Gerard Savva: Leading the York Stage cast as Bobby in Company at Theatre@41, Monkgate, York
LOOK out for Godber at the double, Sondheim sophistication, a ground-breaking Black pioneer and Hull humour in the week ahead, recommends Charles Hutchinson.
Musical of the week: York Stage in Company, Theatre@41, Monkgate, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee
ON Bobby’s 35th birthday, his friends all have one question on their mind. Why is he not married? Stephen Sondheim and George Furth’s bold, sophisticated and insightful revolutionary musical comedy follows Bobby as he navigates the world of dating and being the third wheel to all of his now happily (and unhappily) married friends, exploring the pros and cons of settling down and leaving his single life behind.
Nik Briggs directs a York Stage cast featuring Gerard Savva as Bobby, Florence Poskitt, Julia Anne Smith, Alexandra Mather, Joanne Theaker, Dan Crawfurd-Porter and Jack Hooper, among others. Box office: tickets.41monkgate.co.uk.
The poster for Lightning Seeds’ show at Scarborough Spa Grand Hall tonight
Pure and simply joyful every time: Lightning Seeds, Tomorrow’s Here Today, 35 Years Greatest Hits Tour, Scarborough Spa Grand Hall, tonight; The Welly, Hull, December 4; Leeds Beckett Students’ Union, December 6
TO mark their 35th anniversary, Liverpool singer, songwriter and producer Ian Broudie leads Lightning Seeds on their Tomorrow’s Here Today tour to accompany a new greatest hits album.
Here come Pure, The Life Of Riley, Change, Lucky You, Sense, All I Want, Sugar Coated Iceberg, You Showed Me, Emily Smiles, Three Lions et al and many more. Tonight doors open at 7pm; Casino play at 8pm, Lightning Seeds at 9pm. Box office: Scarborough, scarboroughspa.co.uk; Hull, giveitsomewelly.com; Leeds, leedsbeckettsu.co.uk.
Tom Gallagher, Annie Kirkman and Laura Jennifer Banks in a scene from John Godber’s revival of Perfect Pitch
Touring play of the week: John Godber Company in Perfect Pitch, Stephen Joseph Theatre, Scarborough, tonight to Saturday, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees
WHEN teacher Matt (Frazer Hammill) borrows his parents’ caravan for a week on the Yorkshire coast with partner Rose (Annie Kirkman), they are expecting four days of hill running and total de-stressing. However, with a Tribfest taking place nearby, Grant (Tom Gallagher) and Steph’s (Laura Jennifer Banks) pop-up tent is an unwelcome addition to their perfect pitch.
The class divide and loo cassettes become an issue as writer-director John Godber reignites his unsettling 1998 state-of-the-nation comedy, set on an eroding coastline, as Matt and Rose are inducted into the world of caravanning and karaoke. Box office: Scarborough, 01723 370541 or sjt.uk.com.
The Highwayman cast of Dylan Allcock, left, Emilio Encinoso-Gil, Matheea Ellerby and Jo Patmore in John Godber’s new historical play. Picture: Ian Hodgson
New play of the week: John Godber Company in The Highwayman, York Theatre Royal Studio, tomorrow to Saturday, 7.45pm plus 2pm Friday and Saturday, sold out
AFTER more than 70 plays reflecting on modern life, John Godber goes back in history for the first time in The Highwayman. “It’s 1769 and Yorkshire’s population has exploded, the races at York are packed, the new theatre in Hull is thriving, and the Spa towns are full,” he says.
“Everyone is flocking north. Yorkshire is the place to be; a region drunk on making money, social climbing, gambling and gin, but with wealth in abundance, the temptation is great.” Enter the highwayman, John Swift and his partner, Molly May. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.
Paterson Joseph and Charles Ignatius Sancho: Storyteller and subject in Sancho & Me at York Theatre Royal
Story of the week: Paterson Joseph, Sancho & Me, York Theatre Royal, tomorrow, 7.30pm, with post-show discussion
CHARLES Ignatius Sancho, born on a slave ship on the Atlantic Ocean in 1729, became a writer, composer, shopkeeper and respected man of letters in 18th century London – the first man of African heritage to vote in Britain.
Actor, author and Chancellor of Oxford Brookes University Paterson Joseph tells his story, accompanied by co-creator and musical director Ben Park, built around his book The Secret Diaries of Charles Ignatius Sancho. Joseph explores ideas of belonging, language, education, slavery, commerce, violence, politics, music, love and where these themes intersect with his own story of growing up Black and British. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Irish band Adore: Headlining at The Crescent tomorrow. Picture: Fnatic
Indie gig of the week: Road Less Travelled presents Adore, Fuzz Lightyear and Tom Beer, The Crescent, York, tomorrow,7.30pm
RISING stars of the Irish music scene, Adore are a three-piece garage punk band from Galway, Donegal and Dublin, who refract surf, disco and pop through punk sensibilities, grounded in crunchy guitar, drum and bass.
Leeds four-piece Fuzz Lightyear, freshly signed to independent label Nice Swan Records, match the intensity of Idles and Gilla Band while applying wit and a lyrical openness to their songs. Bull frontman Tom Beer kicks off the triple bill with a solo set. Box office: thecrescentyork.com.
New York Brass Band: Bringing New Orleans Mardi Gras jazz from old York to Milton Rooms, Malton
Jazz night of the week: Acorn Events presents New York Brass Band and The Ryedale Stray Notes, Milton Rooms, Malton, Friday, 7pm
NEW York Brass Band, from York, perform with a seven or eight-piece line-up of sax, tuba, trumpets, trombones, guitar and sousaphone in the New Orleans Mardi Gras jazz band tradition. Formed by James Lancaster in 2010, they are inspired by Rebirth Brass Band, Soul Rebels, Hot 8, Youngblood and Brassroots.
They have played at Glastonbury for the past eight festivals and at celebrity parties and weddings for Danny Jones, of McFly, Ellie Goulding, comedian Alex Brooker, Liam Gallagher and Jamie Oliver. Support act The Ryedale Stray Notes feature 25 talented young musicians “ready to raise the roof”. Proceeds go to Acorn Community Care to support vulnerable adults with physical and learning disabilities. Tickets: acornevents.org.uk or phone Ali on 07891 3889085.
