“A chance to take on a role like this feels like heaven,” says Sue Cleaver as she looks forward to playing Mother Superior in Sister Act The Musical in her return to the stage after more than three decades
CORONATION Street star Sue Cleaver will swap the cobbles for the convent, the Rovers Return for rosary beads, when she plays the Mother Superior in Sister Act The Musical on tour.
The British and Irish itinerary will take in the Grand Opera House, York, from May 6 to 11 next spring.
‘‘I’m thrilled to be stepping into the habit and joining the incredible company of Sister Act on tour,” says Sue, 60. “It’s been over 30 years since I’ve been on stage, but theatre has always been my first love. A chance to take on a role like this feels like heaven.”
She is best known forplaying Eileen Grimshaw for 23 years in Corrie, her soap opera role bringing her the Favourite Female Soap Star gong at the TV Now Awards and Best Soap Actress in the TV Quick and TV Choice Awards, along with being nominated twice for Most Popular Actress at the National Television Awards.
Sue Cleaver: Coronation Street stalwart, I’m A Celebrity…Get Me Out Of Here contestant, Loose Women guest panellist and soon-to-be Mother Superior in Sister Act The Musical
Her further television credits include City Central, Dinnerladies, This is Personal: The Hunt For The Yorkshire Ripper, Peak Practice, Casualty, Band Of Gold and A Touch Of Frost. In 2022, she appeared in the 22nd series of I’m A Celebrity…Get Me Out Of Here!, finishing ninth.
Sue will join the Sister Act company in Brighton before playing Manchester, Cork, Belfast, Glasgow,York and Birmingham.
In the cast too will be Landi Oshinowoas Deloris Van Cartier, Alfie Parker as Eddie Souther and Ian Gareth-Jones as Curtis Jackson, alongside Isabel Canning, Julie Stark,Phillip Arran, Wendy-Lee Purdy, Callum Martin, Esme Laudat, Amber Kennedy, Joseph Connor, Ceris Hine, Eloise Runnette and Sheri Lineham. Further casting for the tour will be be announced.
Based on Emile Ardolino’s 1992 American comedy film starring Whoopi Goldberg, Sister Act is a testament to the universal power of friendship, sisterhood and music, built around the story of Deloris Van Cartier, a disco diva whose life takes a surprising turn when she witnesses a murder.
“I’m thrilled to be stepping into the habit and joining the incredible company of Sister Act on tour,” says Sue
Under protective custody, she is hidden in the one place she will not be found: a convent! Disguised as a nun and under the suspicious watch of Cleaver’s Mother Superior, Oshinowo’s Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.
Sister Act The Musical isdirected by Bill Buckhurst and choreographed Alistair David, with set and costume design by Morgan Large, lighting design by Tim Mitchell, sound design by Tom Marshall and musical supervision by Stephen Brooker.
Produced by Jamie Wilson and Whoopi Goldberg, the show features original music by Tony and eight-time Oscar winner Alan Menken (Disney’s Aladdin, Enchanted), lyrics by Glenn Slater and book by Bill and Cheri Steinkellner, with additional book material by Douglas Carter Beane.
Tickets for the York nun run are on sale at atgtickets.com/york.
Six pack; Jake Quickenden, left, Ben Onwukwe, Neil Hurst, Danny Hatchard, Bill Ward and Nicholas Prasad in The Full Monty. Picture: Ellie Kurttz
MARKING the 25th anniversary of Peter Cattaneo’s Sheffield film, The Full Monty is stripped for stage action in a national tour of Simon Beaufoy’s spin-off play that arrives in York tomorrow.
As the group of lads on the scrapheap tries to regain dignity and pride, the story of downs, more downs and ups, defiant humour and heartbreak will resonate anew amid the cost-of-living crisis.
Leaving their hat on at the Grand Opera House this week will be Danny Hatchard’s Gaz, Jake Quickenden’s Guy, Bill Ward’s Gerald, Neil Hurst’s Dave, Ben Onwukwe’s Horse and Nicholas Prasad’s Lomper.
Completing the cast will be Oliver Joseph Brooke; Katy Dean; Laura Matthews; Badapple Theatre favourite Danny Mellor; Adam Porter Smith; Suzanne Procter; Alice Schofield and Leyon Stolz-Hunter. The young actors sharing the role of Nathan on tour will be Cass Dempsey, Theo Hills, Rowan Poulton and Jack Wisniewski.
Directed by Michael Gyngell, The Full Monty tour marks the first co-production and partnership between the Everyman Theatre, Cheltenham and Buxton Opera House.
Choreography and intimacy direction is by Ian West; set and costume design by Jasmine Swan; lighting design by Andrew Exeter and sound design by Chris Whybrow.
Making plans: A scene from The Full Monty as the lads audition Horse, right, for their strip act. Picture: Ellie Kurttz
Here, television stars Danny Hatchard (from EastEnders and Not Going Out), Jake Quickenden (Dancing On Ice winner and I’m A Celebrity…Get Me Out Of Here! runner up) and Bill Ward (from Emmerdale and Coronation Street) discuss the joy of taking to the stage in this autumn’s 25th anniversary touring production.
The Full Monty is experiencing a resurgence, first in the Disney+ TV series and now this tour show. Why has stood it stood the test of time?
Danny: “Is there a more iconic working-class comedy than The Full Monty? I’d argue not. Especially one that covers so many incredibly important topics that are still very relevant today. Fathers’ rights, depression, suicide, impotence, homosexuality, unemployment, body image.
“Tackling important subjects like these whilst adding a sprinkle of nostalgia and a dash of humour takes the audience on a two -hour emotional rollercoaster filled with tears and belly laughter. This show is not only a cocktail of excellence, but also hugely relatable to both men and women.”
Jake: “It’s a story for everyone and it has everything – love, humour, sensitive subjects, the lot. So many people can relate to the characters. They draw on relationships that affect everyone: ex-wife; ex-wife’s new husband; kid that lives with mum; lads; being skint, the list goes on and on.
“It means that’s everyone who watches it can feel like it’s speaking to them, and then of course, there is the brilliant humour, the dancing and everything that goes with it!”
Bill: “Because at its core it revolves around a number of universal, timeless themes: male brotherhood, love, overcoming loss and adversity, and ingenious solutions to universal recognisable problems. This is essentially about six men who’ve lost not only their jobs, but their sense of identity and their dignity too, and what they’re prepared to do to get them back.”
Hitting their stride: Bill Ward’s Gerald, left, Danny Hatchard’s Gaz, Neil Hurst’s Dave, Nicholas Prasad’s Lomper and understudy Leyon Stolz Hunter’s Horse invest their all in the strip routine finale from The Full Monty. Picture: Ellie Kurttz
The Full Monty is a comedy but one that explores tough issues around male body image and mental health too. In which ways are these themes relevant today?
Danny: “They’re almost indistinguishable. If anything, times are harder now on men (and women) than they ever have been, especially regarding body image and mental health. Social media being the main driving force of that. Every day people post their idea of ‘perfection’ all over the internet, and naturally we compare.
“I’d say The Full Monty is just as important now as it was 25 years ago. There used to be more of a sense of community and care for one another, and I feel social media is pushing us further and further away from our natural way of communicating. The Full Monty will make you feel part of a community again. Who doesn’t want to experience that?”
Jake: A lot of people ask this [question] and do you know, I think The Full Monty led the way with a lot of these conversations. It was ’97 when then film came out, men didn’t really share their issues with each other, and it was still pretty taboo to be open about mental health and being gay.
“This story reminds us of lots of things that are more accepted today but still very important: talk to people if you are feeling down – there is always another way out other than suicide.
“Being yourself in the world is nothing to be ashamed of. Your body is the only one you have; love it no matter how it looks; everyone likes something different. Just because you are old doesn’t mean you can’t do something…there are just so many messages in here for everyone.”
Bill: “There are so many things in this play that resonate today. Simon Beaufoy, the writer, came to see us during rehearsals, and he was very clear it wasn’t a comedy at all. ‘A play with jokes’, is how he described it.
