Foster
AFTER raising £1,000 for York Mind at their sold-out December 1 concert at Theatre@41, Monkgate, York close-harmony quartet The Hollywood Sisters – Helen Spencer, Cat Foster, Rachel Higgs and Henrietta Linnemann – willreturn there for another charity Christmas show with special guests next December. Watch this space for further details.
THE inaugural Joseph Rowntree Theatre Musical Theatre Awards will be launched formally in January. Watch this space.
Set up by the JoRo, the awards will run annually. “We’ve put out requests to all the companies that do full-book musicals in York, not specifically at the Joseph Rowntree Theatre,” says York actress, singer and director Helen Spencer, who is helping to run the awards with co-founder Nick Sephton. “At least seven companies have said they want to be involved.
“The way it works, each company nominates a judge; the judges will get together at the end of the year to decide who the winners are, with such categories as Best Actor, Best Actress, Best Director and Best Choreographer, and then the awards ceremony will be held at the Joseph Rowntree Theatre, Oscars style, in January.”
Explaining the concept behind the awards, Helen says: “The idea is to celebrate the amazing musical theatre scene we have in York and the amazing community we have that puts on these shows. This is a chance to celebrate all that creativity in our city.”
Scarlett Rowley in the first edition of Musicals In The Multverse at the Joseph Rowntree Theatre in June 2023
TO quote CharlesHutchPress, from the June 30 review, “Musicals In The Multiverse turns out to be out of this world. A sequel will surely follow.”
Happy to report that this Joseph Rowntree Theatre Company revue will return to the JoRo in June 2024, dates yet to be confirmed.
Directed by Helen Spencer, the show’s modus operandi is “playful, radical too, and has the potential to be rolled out again,” as CharlesHutchPress wrote of June’s inaugural two-night run.
“Imagine alternative worlds – a multiverse – where musical favourites take on a new life with a change of gender, era, key or musical style, arranged with glee, joy and flourish after flourish by musical director Matthew Peter Clare for his smart band”. More details of the sequel will follow.