Paddy Young: Topping the Rye Humour bill at Helmsley Arts Centre. Picture: Lucas Smith
Variety night of the week: Rye Humour, Comedy vs Climate Change, Helmsley Arts Centre, Saturday, 7.30pm
RYE Humour’s variety bill of up-and-coming comics will be headlined by Chortle Best Newcomer winner Paddy Young, a stand-up with Scarborough roots. The 2023 BBC New Comedy Awards finalist and Edinburgh Comedy Awards Best Newcomer nominee has attracted 100 million views online for his sketches with Ed Night. His comedy special, filmed by American record label 800 Pound Gorilla Records, will be released shortly.
This gig has been developed in collaboration with the Ryevitalise Landscape Partnership scheme, as part of a project that uses humour to explore environmental issues based around North Yorkshire’s rivers. Any questions about the evening, or accessibility, will be answered at events@comedyvsclimatechange.org.uk. Box office: 01439 771700 or helmsleyarts.co.uk.
Lucy Beaumont: Off-beat stories, unusual anecdotes and bizarre journeys through modern-day womanhood at Grand Opera House, York
Comedy gig of the week: Lucy Beaumont Live, Grand Opera House, York, Saturday, 8pm
HULL humorist, BAFTA nominee and Taskmaster star Lucy Beaumont is determined to let loose and let slip on her rollercoaster world with off-beat stories, unusual anecdotes and bizarre journeys through modern-day womanhood.
From the co-host of the chart-topping podcast Perfect Brains with Sam Campbell and creator of Meet The Richardsons comes a look at life through the Lucy lens. Box office: atgtickets.com/york.
Brushing up on her art: Lindsey Tyson, one of the Wednesday Four exhibiting at Pyramid Gallery, York
FROM the Wednesday Four to the sold-out Barbican four, a Sondheim musical to John Godber making history, Charles Hutchinson puts the ‘yes’ into November’s calendar.
Last chance to see: The Wednesday Four, Pyramid Gallery, Stonegate, York, today and Monday, 10am to 5pm
THE Wednesday Four, a group of four artist friends who gather in Scarborough each week – busy schedules permitting – are exhibiting together for the first time in York.
Shirley Vauvelle (ceramic sculpture and paintings), Gillian Martin (paintings and prints), Katie Braida (ceramics) and Lindsey Tyson (paintings) have been meeting for three years but have known each other much longer.
Tarot: Performing sketches in nighties in Shuffle at Theatre@41, Monkgate, York. Picture: PBJ Management
Sketch show of the week: Tarot: Shuffle, Theatre@41, Monkgate, York, tonight, 8pm
“THEY (our parents, partners, children) say ‘sketch is dead’, but if it’s dead then where’s all our money going?” ask Tarot, a sketch troupe featuring members of Gein’s Family Giftshop and Goose, Adam Drake, Ed Easton and Kath Hughes.
What lies in store in Shuffle? “Joyously silly and uproariously live and in-the-room, we would call it ‘improv’ but we’ve got some self-respect: this is sketch in nighties. Come watch a new tour of big, daft and, above all, live comedy being conjured up in front of your very eyes.” Box office: tickets.41monkgate.co.uk.
Rise Up To Empower Women: Fundraiser for York charity IDAS at the Joseph Rowntree Theatre, York
Fundraiser of the week: Rise Up To Empower Women, Joseph Rowntree Theatre, York, tomorrow, 7.30pm
YORK and Leeds performers come together to “raise the roof to end gender-based violence”, sharing inspiring and moving stories of female survivors of abuse in a night of musical theatre organised by Hannah Winbolt-Lewis. Proceeds will go to IDAS, the Blossom Street, York-based domestic abuse and sexual violence support charity, and to aid the recovery of Leanne Lucas, a survivor of July’s Southport stabbings.
Performing arts student Daisy Winbolt-Robertson
Performing arts students Kate Lohan, Daisy Winbolt-Robertson, Sara Belal, Rose Scott, Chloe Amelie Lightfoot, Erin Childs, Annie Dunbar, Jasmine Lowe, Declan Childs and Oliver Lawery will sing songs from shows that depict survivors’ stories: Heathers, Spring Awakening, Waitress, The Color Purple, SIX The Musical and the newly premiered SuperYou. Donations can be made via idas.co.uk. Box office: O1904 501935, josephrowntreetheatre.co.uk or bit.ly/RiseUpToEmpowerWomen.
Simon Brodkin: Ripping into celebrity culture, social media, the police, Putin, Prince Andrew and God in Screwed Up
Comedy gig of the week: Simon Brodkin, Screwed Up, Grand Opera House, York, tomorrow, 8pm
SIMON Brodkin, world-famous prankster, Lee Nelson creator and most-watched British stand-up comedian on TikTok, brings his outrageous stand-up show back to York.
In Screwed Up, Brodkin rips into celebrity culture, social media, the police, Putin, Prince Andrew and God. Nothing is off limits, from his own mental health and family to his five arrests and how he once found himself at an underground sex party. Box office: atgtickets.com/york.
Irish Christmas celebrations in song and dance in Fairytale Of New York
What? Christmas in old York already : Fairytale Of New York – The Ultimate Irish-Inspired Christmas Concert, Grand Opera House, York, November 11, 7.30pm
FROM the producers of Seven Drunken Nights – The Story Of The Dubliners comes a rich tapestry of Irish singers, musicians and dancers performing Driving Home For Christmas, Step Into Christmas, Oh Holy Night, Fairytale Of New York and Irish sing-along favourites The Galway Girl, The Irish Rover, Dirty Old Town and The Black Velvet Band. Box office: atgtickets.com/york.
Sarah Millican: “Lots of stuff about dinners and lady gardens” at York Barbican
Recommended but sold out alas: next week’s shows at York Barbican
BBC Gardeners’ World presenter Monty Don kicks off a particularly busy week at York Barbican when he shares his passion for gardens and the role they play in human inspiration and wellbeing on Monday night (7.30pm). Jazz pianist, songwriter and BBC Radio 2 presenter Jamie Cullum will be supported by Northampton pianist and singer Billy Lockett on Tuesday (doors 7pm).