“It is of course very funny indeed, but the comedy actually comes from the very real tragedy that all these characters are facing in their lives…different circumstances, different starting points, but real grief and tragedy nevertheless.”
Jake Quickenden now: Playing Guy in The Full Monty, on tour at the Grand Opera House, York from tomorrow. Picture: Ellie Kurttz
In keeping with the brotherhood between the men in the play, how well have you bonded with your fellow cast members?
Danny: “The casting team have done an incredible job. I love and respect every member of this cast very much. They say time flies when you’re having fun. Well, two hours feels like 20 minutes on stage with this lot. We’re all just a bunch of good mates having a wonderful time. Every scene feels effortless, and I trust them all implicitly.”
Jake: “I don’t want to sound clichéd but literally everyone is so close. Usually, you get little cliques grow but we genuinely all get on so well, and because a lot of the scenes include all of us, we just have a laugh and get closer and closer every day.
“Then there are all the memories we’re making as we tour the UK and all those different theatres, hotels, lunch breaks end up building to create this huge happy family. Plus, we are all hilarious, which helps!”
Bill: “This is a wonderful cast and crew. Hugely talented and lovely too. We’re a very happy band of sisters and brothers.”
What do you hope this week’s audiences will take away from seeing this production?
Danny: “Pure unadulterated happiness.”
Jake: “The main thing is: be yourself, never give up, never listen to what anyone thinks and just do you! The story is sad at times, but every character overcomes their worries in some way and ends with success! It’s a feel-good show, which keeps people laughing even when they are crying.”
Bill: “This is a very beautiful, heartwarming and at times very moving story. It’s also very, very funny indeed and an absolute riot at the end. A properly banging night out at the theatre.”
Jake Quickenden then: Striking a pose in hot pants in his role as cowboy Willard Hewitt in Footloose The Musical at York Theatre Royal last year
Did you know?
JAKE Quickenden last appeared on a York stage as hunky cowboy Willard Hewitt, stripping to his golden pants in Footloose The Musical at the Theatre Royal in April 2022.
BILL Ward’s last appearance on a York stage came during the Theatre Royal’s Haunted Season, cast opposite fellow Coronation Street star Wendi Peters in Philip Meeks’s The Legend Of Sleepy Hollow in October 2021. He played not only village elder statesman Baltus Van Tassel, but also a naughty 90-year-old female cook, a hard-drinking coach driver and a crazy, delusional Dutch captain.
The Full Monty, Grand Opera House, York, Tuesday to Saturday, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.Also: Alhambra Theatre, Bradford, November 14 to 18, 7.30pm plus 2pm Wednesday and 2.30pm Saturday matinees; 01274 432000 or bradford-theatres.co.uk.
The men from Full Monty say yes to supporting York mental health charity Menfulness in fund-raising drive
The Full Monty cast with representatives from the York charity Menfulness in the foyer bar at the Grand Opera House, York
THE Full Monty cast has met up with the men’s mental health charity, Menfulness, ahead of the first night of this week’s run in York.
The Grand Opera House is supporting the York charity by collecting donations at bars and kiosks card payment points throughout the week to provide funds for urgent counselling for men at crisis point.
Menfulness is an inclusive social wellbeing group that supports and promotes improvements in men’s lives through activities and counselling. The group is “led by five blokes from York who, like most of us, have struggled with mental health and the pressures of life”.
“Our goal is to bring men together to socialise, exercise, enjoy themselves, talk and let off steam in a non-judging, friendly and supportive environment,” says the charity. “These are all essential for wellbeing and health, both physical and mental.
“Menfulness is not only changing lives, it’s saving lives. And we aim to be the leaders of a cultural shift in which men can talk, where we don’t have to man up, where it’s OK not to be OK, and where support is plentiful, accessible and affordable.”
To find out more about the charity, head to: menfulness.org
Squashbuckling: World champ James Willstrop swaps from court to stage to perform for Pick Me Up Theatre
PICK Me Up Theatre artistic director Robert Readman will direct the northern premiere of Mel Brooks’s stage conversion of Young Frankenstein at the Grand Opera House, York, over Hallowe’en.
The York company’s rehearsals are progressing well for the all-singing, all-dancing horror-movie spoof musical that will run from October 31 to November 4.
“From the creators of the record-breaking Broadway sensation The Producers comes this monster new musical comedy,” says Robert. “The comedy genius, Mel Brooks, has adapted his legendarily funny 1974 film into a brilliant stage creation of Young Frankenstein. I saw the West End production and loved it.”
Grandson of the infamous Victor Frankenstein, Dr Frederick Frankenstein (pronounced “Fronk-en-steen”) inherits his family’s castle estate in Transylvania.
Sanna Jeppsson: Playing lab assistant Inga in Young Frankenstein
Aided yet hindered by hunchbacked sidekick Igor (pronounced “Eye-gore”), leggy lab assistant Inga (pronounced normally), devilishly sexy Frau Blucher (Neigh!) and needy fianceeElizabeth, Frederick finds himself filling the mad scientist shoes of his ancestors, striving 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. “Hilarity abounds,” promises Robert, in Young Frankenstein’s combination of madcap success and monstrous consequences.
Working in tandem with Thomas Meehan, Brooks gleefully reanimates his horror-movie send-up of Mary Shelley’s novel 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 Transylvanian Mania, There Is Nothing Like A Brain! and many more Transylvanian smash hits.
Leading Readman’s cast will be erstwhile world squash champion James Willstrop, continuing his transfer from court to stage after playing Captain Von Trapp in Pick Me Up’s The Sound Of Music last Christmas.
Helen Spencer: From Hello, Dolly! to hello, Frau Blucher
Starring opposite him again will be Swedish-born Sanna Jeppsson (Maria in The Sound Of Music), here cast as Inga. Jack Hooper, Mr Poppy in last year’s Nativity!, will be Igor; Helen Spencer, seen latterly as the Mother Abbess and Dolly Levi in Hello, Dolly!, will play Frau Blucher; Jennie Wogan-Wells, the Narrator in Joseph And The Amazing Technicolor Dreamcoat, will be Elizabeth Benning.
Craig Kirby, Mr Tom in 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, as The Hermit. A supporting ensemble will play Transylvanians, students and more besides.
“Every bit as relevant to audience members who will remember the original as it will be to newcomers, Young Frankenstein has all the of panache of the screen sensation with a little extra theatrical flair added,” says Robert. “Young Frankenstein is scientifically proven, monstrously good entertainment.”
Pick Me Up Theatre in Young Frankenstein, Grand Opera House, York, October 31 to November 4, 7.30pm plus 2.30pm Thursday and Saturday matinees. Box office: atgtickets.com/york.
And then there were ten: standing, Mark Simmonds, left, Martyn Hunter, Mike Hickman, Andrew Roberts, Ian Giles, Rory Mulvihill and Andrew Isherwood; seated, Jeanette Hunter, left, Florence Poskitt and Jessica Murray, in Pick Me Up Theatre’s And Then There Were None
NOT to be mistaken for Lucy Bailey’s “21st century reinvention” of Agatha Christie’s best-selling crime novel, bound for the Grand Opera House in November, this is the first of three Pick Me Up productions, made in York, one per month, this autumn.
For the record, Pick Me Up producer Robert Readman secured the rights for staging And Then There Were None before the Fiery Angel, ROYO and Royal & Derngate co-production emerged over the horizon.
He had put in place an autumn season to show off all the talents at Pick Me Up’s disposal: experienced hands for the “straight play”, Christie’s posh house party thriller; blossoming youths in The Worst Witch in late-October, and musical comedy exponents in Mel Brooks’s Young Frankenstein the following week.
Readman is a Christie aficionado – he could pick her as his specialist subject for Mastermind – but decided to spread the directorial workload for the season ahead, having already cast And Then There Were None before the handing the reins to cast member Andrew Isherwood to steer a film noir-style nail biter.