On Thursday (8pm), in her Late Bloomer show, South Shields comedian Sarah Millican mulls over her transition from being quiet at school with not many friends and an inability to say boo to a goose to being loud with good friends and goose-booing outbursts aplenty, “plus lots of stuff about dinners and lady gardens,” she says. On Friday (doors 7pm), in her Rockin’ On show, queen of rock’n’roll Suzi Quatro rolls out Can The Can, Devil Gate Drive, Stumblin’ In, 48 Crash, The Wild One et al. “It’s my 60th year in the business and it still feels like I’ve just started,” she says.
The York Stage poster for their “new version” of Stephen Sondheim and George Furth’s American musical comedy Company
Musical of the week: York Stage in Company, Theatre@41, Monkgate, York, November 13 to 16, 7.30pm plus 2.30pm Saturday matinee
ON Bobby’s 35th birthday, his friends all have one question on their mind. Why is he not married? Stephen Sondheim and George Furth’s bold , sophisticated and insightful revolutionary musical comedy follows Bobby as he navigates the world of dating and being the third wheel to all of his now happily (and unhappily) married friends as he explores the pros and cons of settling down and leaving his single life behind.
Nik Briggs directs a York Stage cast featuring Gerard Savva as Bobby, Florence Poskitt, Julia Anne Smith, Alexandra Mather, Joanne Theaker, Dan Crawfurd-Porter and Jack Hooper, among others. Box office: tickets.41monkgate.co.uk.
The Highwayman cast of Dylan Allcock, left, Emilio Encinoso-Gil, Matheea Ellerby and Jo Patmore in John Godber’s new historical play. Picture: Ian Hodgson
New play of the week: John Godber Company in The Highwayman, York Theatre Royal Studio, November 14 to 16, 7.45pm plus 2pm Friday and Saturday, sold out
AFTER more than 70 plays reflecting on modern life, John Godber goes back in history for the first time in The Highwayman. “It’s 1769 and Yorkshire’s population has exploded, the races at York are packed, the new theatre in Hull is thriving, and the Spa towns are full,” he says.
“Everyone is flocking north. Yorkshire is the place to be; a region drunk on making money, social climbing, gambling and gin, but with wealth in abundance, the temptation is great.” Enter the highwayman, John Swift and his partner, Molly May. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.
In focus: Paterson Joseph, Sancho & Me, York Theatre Royal, November 14, 7.30pm, with post-show discussion
Paterson Joseph and Charles Ignatius Sancho: Storyteller and subject in Sancho & Me at York Theatre Royal
CHARLES Ignatius Sancho, born on a slave ship on the Atlantic Ocean in 1729, became a writer, composer, shopkeeper and respected man of letters in 18th century London – the first man of African heritage to vote in Britain.
Actor, author and Chancellor of Oxford Brookes University Paterson Joseph tells his story, accompanied by co-creator and musical director Ben Park, built around Joseph’s book The Secret Diaries of Charles Ignatius Sancho.
Joseph explores ideas of belonging, language, education, slavery, commerce, violence, politics, music, love and where these themes intersect with his own story of growing up Black and British
Joseph says: “Ignatius Sancho (1729-1780) had a most extraordinary life. Born of enslaved African parents, he rose to a position of great influence in British society. A polymath with a talent for music, his vote in 1774 and 1780 made him the first person of African descent to vote in a British Parliamentary election.
“I first came across Charles Ignatius Sancho in 1999. Born and raised in London, by my mid-thirties I had no idea there were thousands of Black Britons in the UK long before the famous ‘Windrush Generation’ who arrived in the 1940s, ’50s and ’60s. I cannot overstate the powerful sense of belonging this knowledge brought me.
“My desire is to spread that sense of rootedness through spreading the word far and wide: Britain has always been a multi-ethnic country and Black people have been a major part of that story.”
The show incorporates Sancho’s compositions and original music by composer and musician Ben Park. In the words of Sancho: “Friendship is a plant of slow growth, and, like our English oak, spreads, is more majestically beautiful, and increases in shade, strength and riches, as it increases in years.”
Paterson Joseph: the back story
Born: Willesden, London on June 22 1964 to parents from St Lucia. Educated at Cardinal Hinsley RC High School. Worked briefly as catering assistant. Trained at Studio ’68 of Theatre Arts, London (South Kensington Library), from 1983 to 1985, later attending London Academy of Music and Dramatic Art (LAMDA).
Theatre roles: Oswald in King Lear, Dumaine in Love’s Labours Lost and Marquis de Mota in The Last Days Of Don Juan, Royal Shakespeare Company, 1990. Title role in Othello, Royal Exchange, Manchester, 2002. Lead roles in The Royal Hunt Of The Sun and The Emperor Jones, Olivier Theatre, National Theatre, London, 2006. Brutus, in Royal Shakespeare Company’s Julius Caesar, set in Africa, 2012. Ebenezer Scrooge in A Christmas Carol, Old Vic Theatre, London, 2019 into 2020.
Undertook documentary project My Shakespeare, filmed for Channel 4 in 2004, directing version of Romeo & Juliet that used 20 young non-actors from deprived Harlesden area of London.
On television: Mark Grace in Casualty (1997–1998); Alan Johnson in Channel 4 sitcom Peep Show (2003–2015); Lyndon Jones in Green Wing (2004–2006); Greg Preston in Survivors (2008–2010); DI Wes Layton in Law And Order: UK (2013–2014); “Holy Wayne” Gilchrest in The Leftovers (2014–2015); DCI Mark Maxwell in Safe House (2015–2017); Connor Mason in Timeless (2016–2018); Home Secretary, then Prime Minister Kamal Hadley in Noughts + Crosses (2020-2022); Commander Neil Newsome in Vigil (2021); Samuel Wells in Boat Story (2023).
Films include: Benbay in In The Name Of The Father (1993); Keaty in The Beach (2000); Greenfingers (2001), Giroux in Æon Flux (2005), The Other Man (2009) and Arthur Slugworth in Wonka (2023).