Law and order: Rory Mulvihill’s judge, Sir Lawrence Wargrave, left, and Andrew Isherwood’s Detective William Henry Blore
Readman will direct Young Frankenstein, preceded by Rosy Rowley overseeing The Worst Witch, but his creativity is at play in And Then There Were None too in his design for a Christie murder mystery set in 1939 with Europe on the brink of war.
Christie had talked of a bleak house that should feel like it had long been empty, furnished but stark and unwelcoming. Readman, with his collector’s eye for acquiring props, furniture, costumes and more besides at his Chicken Sheds warehouse in Bubwith, delivers the period look to the T.
Furniture from a friend’s house move, tick. A redundant fireplace from another friend’s refurb, tick. The glass-framed doors from York Theatre Royal’s production of Private Lives, tick. The ten little soldier boy models, from Readman’s research, tick. An Ercol chair from the Readman family stock, tick.
He assembles them on an end-on/side on set that dominates the Theatre@41 black box, deliberately so to give Isherwood’s production an oppressive, claustrophobic air. There will be no escape from Soldier Island, off the Devon Coast, for the eight house guests, butler and his housekeeper wife, assembled there at the intriguing invitation of a certain Mr and Mrs U N Owen (whose identity and whereabouts shall indeed remain unknown).
Passing judgement: Jessica Murray’s Emily Brent vents her spleen at Florence Poskitt’s Vera Claythorne in And Then There Were None
One by one, they are introduced to the audience, first the husband-and-wife staff Rogers and Mrs Rogers, played by husband-and-wife Martyn and Jeanette Hunter, Martyn delightfully understated, Jeanette gone, spoiler alert, all too soon.
Not before Rogers follows instructions to play a sternly delivered recording that declares all of them to have a wicked past and a secret destined to seal their fate, each being marked for murder.
As the weather turns thunderous, cutting the island rock off from the mainland, let the bloodbath begin, the toy soldiers disappearing one by one with each murder, in accordance with the lines of a sinister nursery rhyme on display above the mantelpiece.
Andrew Roberts has a cameo, West Country accent and all as Fred Narracott, delivering the guests to the island, before re-emerging as spiffing, fast-living, flippant Anthony Marston. Florence Poskitt’s outwardly level-headed but on-edge Vera Claythorne is welcoming guests on the Owens’ behalf; Mike Hickman’s devil-may-care Captain Philip Lombard likes to be seen keeping spirits up and his spirit intake up even higher.
What the butler saw or did he? Martyn Hunter’s Rogers and Jeanette Hunter’s Mrs Rogersin And Then There Were None
Andrew Isherwood soon sheds the dodgy accent of his cover as a wealthy South African, Davis, to be revealed as retired Detective William Henry Blore.
Ian Giles’s old boy, General MacKenzie, appears to be losing his marbles; Jessica Murray’s disapproving religious zealot Emily Brent knits feverishly, and Mark Simmonds’ Dr Armstrong is as earnest as brown bread.
Rory Mulvihill’s Sir Lawrence Wargrave is wont to dominate, a judge by profession, with a permanent black-cap countenance and a voice that commands the stage and those around him alike.
Isherwood’s direction skilfully steers a path through dark humour, heightened tensions and chilling revelations, capturing Christie’s scathing dismissal of so many restrictive institutions, and his cast applies both light and increasing shade.
Ian Giles’s General MacKenzie holds forth in And Then There Were None as Florence Poskitt’s Vera Claythone looks on quizzically
Hickman’s mysterious Lombard is particularly good at keeping up a front; Poskitt may be associated with wide-eyed, squishy faced comedy but here delves into disturbing inner turmoil, a revelation that affirms she should not be pigeonholed.
Mulvihill, latterly flourishing in diverse roles beyond his musical theatre leading-man prowess, is in terrific form once more, his grave Wargrave judging everyone to damnation.
Will Nicholson and Adam Coggin’s lighting blends in just right with each scene’s tone and Readman’s scenery in Isherwood’s engrossing production that benefits from one other Readman decision: replacing the play’s happier ending with the novel’s original darker denouement, with permission from the Christie estate. Right again, Robert.
Performances: 7.30pm nightly, plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
Pick Me Up Theatre’s poster artwork for And Then There Were None
Mark Simmonds, left, Martyn Hunter and Ian Giles rehearsing Pick Me Up Theatre’s And Then There Were None at Theatre@41, Monkgate, York
AND then there were ten as Charles Hutchinson picks his cultural highlights, from Christie mystery to prints aplenty, Wax words to science explosions, extinction fears to singers’ farewells.
Thriller of the week: Pick Me Up Theatre in Agatha Christie’s And Then There Were None, Theatre@41, Monkgate, York, running until September 30, 7.30pm (except tomorrow and Monday); 2.30pm, today, tomorrow and next Saturday
TEN strangers are summoned to a remote island. All that the guests have in common is a wicked past they are unwilling to reveal and a secret that will seal their fate. For each has been marked for murder.
As the weather turns and the group is cut off from the mainland, the bloodbath begins and one by one they are brutally murdered in accordance with the lines of a sinister nursery rhyme in Agatha Christie’s murder mystery, directed for York company Pick Me Up Theatre by Andrew Isherwood, who will play retired Inspector William Blore too. Box office: tickets.41monkgate.co.uk.
Michelle Hughes’s Kilburn White Horse, on show at York Printmakers Autumn Fair
Print deadline: York Printmakers Autumn Fair, York Cemetery Chapel and Harriet Room, today and tomorrow, 10am to 5pm
IN its sixth year, the York Printmakers Autumn Fair features work by 26 members exhibiting and selling hand-printed original prints, including Russell Hughes, Rachel Holborow, Michelle Hughes, Harriette Rymer and Jo Rodwell.
On display will be a variety of printmaking techniques, such as linocut, collagraphs, woodcut, screen printing, stencilling and etching. Artists will be on hand to discuss their working methods and to show the blocks, plates and tools they use.
Pulling a face: Comedian Phil Wang returns to York on his Wang In There, Baby! tour
Seriously silly: Phil Wang, Wang In There, Baby!, York Barbican, tonight, 7.30pm
AFTER his Netflix special, David Letterman appearance, role in Life & Beth with Amy Schumer and debut book Sidesplitter, PhilWang discusses race, family, nipples and everything else going on in his Philly little life in his latest stand-up show, Wang In There, Baby! Box office: yorkbarbican.co.uk.
Cinder Well: Songs of mystery at The Band Room, Low Mill. Picture: Georgia Zeavin
Gig of the week outside York: Cinder Well, The Band Room, Low Mill, Farndale, North York Moors, tonight, 7.30pm
CINDER Well, multi-instrumentalist Amelia Baker’s experimental American roots project, showcases her mysterious April 2023 album, Cadence.
The title refers to the cycles of our turbulent lives, to the uncertain tides that push us forward and back, as Cadence drifts between two far-flung seas: the hazy California coast where Baker grew up and the wind-torn swells of County Clare, western Ireland, that she has come to love. Box office: thebandroom.co.uk.
Ministry of Science Live: Lighting the flame for experiments in Science Saved The World at Grand Opera House, York
Explosive children’s show of the week: Ministry of Science Live in Science Saved The World, Grand Opera House, York, tomorrow, 12.30pm and 4pm
MINISTRY of Science take an anarchic approach to science communication, looking at the scientists, engineers and inventors who have shaped the modern world, while proving that each and every one of us has the ability to change our world for the better.
Expect 20ft liquid nitrogen clouds, exploding oxygen and hydrogen balloons, fire tornados, hydrogen bottle rockets, ignitedmethaneand even a self-built Hovercraft. Box office: atgtickets.com/york.
Confronting ecological disaster: Stephanie Hutchinson in A Play For The Living In A Time Of Extinction at York Theatre Royal. Picture: James Drury
Play of the week: A Play For The Living In A Time Of Extinction, York Theatre Royal, Wednesday to Saturday, 7.30pm and 2.30pm Saturday matinee
DIRECTED for York Theatre Royal by Mingyu Lin, Miranda Rose Hall’s play heads out on a life-changing journey to confront the urgent ecological disaster unfolding around us. Part ritual, part battle cry, this “fiercely feminist off-grid” one-woman show offers a moving evaluation of what it means to be human in an era of man-made extinction.
Leeds actress Stephanie Hutchinson will be joined at each performance by eight cyclists, who will ride specially adapted bicycles to power the electricity required for lighting and sound. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Ruby Wax: A search to find meaning on a series of life-changing journeys
Waxing lyrical: Ruby Wax: I’m Not As Well As I Thought, York Alive festival, Grand Opera House, York, Thursday, 7.30pm
IN 2022, American-British actress, comedian, writer, television personality and mental health campaigner Ruby Wax, 70, began a search to find meaning, booking a series of potentially life-changing journeys. Even greater change marked her inner journey, as charted in her book I’m Not As Well As I Thought and now in her “rawest, darkest, funniest show yet”. Box office: atgtickets.com/york.
The Manfreds: Last tour together for singers Paul Jones and Mike D’Abo on 60th anniversary itinerary
Nostalgia of the week…for the last time: Maximum Rhythm’n’Blues with The Manfreds, Grand Opera House, York, Friday
JOIN legendary pioneers of Sixties’ British rhythm & blues The Manfreds as they celebrate 60 years in the business. Vocalists Paul Jones, 81, and Mike D’Abo, 79, are touring together for the final time, alongside long-standing members Tom McGuinness, Rob Townsend, Marcus Cliffe and Simon Currie, to rejoice in Do Wah Diddy Diddy, If You Gotta Go, Go Now, Pretty Flamingo, My Name Is Jack and Mighty Quinn. Box office: atgtickets.com/york.
Daniel Martinez Flamenco Company: Three performances in one day at the NCEM
Dance at the treble: Daniel Martinez Flamenco Company, Art Of Believing Special Edition, National Centre for Early Music, York, October 1, 3.30pm, 6pm and 8.30pm
LAST at the NCEM in November 2022, the Daniel Martinez Flamenco Company returns to York for three performances in one day of Art Of Believing, a 90-minute show suffused with emotion, passion and grit.
Works from Martinez’s Herald Angel Award-winning production Art Of Believing will be complemented by previously unseen pieces performed by musicians, singers and dancer Gabriela Pouso. Box office: 01904 658338 or ncem.co.uk.
Kenny Thomas: Rediscovered songs and big hits on the Him Tour 2024 at Grand Opera House, York
Looking ahead: Kenny Thomas, Him 2024 Tour, Grand Opera House, York, May 19 2024
ISLINGTON soul singer-songwriter Kenny Thomas will front his all-star band in York on his nine-leg British tour next spring, showcasing songs from his “lost” third album, the never-commercially-released Him, alongside his greatest hits.
“Over three decades on from when I first started out, this tour demonstrates that soul music is here to stay,” says Thomas, 55, whose Best Of compilation will be out on November 3. Box office: atgtickets.com/york.
In Focus: Stephanie Hutchinson on starring in a one-woman show for the first time in A Play For The Living In A Time Of Extinction
Stephanie Hutchinson: Starring in one-woman, whole-world drama A Play For The Living In A Time Of Extinction at York Theatre Royal
STEPHANIE Hutchinson had never imagined she would do a one-woman show.
Come Wednesday, however, the Leeds actress will be giving her solo turn for five performances in “a bold experiment in eco theatre-making” and a “fiercely feminist off-grid production” at York Theatre Royal.
The title, A Play For The Living In A Time Of Extinction, is an indication that this Headlong, London Barbican and York Theatre Royal co-production will be unlike anything you have seen before.
Hands up anyone who has witnessed a stage production powered by bicycles. Only The HandleBards on their open-air Shakespeare travels come to mind.
Strictly speaking, Stephanie will not be on her own. Eight cyclists per performance will be pedalling away to power lights and microphones, while the York Theatre Royal Choir will be participating too.
After a Barbican run, Miranda Rose Hall’s play is on a zero-travel tour using an eco-friendly blueprint. The rest of the production, from local actor to cyclists, is provided by the theatre hosting the show, culminating in York next week.
“I don’t want the audience to feel they’re just being talked at,” says Stephanie. Picture: James Drury
Stephanie sees it as a co-operative production, not only a one-woman show. “I’ve not seen A Play For The Living but heard a lot about it,” she says.
Her character, a dramaturg called Naomi, pressed into impromptu service as an actress, is fearful of death but is determined to confront fears about an impending ecological disaster.
“What caught my eye was just how sustainable the production is,” she says. “Naomi is described as a woman in her 20s who is scared of dying. She’s already had to go on stage and act in front of people. She’s confronted that fear. Now she’s facing her fear of dying and wants to have a conversation about it.
“I like how interactive it is. It’s not just me, not just a verbal splurge. She wants to know what others are thinking. I don’t want the audience to feel they’re just being talked at.”
Despite the subject, A Play For The Living is not all gloom and doom, emphasies Stephanie. There are funny moments. Gloomy and funny is her hope for the experience.
Stephanie Hutchinson in Badapple Theatre’s production of Elephant Rock, part of the TakeOver festival at York Theatre Royal in May last year
“I don’t think it’s just a message play,” she says. “Naomi’s having a conversation, making the audience aware of what she’s found during her research. It’s also like an ode to the Earth as well because the Earth has given us so much but in return we’re not treating it back very well. It’s almost like she’s blessing the Earth and thanking it. But we do need to be careful – if we keep going the way we’re going, future generations might not have it.”
Stephanie was last seen on York Theatre Royal’s main stage in Green Hammerton company Badapple Theatre’s Elephant Rock during the TakeOver season in May 2022. Her other credits include Shake The City, based around the clothworkers’ strike in Leeds in 1970, staged at both Leeds Playhouse and Jermyn Street Theatre in London.
All this is something of a surprise for Stephanie who did not nurse acting ambitions from a young age. “I’ll be honest, I didn’t really know what I wanted to do when I was a teenager. Then when I was 15, 16, I was going to theatre classes where you’d do singing, dancing, acting and I was like, ‘I quite actually like this – can I do it at uni or go to a drama school?’.
“So, at 18, I went to Salford University and graduated with a BA (Hons) Performing Arts. I’ve managed to carry it on, although I’m not quite sure how I’ve done that. My ambition is just to keep on going because I can’t really see myself doing anything else. Even in my day job, I do role play and that’s acting on the side. Acting is getting paid for doing what I love.
“I thought I would never do a one-person show. I am feeling very happy where I am at the moment. Very happy.”
And then there was one: Pick Me Up Theatre’s poster for their first bite of the And Then There Were None cherry in York
NO productions of Agatha Christie’s house party thriller And Then There Were None in York for ages, but suddenly, like buses…and then there were two.
Andrew Isherwood’s film noir-style nail-biter for York company Pick Me Up Theatre opens at Theatre@41, Monkgate, on Friday, to be followed by Lucy Bailey’s 21st reinvention on tour at the Grand Opera House from November 21 to 25.
In Christie’s murder mystery, Europe is teetering on the brink of war when eight strangers receive an intriguing invitation to a posh house party on Soldier Island, an isolated rock near the Devon coast.
These house guests are to be met by the butler and his housekeeper wife…And Then There Were Ten, but not for long.
Andrew Isherwood: Looking judgemental in Pick Me Up Theate’s social media post announcing his role as retired Inspector William Blore in And Then There Were None
All have a wicked past they are unwilling to reveal and a secret destined to seal their fate. For each has been marked for murder. As the weather turns, the bloodbath begins and one by one they are brutally murdered in accordance with the lines of a sinister nursery rhyme.