His debut play as a writer, Sancho: An Act Of Remembrance, was first co-produced and performed at Oxford Playhouse in 2015, then twice toured United States of America, including Kennedy Center in Washington and Brooklyn Academy of Music, New York. Performed by Joseph in London in 2018 at Wilton’s Music Hall; published by Bloomsbury.
Debut novel The Secret Diaries Of Charles Ignatius Sancho was published in 2022 by Dialogue Books in UK and Henry Holt in USA, charting Sancho’s life through fictionalised diary entries, letters and commentary. Nominated for six literary awards, winning Royal Society of Literature’s Christopher Bland Prize and Historical Writers Association Debut Novel Prize in 2023.
First book, Julius Caesar And Me: Exploring Shakespeare’s African Play, published by Bloomsbury.
Appointed Chancellor of Oxford Brookes University in 2022. Installed in May 2023.
Paterson Joseph, Me & Sancho, York Theatre Royal, November 14, 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Kym Marsh’s Cruella De Vil with her fashion house mincing minions Casper (Charles Brunton) and Jasper (Danny Hendrix) in 101 Dalmatians The Musical. Picture: Johan Persson
NOT everything is black and white with Alsatians, just like with Border Collie sheepdogs, but if one film has shaped a general affection for a breed, then 101 Dalmatians has done a fantastic PR job.
Yes, Dalmatians can be loyal, loving, intelligent, good with children and pets; good watchdogs too, but they can be aggressive towards other dogs, or timid, and easily distracted in training.
Let’s be honest, that popularity comes down to the spots. If a fashion designer were to design a dog, chances are they would go dotty for Dalmatians. Cruella De Vil does exactly that, of course, at her Haus of De Vil fashion house but not as an accessory for the walkway.
No, the fashionista villain of Dodie Smith’s ever-popular tale of wagging tails wants their pelts for her latest fabulous fur coat in 101 Dalmatians, the canine caper re-told here in musical form with music and lyrics by Douglas Hodge and book by Johnny McKnight from a stage adaptation by Zinnie Harris.
Re-imagined from the 2022 outdoor production at Regent’s Park Open Air Theatre, London, Runaway Entertainment’s touring show is led by Kym Marsh, Hear’Say pop singer, Coronation Street soap star, Waterloo Road regular, Strictly 2022 alumna and Morning Live presenter.
What a canny piece of casting she is in her first musical lead-singing role, as she turns to the dark side for the first time at 48, knocking spots off other Cruellas with the De Vil in the detail of her vampish performance, full of pantomimic villainy, spitefully humorous putdowns and dramatic, powerhouse singing that peaks with the Act One climax, Bring Me Fur.
“She’s the most fun character ever,” said Marsh, in an appraisal that might raise eyebrows, given that Cruella is a knife-wielding canine killer, but she is right. More lairy than scary in demeanour, her fiendish “Cruella times ten” is a vainglorious baddie in pantomime tradition, commanding in presence but in need of being taken down.
Marsh, who is given wonderfully sharp costumes by designer Sarah Mercade, is the star turn in Bill Buckhurst’s raucous production, but the show is built on Jimmy Grimes’ puppetry, Lucy Hind’s choreography, Hodge’s humorous songs and McKnight’s love of jokes as cheesy and daft as panto puns. Oh yes, and there are puppies aplenty, of course.
Sorry to keep making comparisons with pantomimes, but characters are played and dressed with those broad, bold strokes, from Samuel Thomas’s gawky Tom Dearly, in his slightly-too-short trousers and specs, to Emmerdale star Jessie Elland’s matching Danielle Dearly in polka-dot coat and specs, their clothing patterns looking as if they were drawn with a child’s eye for exaggeration.
Likewise the spry comedy double act of Cruella’s fashion-hound acolytes, her dimwit nephews Casper (Charles Brunton) and Jasper (Danny Hendrix), could be torn from any of this winter’s upcoming pantos, although they would be equally at home in Shakespeare’s comedy romps.
The ensemble of canine puppeteers are on singing duty too, led by Linford Johnson’s Pongo (you may remember him from Alan Ayckbourn’s The Girl Next Door at Scarborough’s Stephen Joseph Theatre) and Emma Thornett’s Perdi (last seen in York in Gus Gowland’s musical Mayflies at the Theatre Royal in May 2023). Thornett has one terrific, moving scene where her Perdi will not give up on saving the ailing, frozen-cold Button as the night-time snow falls.
The Dalmatians, 101 of them by the finale, are a dotty delight, keeping the ensemble on their toes as they multiply. Hodge’s songs are fun and funny, albeit that the tunes are somewhat workmanlike pastiches, but the likes of The Pub Song, the insistent Litterbugs and I Can Smell Puppy hit the right note.
In a crowded musical market, 101 Dalmatians is not quite Premier League. Nevertheless it definitely surpasses the energy level of a typical Dalmatian, a breed that requires more than 40 minutes of exercise per day. These ones give the run-around for two hours.
101 Dalmatians The Musical, Grand Opera House, York, until Saturday, 7pm plus 2pm Thursday and Saturday matinee. Box office: atgtickets.com/york.
Livy Potter as Katy, left, and Alice Rose Palmer, as mum Natalie, in Louise Beech’s How To Be Brave at Gilling East Village Hall and Helmsley Arts Centre
FROM a devilish yet dotty canine musical to comedians having their moment, a film festival to glowing ghosts, Charles Hutchinson spots plenty to light up dark days ahead.
Touring play of the week: Other Lives Productions in How To Be Brave, Gilling East Village Hall, tomorrow, 7.30pm, and Helmsley Arts Centre, Friday, 7.30pm
IN 1943, Merchant Seaman Colin Armitage’s cargo ship was torpedoed by an Italian Navy submarine in the South Atlantic. He scrambled aboard a life raft. Fifty days later, HMS Rapid rescued him.
Colin was the grandfather of How To Be Brave playwright Louise Beech. Sixty-four years after his ordeal, Louise’s daughter, Katy, was diagnosed with Type 1 diabetes. In order to distract her during insulin injections Louise began to tell the story of Colin’s bravery and determination to survive.