More on Bailey’s touring show for Fiery Angel, ROYO and the Royal & Derngate, Northampton, in November, but first the focus falls on Andrew Isherwood picking up the directorial reins for Pick Me Up for the first time, as well as playing one of the suspects already cast by producer Robert Readman, who had acquired the rights for Christie’s play ahead of the touring production incidentally.
“It’s a fantastic play,” says Andrew. “Having acted for more than ten years now, I’ve been wanting to spread my wings a little, and when this play came up, I jumped at the chance to give it a shot with a fairly sizeable cast for a piece that’s very dialogue heavy.
“Bringing together some of the best actors we have in York, it was too good an opportunity to miss. For the audience, can I find a tone and a pace to the show that keeps people engaged and involved from beginning to end?”
Jess Murray’s Emily Brent, Rory Mulvihill’s Sir Lawrence Wargrave, Martyn Hunter’s butler Rogers, Mark Simmonds’s Dr Edward Armstrong and Flo Poskitt’s Vera Claythorne, seated, rehearsing at Theatre@41, Monkgate, York, for And Then There Were None
To do so, combining directing and acting has been challenging. “That’s for sure,” says Andrew. “To switch between performance and honing the performances of the cast, working on the fine details. I’ve focused a lot on developing as a director while maintaining committed to my role. It’s a fine balance.”
He will play retired Inspector William Henry Blore, who should know his way around a crime scene and be a dependable chap in a crisis, but when the killing starts, is this former copper the bookies’ best bet for whodunit?
“I really enjoy the duality and complexity of Blore’s character,” says Andrew. “Having the opportunity to play a character who presents himself as one thing and reveals himself to be another. To play a character within a character as it were. It’s something I’ve not done before, which is always attractive.”
Christie’s abiding popularity, on stage, screen and page, is no mystery to Andrew. “She’s a British icon; her name has instant brand recognition as it were,” he says. “Even if you’ve never even read or seen an Agatha Christie, you know she’s synonymous with intrigue, mystery and drama. I think the success of Poirot, in particular, has permeated our culture in such a way that associates itself with class and quality.”
Why are the British so fascinated by murder, mystery and death, Andrew? “It’s irresistible. The search for answers. The need to know. The intrigue, The darkness of man’s soul. The exploration of the darker side that’s quite seductive. It’s important to have some mystery to life,” he says.
Joining Isherwood’s Blore in Pick Me Up’s cast will be Flo Poskitt’s Vera Claythorne; Mike Hickman’s Philip Lombard; Rory Mulvihill’s Sir Lawrence Wargrave; husband and wife Martyn and Jeannette Hunter’s butler Rogers and housekeeper wife Mrs Rogers; Andrew Roberts’s Anthony Marston; Ian Giles’s General John MacKenzie; Mark Simmonds’s Dr Edward Armstrong and Jess Murray’s Emily Brent.
Such familiar faces from the York stage scene recalls the old days of repertory theatre, enjoying seeing regulars in new roles. “I’ve certainly been very lucky and blessed to have such a fantastic cast. A lot of known and returning faces gives the sense that this is a company of experienced hands,” says Andrew.
“Directing this production has been such a wonderful experience because I know the roles will be brought so brilliantly to life. It’s certainly a good feeling to know that each scene is in the hands of compelling and experienced actors, and I’ve really enjoyed working with each of them, developing, finding new folds and creases to their characters.”
From one to ten: Pick Me Up Theatre cast members Flo Poskitt, top left, Rory Mulvihill, Mike Hickman, Andrew Isherwood, Martyn Hunter, Jeanette Hunter, Ian Giles, Mark Simmonds, Andrew Roberts and Jess Murray
Producer Readman’s set design will play its part in the thrills and spills. “Robert has designed a fabulous set using levels and lighting to create mood and atmosphere. The design is created to reflect the shape of the island itself, and the lighting will be very evocative and in the style of film noir to fully immerse our audience in this world,” says Andrew.
In this autumn of And There Were None at the double, he is “glad we’re getting in there first”. “It certainly becomes a part of professional pride that if you come to see our version, we’ll be every bit as good as you would expect from the Opera House show. I’ve felt for a long time that the line between what you would consider an ‘amateur’ show versus a ‘professional’ show is a fine one,” says Andrew.
“Definitely in the shows I’ve been involved with. From Robert Readman’s set to the costumes and the quality of the performances, it’s every bit as good as you would see in London. So come join us on the island!”
Pick Me Up Theatre in Agatha Christie’s And Then There None, Theatre@41, Monkgate, York, September 22 to 30. Performances: 7.30pm, September 22, 23, 26 to 30; 2.30pm, September 23, 24 and 30. Box office: tickets.41monkgate.co.uk.
Copyright of The Press, York
And then there were two
The artwork for Lucy Bailey’s production of And Then There Were None, on tour at the Grand Opera House, York, in November
IN Lucy Bailey’s “bold and exciting” 21st reinvention of Agatha Christie’s And Then There Were None, ten strangers are lured to a solitary mansion off the coast of Devon. When a terrible storm cuts them off from the mainland, and with their hosts mysteriously absent, the true reason for their presence on the island becomes horribly clear, as secrets from their past come back to haunt each and every one of them.
Confirmed in the cast for the York-bound Fiery Angel, ROYO and Royal & Derngate, Northampton touring production are Bob Barrett as Dr Edward Armstrong; Joseph Beattie as Philip Lombard; Oliver Clayton as Anthony Marston; Jeffery Kissoon as General John MacKenzie and Andrew Lancel as retired Inspector William Blore.
So too are Nicola May-Taylor as Jane Pinchbeck; Katy Stephens as Emily Brent; Lucy Tregear as Georgina Rogers; Sophie Walter as Vera Claythorne; Matt Weyland as Narracott/Understudy and David Yelland as Judge Wargrave. Louise McNulty will be on understudy duty.
And then there were twelve: Lucy Bailey’s cast for And Then There Were None
Lucy Bailey has previous form for Christie productions, having directed Witness For The Prosecution, now in its sixth year, as well as Frederick Knott’s Dial M For Murder, Baby Doll, Titus Andronicus and The Best Exotic Marigold Hotel.
She is joined in the production team by UK Theatre Award-winning set and costume designer Mike Britton, lighting designer Chris Davey, sound designer and composer Elizabeth Purnell, fight director Renny Krupinski and movement director by Ayse Tashkiran.
Fiery Angel, ROYO and Royal & Derngate, Northampton, present And Then There Were None at Grand Opera House, York, November 21 to 25, 7.30pm plus 2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york. Did you know?
AND Then There Were None is not only Agatha Christie’s most read work, but also the best-selling crime novel of all time, selling more than 100 million copies worldwide since its first publication in 1939.
Grace Lancaster at the piano in her role as Carole King in York Stage’s York premiere of Beautiful. Picture: Charlie Kirkpatrick
BEAUTIFUL is “filled with the songs you remember – and a story you’ll never forget”, says Nik Briggs, director and producer of York Stage’s York premiere of The Carole King Musical.
Put another way, there are songs you know but may not know they are by Brooklyn-born Carole, whose story stayed in the background, much like Carole herself did until moving centre stage with Tapestry, before Douglas McGrath wrote the book for the musical. Tony and Grammy awards have ensued.
Leeds Grand Theatre played host to the first British tour in June 2018, and now Briggs delivers a sparkling York production every note as enjoyable, as lushly musical and, typical of Briggs, visually impactful too, with a wonderful lead performance by Grace Lancaster, a York-raised triple threat of singer, musician and actress.
McGrath’s book does not reveal the full tapestry – King’s flop 1970 debut album, Writer, is as absent as James Taylor – but it wholly captures the spirit, courage and resilience of her constant creativity that blossomed as a teenager, told here with warmth, wit and charm, pathos too, and bursts of frank Jewish humour in her exchanges with her wise, if cautious mother, Genie Klein (Sandy Nicholson, perfect casting), a Manhattan teacher who would prefer her daughter to follow that career path too.