Scenes in this resulting play alternate between the life raft and a house in Hull as York actors Jacob Ward and Livy Potter take the lead roles in Kate Veysey’s production. Box office: Gilling East, gillinjgeastevents@hotmail.co.uk; Helmsley, 01439 771700.
Man of The Moment: Ali Woods, playing York Barbican on his debut stand-up tour
Comedy men of The Moment: Mo Gilligan, In The Moment, York Barbican, tomorrow,8pm; Ali Woods, At The Moment, York Barbican, Friday, 8pm
THE moment has arrived for two comedy tour dates with similar show titles, first up the host of Channel 4’s The Lateish Show With Mo Gilligan, Londoner Mo Gilligan, on his In The Moment World Tour 2024.
The following night, half-English, half-Scottish comedian, podcaster and content creator Ali Woods plays York on his debut stand-up tour. At 30, this viral online sketch sensation has finally fallen in love with an amazing lady. “Come on an embarrassing and cathartic journey of teenage angst, relationship fails and learning how to live in the moment,” he says. Tickets update: available for both shows, whereas An Audience With Monty Don (November 11), Jamie Cullum (November 12), Sarah Millican: Late Bloomer (November 14) and Suzi Quatro ( November 15) have sold out already. Box office: yortkbarbican.co.uk.
Artist CJP with his work The Majestic Oak at Art Of Protest Gallery, York
Exhibition of the week: From Little Acorns Grow Mighty Hopes: An Exhibition of Hand-drawn Natural Wonders, Art of Protest Gallery, Walmgate, York, until November 16
ART Of Protest is the first gallery to show CJP’s work The Majesty Oak in an exhibition of original and rare limited-edition artwork. Look out for the Art Of Protest York Special Edition, only available to be ordered until November 16, featuring the River Ouse-dwelling Tansy Beetle, an elusive insect featured on a resplendent mural near York railway station.
“This is an amazing opportunity to own a truly unique celebration of British fauna with a very special York twist,” says gallery owner Craig Humble. “CJP will add a Tansy Beetle to each piece, along with the gold leafing of the branches.”
Very definitely Pride Of Prejudice * (*Sort Of), sending up Jane Austen affectionately in Isobel McArthur’s play at York Theatre Royal
Theatrical flourish of the week: Pride And Prejudice* (*Sort Of), York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
MEN, money and microphones will be fought over in Pride And Prejudice* (*Sort Of), the audacious retelling of a certain Jane Austen novel, where the stakes couldn’t be higher when it comes to romance but it’s party time, so expect the all-female cast to deliver such emotionally turbulent pop gems as You’re So Vain and Young Hearts Run Free.
Writer Isobel McArthur directs this new production of her West End hit, Olivier Award winner for best comedy. Box office: 01904 623568 or yorktheatreroyal.co.uk.
In the driving seat: Kym Marsh’s Cruella De Vil in 101 Dalmatians The Musical. Picture: Johan Persson
Dog show of the week: 101 Dalmatians The Musical, Grand Opera House, York, until Saturday, 7pm plus 2pm today, Thursday and Saturday matinees
KYM Marsh’s Cruella De Vil leads the cast for this musical tour of Dodie Smith’s canine caper 101 Dalmatians. Written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, the show is re-imagined from the 2022 production at Regent’s Park Open Air Theatre, London.
When fashionista Cruella De Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, trouble lies ahead for Pongo and Perdi and their litter of tail-wagging young pups in a story brought to stage life with puppetry, choreography, humorous songs and, yes, puppies. Box office: atgtickets.com/york.
3 Missing 10 Hours, directed by Fanni Fazakas, showing in the Animation programme at Aesthetica Short Film Festival 2024
York festival of the week: Aesthetica Short Film Festival, York city centre, today to Sunday, and UNESCO City of Media Arts EXPO, Guildhall, York, Thursday to Saturday
THE BAFTA-Qualifying Aesthetica Short Film Festival returns for its 14th year under the direction of Cherie Federico, this time integrating the tenth anniversary of York’s designation as Great Britain’s only UNESCO City of Media Arts. Fifteen venues will play host to 300 film screenings in 12 genres, Virtual Realty and Gaming labs, plus 60 panels, workshops and discussions. For the full programme and tickets, head to asff.co.uk.
The UNESCO EXPO will showcase the region’s creative sector, working in film production, games development, VFX (visual effects), publishing and design, with the chance to try out new projects and speak to creatives. Entry to the Guildhall is free.
Ghosts After Dark: New nocturnal complement to the Ghosts In The Gardens installation in York Museum Gardens
Nocturnal event of the week: Ghosts After Dark, York Museums Gardens, tomorrow to Sunday, 6.30pm to 9.30pm; last entry, 8.30pm
YORK Museums Trust and the York BID present the inaugural Ghosts After Dark, showcasing York’s rich tapestry of historical figures with light, sound and storytellers for four nights only.
Ticketholders will have the exclusive chance to experience York Museum Gardens like never before, by choosing their own path to explore 46 ghostly sculptures, hidden around the gardens and lit dynamically against an atmospheric background of smoke and sound. Box office: yorkshiremuseum.org.uk/ghosts-after-dark/.
Fishermen’s Friends: Playing York Barbican this week, then returning next October
Gig announcements of the week: Fisherman’s Friends, York Barbican, October 3 2025
IN celebration of performing sea shanties for more than 30 years across the world, Fisherman’s Friends will head out from the Cornish fishing village of Port Isaac to play a British tour split between 2025 and 2026.
York will come early, booked for night number two next October on a 32-date itinerary announced even before they have played their sold-out Barbican gig on Friday this week on their Rock The Boat tour, promoting fifth album All Aboard. Box office: yorkbarbican.co.uk.
Skylights: York band headline York Barbican for the first time tonight
FROM Skylights to Ghosts After Dark, a fiesta of film to a musical dog show, Charles Hutchinson spots plenty to light up these November nights.
York gig of the week: Skylights, York Barbican, tonight, doors 7pm
ANTHEMIC York indie band Skylights play their biggest home-city gig to date this weekend with support from Serotones and Pennine Suite.
Guitarist Turnbull Smith says: ‘We’re absolutely over the moon to be headlining the Barbican. It’s always been a dream of ours to play here. So to headline will be the perfect way to finish a great year. Thanks to everyone for the support. It means the world and we’ll see you all there.” Box office update: Standing tickets still available at ticketmaster.co.uk.
Rob Rouse: Headlining Laugh Out Loud Comedy Club at The Basement, City Screen Picturehouse, tonight
Comedy gig of the week: Laugh Out Loud Comedy Club, Rob Rouse, Peter Brush, Faizan Shan and Damion Larkin, The Basement, City Screen Picturehouse, York, tonight, 8pm
PEAK District comedian, television regular, Upstart Crow actor and self-help podcaster Rob Rouse, who trained as a geography teacher at the University of Sheffield, makes a rare York appearance with his hyperactive, loveable brand of comedy.
Harrogate Comedian of the Year 2012 Peter Brush combines a slight, bespectacled frame and scruffy hair with quirky one-liners and original material, delivered in an amusingly awkward fashion. Manchester comic Faizan Shah’s material makes light of growing up in an immigrant household with the mental health challenges it brings. Organiser Damion Larkin hosts as ever. Box office: 01904 612940 or lolcomedyclubs.co.uk.
Artist CJP with his work The Majestic Oak at Art Of Protest Gallery, York
Exhibition of the week: From Little Acorns Grow Mighty Hopes: An Exhibition of Hand-drawn Natural Wonders, Art of Protest Gallery, Walmgate, York, until November 16
ART Of Protest is the first gallery to show CJP’s work The Majestic Oak in an exhibition of original and rare limited-edition artwork. Look out for the Art Of Protest York Special Edition, only available to be ordered until November 16, featuring the River Ouse-dwelling Tansy Beetle, an elusive insect featured on a resplendent mural near York railway station.
“This is an amazing opportunity to own a truly unique celebration of British fauna with a very special York twist,” says gallery owner Craig Humble. “CJP will add a Tansy Beetle to each piece, along with the gold leafing of the branches.”
Pride And Prejudice * (*Sort Of): Making merry mayhem with Jane Austen’s novel at York Theatre Royal. Picture: Mihaela Bodlovic
Theatrical high spirits of the week: Pride And Prejudice* (*Sort Of), York Theatre Royal, November 4 to 9, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
MEN, money and microphones will be fought over in Pride And Prejudice* (*Sort Of), the audacious retelling of a certain Jane Austen novel, where the stakes couldn’t be higher when it comes to romance but it’s party time, so expect the all-female cast to deliver such emotionally turbulent pop gems as Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain.
Writer Isobel McArthur directs this new production of her West End hit, Olivier Award winner for best comedy and Emerging Talent Award winner in the Evening Standard Theatre Awards, now featuring University of York alumna Georgia Firth in the cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.
On the spot: 101 Dalmatians The Musical takes up canine residence at the Grand Opera House from Tuesday. Picture: Johan Persson
Dog show of the week: 101 Dalmatians The Musical, Grand Opera House, York, November 5 to 9, 7pm plus 2pm Wednesday, Thursday and Saturday matinees
KYM Marsh’s Cruella De Vil leads the cast for this musical tour of Dodie Smith’s canine caper 101 Dalmatians. Written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, the show is re-imagined from the 2022 production at Regent’s Park Open Air Theatre, London.
When fashionista Cruella De Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, trouble lies ahead for Pongo and Perdi and their litter of tail-wagging young pups in a story brought to stage life with puppetry, choreography, humorous songs and, yes, puppies. Box office: atgtickets.com/york.
3 Missing 10 Hours, directed by Fanni Fazakas, showing in the Animation programme at Aesthetica Short Film Festival 2024
York festival of the week: Aesthetica Short Film Festival, York city centre, November 6 to 10, and UNESCO City of Media Arts EXPO, Guildhall, York, November 7 to 9
THE BAFTA-Qualifying Aesthetica Short Film Festival returns for its 14th year under the direction of Cherie Federico, this time integrating the tenth anniversary of York’s designation as Great Britain’s only UNESCO City of Media Arts. Fifteen venues will play host to 300 film screenings in 12 genres, Virtual Realty and Gaming labs, plus 60 panels, workshops and discussions. For the full programme and tickets, head to asff.co.uk.
The UNESCO EXPO will showcase the region’s creative sector, working in film production, games development, VFX (visual effects), publishing and design, with the chance to try out new projects and speak to creatives. Entry to the Guildhall is free.
Ghosts After Dark: New nocturnal complement to the Ghosts In The Gardens installation in York Museum Gardens
Nocturnal event of the week: Ghosts After Dark, York Museums Gardens, November 7 to 10, 6.30pm to 9.30pm; last entry, 8.30pm
YORK Museums Trust and the York BID present the inaugural Ghosts After Dark, showcasing York’s rich tapestry of historical figures with light, sound and storytellers for four nights only.
Ticketholders will have the exclusive chance to experience York Museum Gardens like never before, by choosing their own path to explore 46 ghostly sculptures, hidden around the gardens and lit dynamically against an atmospheric background of smoke and sound. Box office: yorkshiremuseum.org.uk/ghosts-after-dark/.
Rag’n’Bone Man: Returning to Scarborough Open Air Theatre next summer
Gig announcements of the week: TK Maxx presents Scarborough Open Air Theatre, UB40 featuring Ali Campbell, July 6, and Rag’n’Bone Man, July 11 2025
“I THINK I’ve got the best reggae band in the world,” says UB40 legend Ali Campbell, who last played Scarborough OAT in 2021. “They are all seasoned musicians, who have spent all their lives in professional bands, and I feel so confident with them.” Support acts will be Bitty McLean and Pato Banton.
Triple BRIT Award and Ivor Novello Award winner Rag’n’Bone Man, alias Rory Graham, will follow up his 2023 Scarborough OAT show with a return next summer in the wake of his third album, What Do You Believe In? entering the charts at number three last Friday. His special guest will be Elles Bailey. Box office: ticketmaster.co.uk.