Teenagers in love: Grace Lancaster’s Carole King and Frankie Bounds’ Gerry Goffin in Beautiful. Picture: Charlie Kirkpatrick
Bookended by Carole’s celebrated performance at Carnegie Hall, with Lancaster at the grand piano, Beautiful’s storyline opens with ordinary schoolgirl Carole Klein writing incessantly at 16, landing her first songwriting deal with Donnie Kirshner (an urbane Bryan Bounds) as Carole King.
Utilising cast members for scenery moves, Beautiful cracks on in a whirl, much like Carole’s songwriting success. She meets lyricist and putative playwright Gerry Goffin (Frankie Bounds), her fellow teen, and is pregnant and married at 17. What a productive partnership!
The hits keep piling up from their Kirshner-administered songwriting factory for the likes of The Drifters (Faisal Khodabukus, Christopher Knight, Munya Mswaka and Baz Zakeri) and The Shirelles( Cyanne Unamba Oparah, Maria Ghurbal, Nicole Kilama and Lauren Charlton-Matthews, who also plays Janelle Woods). Delightful performances all round.
Even their babysitter (Kilama’s Little Eva) hits the chart peak with The Loco-Motion – and everyone’s doing The Loco-Motion in black and white in the show’s best ensemble choreography by Danielle Mullan-Hill.
Frankie Bounds’ Gerry Goffin, centre, performing Pleasant Valley Sunday in an ensemble number in Beautiful. Picture: Charlie Kirkpatrick
Unlike too many jukebox musicals, McGrath’s script does more than link the songs, telling the story behind them with breezy dialogue, yet giving due space to life-changing events, as the story moves between recording studio, record company offices, the home and the concert hall.
If Beautiful underplays the ugly side of the story, the restless, unfaithful Goffin’s straying from the happy-at-home Carole, Frankie Bounds (in his Marlon Brando white vest) seeks to invest the role with more darkness of the soul. He is no pantomime villain, even though one stage entry is greeted with a boo from one voice in the dress circle at Saturday’s matinee.
For contrast with the brooding Bounds’s increasingly troubled Goffin and the downward spiral of the Goffin-King marriage, the friendly rivalry at Kirshner’s 1650 Broadway building with fellow songwriting partners Barry Mann (Alex Hogg) and Cynthia Weil (Harriet Yorke) is depicted with lightness and plenty of laughter, as they progress, step by slower-than-Gerry and-Carole step to a number one hit (You’ve Lost That Lovin’ Feeling) and wedding bells. Hogg’s somewhat hangdog, anxious Mann is ever humorous; Yorke’s Weil more spiky.
Canny operator: Bryan Bounds as recording company boss Donny Kirshner. Picture: Charlie Kirkpatrick
Throughout, Lancaster conquers York. What a talent! Leeds Conservatoire tutor by day, New York Brass Band saxophonist and clarinet player by night, she has polished up her piano playing too to complement her delightful singing voice, as uplifting and moving as King’s, especially on Tapestry’s songs from the broken heart.
From precociously gifted yet demure teenager, to diligent young mother, to solo singer-songwriter, embracing the spotlight at last after such hurt, Lancaster evokes all facets of the King character. Her renditions of It’s Too Late and (You Make Me Feel Like) A Natural Woman are the crowning glory for King and Lancaster alike.
You will feel the earth move, thanks not only to Lancaster, but also to Briggs’s potent direction, full of drama, emotion and humour, to go with his snappy, snazzy costumes and Phoebe Kilvington’s hair and make-up, propelled by the fabulous playing of Stephen Hackshaw’s band, always in view at the back.
Tickets for Tuesday to Saturday’s 7.30pm evening performances and Saturday’s 2.30pm matinee are on sale at atgtickets.com/york.
Kenny Thomas: Playing Grand Opera House, York, as the only Yorkshire date on next spring’s Him Tour, preceded by Leeds gig in October
ISLINGTON soul singer-songwriter Kenny Thomas will front his all-star band at the Grand Opera House, York, on May 19 on his nine-leg Him Tour 2024.
He will showcase songs from his “lost” third album, Him, for the first time alongside his greatest hits, soon to feature on a Best Of compilation, out on November 3.
By then Thomas, 55, will have opened this autumn’s Brit Soul Ascending Tour at Leeds City Varieties Music Hall on October 31 at 7.30pm, his first Leeds show in more than 20 years.
“Live gigs are one of the most enjoyable aspects of being a musician and it’s where my fans come together for a night of soul music and serious partying. So, to announce the Him 2024 Tour is really exciting for me and the band, and it’s an opportunity for us to play songs from my third album Him, which was never commercially released,” says Londoner Thomas.
“Over three decades on from when I first started out, this tour demonstrates that soul music is here to stay.”
Kenny Thomas’s poster for his Him Tour 2024 date at the Grand Opera House
Thomas’s Best Of, released on vinyl and CD, will feature all his hits, such as Thinking About Your Love, Best Of You, Outstanding and Trippin’ On Your Love, plusfan favourites and thought-to-be lost masters from the rediscovered Him.
He sold 600,000 copies of his platinum debut album for Chrysalis Records, 1991’s number three-charting Voices, and his 1993 follow-up, the gold-selling Wait For Me, peaked at number ten en route to Thomas notching eight Top 40 singles and receiving two Brit Award nominations for Best Male Vocalist and Best Newcomer. He later released Crazy World in 2006 and Breathe in 2011.
In lockdown, Gary Barlow invited Thomas to sing Thinking About Your Love on his Crooner Sessions, which became a viral hit. In 2021, Thomas’s autobiography, Baring My Soul, was published, leading to a feature on the BBC’s Top Of The Pops documentary after performing on the show nine times.
In April 2022, he headed out on a club tour. Now come two theatre tours, Brit Soul Ascending in November and December, then the Him 2024 next spring. Box office: Leeds, 0113 243 0808 or leedsheritagetheatres.com, on sale now; York, atgtickets.com/york, on sale from Friday morning.
Grace Lancaster at the piano in the role of Carole King in York Stage’s York premiere of Beautiful: The Carole King Musical. Picture: Charlie Kirkpatrick
FEEL the earth move as Beautiful: The Carole King arrives in York for the first time tomorrow in York Stage’s production at the Grand Opera House.
“This Tony and Grammy Award-winning musical phenomenon is filled with the songs you remember – and a story you’ll never forget,” says director-producer Nik Briggs, introducing the Broadway and West End hit with a book by Douglas McGrath and those songs. Oh, those songs.
“She created the sound of a generation, so iconic,” says Nik.” “Those songs have then passed through the generations because they’re so relatable, especially on Tapestry, after her break-up with Gerry Goffin.”
Will You Love Me Tomorrow?. Take Good Care Of My Baby. It Might As Well Rain Until September. Up On The Roof. One Fine Day. So Far Away. You’ve Got A Friend. (You Make Me Feel Like) A Natural Woman. It’s Too Late. I Feel The Earth Move. All by the writer or co-writer of 118 hits on the American Billboard Hot 100. The most successful female songwriter of the latter half of the 20th century in the United States.
Beautiful tells the story of an ordinary girl, born Carole Klein in Manhattan, New York, with an extraordinary talent that took her from being part of a songwriting team with fellow teenager and later husband Gerry Goffin, through her creative relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to solo success with Tapestry and beyond.
Taking the role of Carole King, opposite Frankie Bounds’ Gerry Goffin, will be York-born actress and singer, New York Brass Band saxophonist and Leeds Conservatoire teacher Grace Lancaster.
“With her voice, her stage presence and her musicality, Grace was the perfect choice to lead our cast of 30,” says Nik. “Grace is 28 now but she’s always had that Carole King girlish charm, so it’s great to watch her charting that same path in Carole’s story.
“We’ll have an 11-piece band on stage, plus Grace on piano, with Stephen Hackshaw returning as our musical director.”
Grace is “really looking forward to the show this week…if a little nervous about the magnitude of the role”. “I’ve grown up with the songs of Carole without even knowing that she was the mastermind behind the music,” she says.
“Everyone knows Natural Woman and The Loco-Motion, right, but I didn’t quite realise that she had written them until I saw Beautiful in the West End back in 2015.
“I was at drama school at the time, and Katie Brayben (who was then Carole King) had just won the Olivier award for her portrayal and I was acutely aware that she’d trained on the very same course as me at Rose Bruford!
“Watching that performance blew me away so much and I felt such a connection that I knew one day I would just have to play Carole King!”
Assessing what makes Carole King’s songs and life story so apt for a musical that is much more than a jukebox musical, Grace says: “Carole was in a golden era for songwriting. She was a young teenager when the one and only Elvis Presley came on the scene and was inevitably drawn to the rock’n’roll style. That type of music connects to a lot of people!
“The way Carole writes melodies is so organic and she often describes the music as just coming through her without her having to think. When music comes from a place of truth then there is something very Beautiful about it (no pun intended).
“I felt such a connection that I knew one day I would just have to play Carole King,” says Grace Lancaster
“The story weaves through Carole’s life and gives us an insight into how these songs were written in a ‘music factory’, the events that inspired them and how they reflect Carole’s life at that time.
“The fact that you’re watching a story that is about real people gives the musical a more personal feel and hopefully the audience will connect with this more than a regular jukebox musical.”
Picking a favourite Carole King song is almost like picking a favourite child, reckons Grace. “From what I’ve read, she’s written over 400 songs! You’ve Got A Friend and Will You Love Me Tomorrow? have popped up in other shows I’ve performed in, so I feel a deep connection to those,” she says.
“But Natural Woman is another strong contender: the gospel chords and the superb imagery make the song an utter delight to perform. These songs are multi-generational, passed on, still relevant today, and that’s another reason why Carole is such a wonder.”
Preparing for Beautiful has been the biggest challenge of Grace’s performing career. “I don’t think there’s a single point in the show where I have time to go back to my dressing room and sit down,” she says.
“A lot of work has gone into memorising the script, but even more time has gone into memorising the piano parts. As a musician, I would describe myself as a saxophone/clarinet player first; piano doesn’t come as naturally to me. So practising the piano to the point where my hands know what they’re doing without my brain getting involved – my brain needs to focus on acting/singing – has been the challenge of the last three months.”
Grace spent time aplenty researching Carole King’s story. “I read her memoir and watched interviews and have been delighted to find so many similarities in our beliefs and musical habits. She truly is an incredible woman,” she says.
Rehearsals have been an “amazing way” for Grace to reconnect with her York roots. “I first performed with York Stage back in 2007 in We Will Rock You, so I’m so delighted to see that the theatre scene is as strong here as it is!” she says. “The cast are all very talented and play such an important role in this show, so I’m very proud to have them supporting me.”
Out of rehearsals, Grace fills her time with an eclectic mix of work. “I play the saxophone and assist with managing the New York Brass Band, which has taken me as far away as China and Kuwait and this summer to Glastonbury festival for the fifth time!” she says.
“Last year I started teaching on the Actor Musicianship course at Leeds Conservatoire and I’m thrilled to be able to see the talent and drive that these students have – but also to be a part of the theatre industry in the north who are nurturing talent outside of London.”
Looking ahead, over the next few months Grace will be developing her own business as a solo singer/saxophone player at weddings and events. “I’m also looking after my four-month-old Labrador puppy Winnie. So I’ve definitely got my hands full!” she says. “Winnie has been subjected to my constant piano practice since moving in with us and now the music of Carole King sends her to sleep.”
York Stage in York premiere of Beautiful: The Carole King Musical, September 15 to 23, 7.30pm except Sunday and Monday; 2.30pm Saturday matinees; 4pm, Sunday. Box office: atgtickets.com/york.
One last question
DO you have Tapestry in your record collection, if such a thing as a record collection still exists in the house of Lancaster?!
“Tapestry is regularly played on my Spotify account,” says Grace.
Gracing the stage: Grace Lancaster in the role of Carole King in York Stage’s York premiere of Beautiful: The Carole King Musical. Picture: Charlie Kirkpatrick
FROM Carole King’s beautiful songs to Velma Celli’s pop queens, an artistic family to a poet’s biscuits, Charles Hutchinson adds to the September sunshine as cause for heading out and about.
Musical of the week: York Stage in Beautiful, The Carole King Musical, Grand Opera House, York, Friday to September 23
YORK, are you ready to feel the Earth move, asks director Nik Briggs, ahead of the York premiere of Beautiful: The Carole King Musical. “This show has taken the world by storm, and for good reason, with its inspiring story of Carole King, a woman who rose to fame in the music industry during a time when female songwriters were few and far between”.
Singer, actress and pianist Grace Lancaster takes the lead role in this celebration of perseverance, passion and the power of music to unite. Box office: atgtickets.com/york.
Damon Gough: Marking 25 years of Badly Drawn Boy
Treasured songwriter of the week: Badly Drawn Boy, The Crescent, York, Monday, 7.30pm
DAMON Gough is undertaking his Something To Tour About: 25 Years Of Badly Drawn Boy tour, playing a sold-out standing show in York with Liam Frost in support.
Chorlton singer, songwriter, guitarist and piano player Gough, who released Banana Skin Shoes as his first studio album in ten years in May 2020, first made his mark with the Mercury Prize-winning The Hour Of Bewilderbeast in 2000. Eight albums on, he has plenty to tour about.
Rosie Jones: Unadulterated joy in Triple Threat at Leeds City Varieties and York Theatre Royal
Comedy gig of the week: Rosie Jones: Triple Threat, Leeds City Varieties Music Hall, Wednesday, 8pm; York Theatre Royal, Thursday, 8pm
COMEDIAN Rosie Jones’s show is guaranteed to be full of unapologetic cheekiness, nonsensical fun and unadulterated joy from the triple threat herself.
Theatre@41 honorary patron Rosie has hosted Channel 4’s travel series Rosie Jones’ Trip Hazard and Mission: Accessible and made numerous appearances on The Last Leg, 8 Out Of 10 Cats, Hypothetical, Mock The Week, The Ranganation and Joe Lycett’s Got Your Back. Box office: Leeds, 0113 243 0808 or leedsheritagetheatres.com; York, 01904 623568 or yorktheatreroyal.co.uk.
Jessica Steel: Powerhouse vocals at A Night To Remember
Fundraiser of the week: Big Ian Presents A Night To Remember, York Barbican, Thursday, 7.30pm
HUGE frontman Big Ian Donaghy hosts his annual charity fundraiser as George Hall leads a 20-piece All Star House Band with a 12-strong brass section in a night of cover versions of Kate Bush, Bill Withers, Take That, Fleetwood Mac, Tina Turner, Queen, Wham!, Elvis and more.
Taking part will be Jessica Steel, Heather Findlay, Beth McCarthy, Graham Hodge, The Y Street Band, Boss Caine, Gary Stewart, Simon Snaize, Annie Donaghy, Kieran O’Malley, Las Vegas Ken, the Huge Brass Boys, Hands & Voices, musicians from York Music Forum and Jessa Liversidge’s fully inclusive group Singing For All. Box office: yorkbarbican.co.uk.
John Hegley: Biscuits all round at Stillington Mill
Poet of the week: John Hegley: Biscuit Of Destiny, At The Mill, Stillington, near York, Friday, 7.30pm
POET John Hegley, star of radio, television and school assemblies, heads north with a clutch of new verses, a few older favourites and a cardboard camel with a moving jaw.
The biscuits in the show derive Romantic poet John Keats’s phrase: “a scarcity of buiscuit”. Not the sort of phrase nor spelling you expect from a Romantic poet, notes Hegley, who delves into the more eccentric side of Keats, alongside everyday goings-on in the Hegley homes of now and yesteryear. Expect drawings of elephants, myths, discos, daleks, optional community singing and the search for a sense of self-worth. Box office: tickettailor.com/events/atthemill/939591.