Show announcement of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17 2025
Gary Oldman reflecting on his first steps in professional theatre in the York Theatre Royal dressing rooms on his March visit
OSCAR winner Gary Oldman will return to York Theatre Royal, where he began his career as a pantomime cat, to direct himself in Krapp’s Last Tape next spring: his first stage appearance since the late-1980s.
The April 14 to May 17 2025 production of Samuel Beckett’s one-act monodrama was set in motion when Slow Horses star Oldman paid a visit to the St Leonard’s Place theatre in March, when he met chief executive Paul Crewes.
“When Gary visited us at the beginning of the year, it was fascinating hearing him recount stories of his time as a young man, in his first professional role on the York Theatre Royal stage.,” says Paul.
“In that context when we started to explore ideas, we realised Krapp’s Last Tape was the perfect project. I am very happy that audiences will have this unique opportunity to see Gary Oldman return to our stage in this brand new production.”
Making plans: Actor and director Gary Oldman in discussion with York Theatre Royal chief executive Paul Crewes in the York Theatre Royal main house auditorium
Ticket prices start at £25, with priority booking for the York Theatre Royal Director’s Circle opening on November 6, YTR Members’ priority booking from November 11 and public booking on November 16, all from 1pm. To become a member and access priority booking, head to: https://www.yorktheatreroyal.co.uk/support-us/.
After graduating from Rose Bruford College of Speech and Drama, Londoner Oldman started out in the repertory ranks at York Theatre Royal in 1979 in such plays as Privates On Parade and She Stoops To Conquer and playing the Cat in Berwick Kaler’s third York pantomime, Dick Whittington, that Christmas.
Dame Berwick later told the Guardian in an interview in 2018: “Gary has gone on to become one of our greatest screen actors but I’m afraid he was a bit of a lightweight when it came to pantomime.
“He kept fainting inside the costume. On at least three occasions I had to turn to the audience and say, ‘Oh dear, boys and girls, I think the poor pussy cat has gone to sleep’!”
Gary Oldman as the Cat with dame Berwick Kaler, centre, in the 1979-1980 York Theatre Royal pantomime Dick Whittington. Picture: York Theatre Royal
Oldman, now 66, posted on Instagram: “My professional public acting debut was on stage at the York Theatre Royal. York, for me, is the completion of a cycle. It is the place ‘where it all began’. York, in a very real sense, for me, is coming home.
“The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.”
After cutting his teeth in York, New Cross-born Oldman went on to act at the Glasgow Citizens Theatre, the Royal Court, London, and the Royal Shakespeare Company. He then swapped theatre for film with break-our roles as Sid Vicious in Sid And Nancy (1986), Lee Harvey Oswald in JFK (1992) and Dracula in Bram Stoker’s Dracula (1992).
He later played Sirius Black in the Harry Potter film franchise and Commissioner Jim Gordon in Batman Begins, The Dark Knight and The Dark Knight Rises, won the 2018 Oscar, BAFTA and Golden Globe awards for Best Actor for his portrayal of Winston Churchill in Darkest Hour, and is now starring as obnoxious MI5 boss Jackson Lamb in the latest Apple+ series of British spy thriller Slow Horses.
Gary Oldman (third from the left in hat and glasses) in Privates On Parade at York Theatre Royal in 1979: one of his first professional performances after graduating from Rose Bruford College of Speech and Drama, in Sidcup, Kent, with a BA in Acting. Picture: York Theatre Royal
Oldman has been considering going back to the stage for a long time. “I have never been far from the theatre and, in fact, have been discussing plays and my return to the theatre for nearly 30 years,” he posted.
What happens in Krapp’s Last Tape, Samuel Beckett at his most theatre of the absurd? Each year, on his birthday, Krapp records a new tape reflecting on the year gone by.
On his 69th birthday, Krapp, now a lonely man, is ready with a bottle of wine, a banana and his tape recorder. Listening back to a recording he made as a young man, Krapp must face the hopes of his past self.
The melancholic, tragicomic role was premiered in 1958 by Patrick Magee and has been played by the likes of Albert Finney, Harold Pinter, John Hurt, Stephen Rea and Kenneth Allan Taylor, the long-running Nottingham Playhouse pantomime dame, writer and director, at York Theatre Royal in 2009.
Gary Oldman’s Cat in the 1979-1980 York Theatre Royal pantomime Dick Whittington. Picture: York Theatre Royal
Samuel Beckett (1906 – 1989): the back story
IRISH writer, dramatist and poet, specialising in theatre of the absurd. Wrote in English and French. Principal works for the stage included Endgame, Krapp’s Last Tape and Waiting For Godot. Awarded Nobel Prize for Literature in 1969.
Gary Oldman: Further screen appearances
TINKER, Tailor, Soldier, Spy (Academy Award and BAFTA nominations); Mank (Academy Award and Golden Globe Award nominations); Oppenheimer; The Book Of Eli; Meantime; The Firm; Prick Up Your Ears; Rosencrantz And Guildenstern Are Dead; State Of Grace; Romeo Is Bleeding; True Romance; Leon/The Professional; The Fifth Element; Immortal Beloved and Dawn Of The Planet Of The Apes, among many others.
Worked with directors Stephen Frears, Oliver Stone, Frances Ford Coppola, Luc Besson, Alfonso Curon, Chris Nolan, Tony Scott, Ridley Scott, Steven Soderbergh, David Fincher and Paulo Sorrentino.
Did you know?
IN 1995 Gary Oldman and producing partner Douglas Urbanski founded a production company, producing Oldman’s screenwriting and directorial debut, Nil By Mouth, winner of nine majot awards from 17 nominations.
Selected to open the main competition for the 1997 50th Anniversary of the Cannes Film Festival, where Kathy Burke won Best Actress. The same year, Oldman won Channel Four Director’s Prize at Edinburgh International Film Festival, British Academy Award (shared with Douglas Urbanski) for Best Film and BAFTA for Best Original Screenplay.