Velma Celli: Reigning over York Theatre Royal on Friday in a celebration of British pop royalty, God Save The Queens. Picture: Sophie Eleanor Photography
Brit icons of the week: Velma Celli’s God Save The Queens, York Theatre Royal, Friday, 7.30pm
YORK cabaret superstar Velma Celli, the vocal drag diva alter ego of musical theatre actor Ian Stroughair, introduces her new celebration of British pop royalty.
Accompanied by Scott Phillips’s band, Velma’s night of rapturous music, risqué comedy and fabulous entertainment features the songs of Adele, Amy Winehouse, Annie Lennox, Florence Welch, Leona Lewis, The Spice Girls, Kate Bush, Shirley Bassey, Cilla Black and Bonnie Tyler, plus a tribute to Sinead O’Connor.
Katya Apekisheva: Russian-born pianist playing at York Chamber Music Festival, sometimes solo, sometimes in the company of string players
Festival of the week: York Chamber Music Festival, September 15 to 17
FESTIVAL artistic director and cellist Tim Lowe is joined by John Mills and Jonathan Stone, violins, Hélene Clément and Simone van der Giessen, violas, Jonathan Aasgaard, cello, Billy Cole, double bass, and British-based Russian pianist Katya Apekisheva for three days of concerts.
Highlights include Mendelssohn’s String Quartet Op. 13, Dvořák’s String Sextet, Elgar’s late Piano Quintet, Strauss’s Metamorphosen, Brahms’s Cello Sonata No. 1 and Schubert’s last Piano Sonata in B flat major. For the full programme and venues, head to: ycmf.co.uk/2023-programme. Box office: 01904 658338 or ycmf.co.uk.
Ewa Salecka: Conducting Prima Vocal Ensemble in Songs From The Heart
Choral concert of the month: Prima Vocal Ensemble, Songs From The Heart, National Centre for Early Music, Walmgate, York, September 30, 7.30pm
ARTISTIC director and producer Ewa Salecka leads York choir Prima Vocal Ensemble in an intimate evening of contemporary classical and popular choral music with Greg Birch at the piano.
Works by Randall Thompson, René Clausen, Stephen Paulus and Elizabeth Alexander will be followed by a second half of moving and energetic arrangements of George Gershwin, Duke Ellington and Freddie Mercury songs. Ahead of their 2024 New York City reunion, Prima perform a Christopher Tin number too. Box office: primavocalensemble.com.
Copyright of The Press, York
Hannah Arnup and Ben Arnup with bowls by Mick Arnup and a bronze dog by Sally Arnup at the Arnup Centenary exhibition, opening today at Pyramid Gallery
In Focus: Exhibition launch of the week
Hannah Arnup, Ben Arnup, Tobias Arnup and Vanessa Pooley, Arnup Centenary, Pyramid Gallery, Stonegate, York, 11am today to October 30
THE Arnups, two generations of artists with roots in York, work in pottery, painting, wildlife sculpture, figurative sculpture and ceramic sculpture. The late Mick and Sally Arnup set up home and studio in Holtby in the 1960s, and three of their family, Ben, Hannah and Tobias, have followed careers in the arts.
This exhibition by the three second generation artists and Tobias’s wife, Vanessa Pooley, coincides with the centenary of their father’s birth in 1923. In recognition of their parents’ influence on their own artistic journeys, a few pieces by Mick and Sally will complement the new works.
Gallery visitors can expect to see new work by ceramist Ben Arnup, who specialises in slab-made flattened boxes and vessels that play with the viewer’s sense of form and space, alongside Hananh Arnup’s wheel-thrown bowls and plates with sgraffito decoration and Vanessa Pooley’s gently curvy female forms in ceramic and bronze. On the walls, the still life paintings by Tobias Arnup will sit alongside ceramic wall pieces by Ben and Hannah.
Ben’s intriguing Trompe L’Oeil forms are well known to collectors of ceramics and visitors to Pyramid Gallery. Formerly a landscape designer, he creates shapes that explore drawn perspective using coloured clay slab-constructed stoneware, “having fun with the way we see form”.
After studying sculpture at Kingston Art School and specialising in ceramics at Goldsmith College, London, Hannah has lived and worked for much of her adult life in Ireland where she owns and runs Ballymorris Pottery. Latterly, she has set up a new studio in the family home in Holtby near York, re- purposed as a community of artists’ studios.
Vanessa works with bronze and ceramic to create sculpture of mostly female forms with an individual and distinctive style that takes inspiration from the work of Henri Laurens and his studio assistant Balthazar Lobo, as well as Marino Marinni and the sculptures of Picasso and Matisse. Her work is to be found in collections around the world.
Tobias studied at Camberwell School of Art and went on to teach at Blackheath School of Art before a change in career to be an art therapist.
“I was helping run a course at Blackheath School of Art and I found I was more interested in the people that sat in my office at lunchtime complaining about their fellow students or about their parents or about not getting their art right or wondering what they were going to do, or who were just not really coping with life very well,” he says.
After his training, Tobias started an art therapy department at Holloway Prison, which was in existence until the women’s prison closed in 2016.
During his 35-year career, he also worked in secure units in mental health hospitals, finding that art could engage traumatised people when other methods of therapy had not.
In his art, Tobias has evolved an individual style that begins with a black outline of still life objects and flowers, drawn in ink with a goose quill. He then adds colour in gouache, filling the spaces between or on top of the black lines.
Depending on what he feels is necessary, he might add more black ink lines, or redo the original lines, then more colour and maybe finish with more black lines. This layering of lines and colour is done slowly and carefully in a process that he describes as meditative. The result is intriguing, distinctive and joyful, with pastel colours contrasting with the black outlines, that have a bold and purposeful feel mixed with occasional random unevenness.
Gallery owner Terry Brett has worked with Ben and Hannah for many years, as well as with Mick and Sally, and looks forward to his inaugural showing of paintings by Tobias and bronze and ceramic sculpture by Vanessa.
“‘For me, this is one of the most satisfying moments in my time as an exhibition curator,” he says. “Not only for the quality of the work and diversity of styles, but also because I am pleased to be representing Vanessa and Tobias for the first time.
“To be hosting the family with an exhibition that is paying respect to Mick and Sally in a collective show is a very special moment for both myself and the gallery.”
Tobias Arnup with his gouache and ink paintings
Tobias Arnup on his artistic practice
THE play between line and colour has always been central to Tobias’s work as a painter. “Undoubtedly my main influence of this has been that of my father, Mick,” he says. “However, I still remember the impact of being taught by the wonderful art master at Pocklington School, Nigel Billington, who encouraged a proper attention to composition and to drawing, particularly with ink.
“It was hardly a surprise when I chose Camberwell School of Art, in London, as the place to study for my Fine Art degree and where I was lucky enough to teach drawing myself for a while.”
Only relatively recently has Tobias experimented more with different media. “For many years my favourite was egg tempera, which I learnt about at Camberwell and used to mix up myself,” he says.
“Depending on how much it was diluted, tempera has both the ‘gloopy’ quality of gouache and the richness of a watercolour glaze. It was working on paper, though, that has allowed me to work more flexibly.
“Using water-soluble pencil, Indian ink, watercolour and gouache – although not necessarily in that order – I seem to be forever swinging between creating chaos and trying to excerpt some sort of order on the composition.”
He continues: “These days the chaos of my ink marks is being brought under some sort of control by the flat, mat gouache. When things get a bit too tidy, out comes the ink bottle again.
“There cannot have been many options for school teachers at the time. Mr Billington’s huge set-ups suited me perfectly, however. They were there ready for me – a constant resource, I realise now, that is currently replicated in my own studio.
“Although they stray into more abstract concerns, I regard all these works as still-lives. When I am a bit stuck, it’s the ink and the goose-feather quills that I turn to, although I have used up my store of Chinese geese quills that I collected up from the garden when I was young.”
Pyramid Gallery opening hours are: Monday to Saturday 10am to 5pm.The displays can be viewed at pyramidgallery.com too.