In Focus:Other Lives Productions in How To Be Brave, Theatre@41, Monkgate, York, Sunday, 7.30pm, and on tour
Livy Potter as Katy, left, and Alice Rose Palmer as mum Natalie in Louise Beech’s How To Be Brave
ON March 19 1943, just after midnight, Merchant Seaman Colin Armitage’s cargo ship, the Lulworth Hill, was torpedoed by an Italian Navy submarine in the South Atlantic. He scrambled aboard a life raft. Fifty days later HMS Rapid rescued him.
Colin was the grandfather of How To Be Brave playwright Louise Beech. Sixty-four years after his ordeal, Louise’s daughter, Katy, was diagnosed with Type 1 diabetes. In order to distract her during insulin injections Louise began to tell the story of Colin’s bravery and determination to survive.
The story inspiring ten-year-old Katy to be brave in the face of her diabetes is a true one. She has said that Grandad Colin’s experience made her determined to carry on when she wanted to give up and die: “If Grandad Colin can survive an ordeal like that, I can do anything. I can do these injections,” she said. And she has never faltered.
Director Kate Veysey with Rose’s seagull Gilbert
“We hope that by presenting this story we can inspired audiences in the East Riding and beyond,” says director Kate Veysey, a familiar name from both York Theatre Royal Youth Theatre and Next Door But One productions.
Scenes alternate between the life raft and Katy’s house in Hull as York actors Jacob Ward and Livy Potter take the roles of Colin Armitage and Rose (Katy, given a pseudonym), joined by Lex Stephenson as carpenter Ken Cooke, on the raft, Alice Rose Palmer as Natalie (alias mum Louise) and Alison Shaw as nurse Shelley. Age guidance: ten upwards (the show contains moderate bad language). Box office: tickets.41monkgate.co.uk.
Lex Stephenson, as Ken Cooke, left, and Jacob Ward, as Colin Armitage, in Other Lives Productions’ How To Be Brave
Wonder-ful:Hilson Agbangbe’s Sonny in Wonder Boy. Picture: Steve Tanner
WHAT was the last play to capture the forlorn yet defiantly hopeful schoolroom experience so expressively? Willy Russell’s musical Our Day Out, with its busload of bored teens, springs to mind; John Godber’s Teechers even more so, especially in its Leavers 22 revamp.
In a new class of its own is Ross Willis’s Wonder Boy, an exploration of the power of communication with the aid of creative captioning, wherein the electronic screen captures every last repeated letter of young Sonny’s “Stammer Horror” experience.
At the helm of Bristol Old Vic’s touring production is Sally Cookson, whose unforgettable National Theatre staging of Charlotte Bronte’s Jane Eyre lit up the Grand Opera House with such vitality, imagination and innovation in 2017 that it won that year’s Hutch Award for Stage Production of the Year in York.
What her reading of Wonder Boy shares with her Jane Eyre is its focus on a central character’s struggles in a world seemingly set against them, taking up residence inside the head of the outsider so completely that we feel we are in there too.
In this case, 12-year-old Sonny (Hilson Agbangbe) lives with a stammer that leaves him silent and sullen at school. Words, not ideas, hopes or flights of fancy, evade him except when in the company of his imaginary friend, the combative word warrior Captain Chatter (Ciaran O’Breen).
The omnipresent caption and video design, courtesy of Limbic Cinema’s Tom Newell, charts every uttering of Sonny, whether fluent when kept inside that troubled head or when in conversation with rebellious, trouble-magnet friend Roshi (Naia Elliott-Spence), report-obsessed new head teacher Miss Fish (Meg Matthews at Wednesday’s matinee/Jessica Murrain) or his Mum (Matthews/Murrain again) in flashback scenes that trace her downward spiral.
Sonny expresses himself in his comic-book drawings, but inevitably bullying will spoil that well of creativity and expression in this struggling, downtrodden secondary school.
When the insensitive Miss Fish decides to impose the role of the Guard in Hamlet on him in the school play, Sonny finds an ally in the shape of unconventional deputy head Wainwright (Eva Scott), Wonder Boy’s answer to Godber’s new drama teacher in Teechers, Geoff Nixon.
Wainwright likes Ryvita nibbles, paper planes and Star Wars models; Wainwright dislikes Miss Fish’s methods, manner and form-filling excesses. For all her love of teaching, she will be the next to join the stampede of exits stage left from the teaching profession.
Willis writes with an anger and vigour, a frustration too, to match former teacher Godber – and that of Sonny too, although the boy’s determination to deliver his lines brings tears to the eye.
Cookson’s witty and wise direction combines with Willis’s astute writing to bring out the playful, scabrous humour as much as the pathos in Wonder Boy, not least in not shying away from the frank, “very sweary” language that adds even more impact.
Agbangbe and Scott, in particular, are terrific, their scenes together being the most moving your reviewer has seen on a York stage this year. Top marks too for Katie Sykes’s set and costume design, Laila Diallo’s Kapow-style movement direction and Benji Bower’s incidental compositions.
Wonder Boy is wondrous theatre, a lesson to us all in the importance of listening and breaking down barriers. Box office: 01904 623568 or yorktheatreroyal.co.uk.
You can’t stop the beat: The Hairspray The Musical cast on Takis’s psychedelic stage
HAIRSPRAY opened on Monday, but press night was on Tuesday, when it was somewhat of a surprise to be presented with an extensive notice headed “For this performance the role of… will be played by”.
The list covered a full page of A4, eight roles in all, but the eye went straight to the disappointing absence of Yorkshire lead actor and Hull New Theatre pantomime favourite Neil Hurst, whose interview featured in The Press on Monday.
In his stead, understudy Stuart Hickey would be cross-dressing as Edna Turnblad, the no-nonsense laundry service, played on screen by Divine and John Travolta, no less. Hurst will be back from Thursday, we are told.
On a further Yorkshire note, your reviewer had hoped to see Alexandra Emmerson-Kirby in her professional debut as plucky daughter Tracy Turnblad after cutting her musical theatre teeth at the YMCA Theatre in Scarborough.
On tour, however, performances are being shared out with Katie Brice, and on Tuesday, it was Katie’s turn. What a feisty, fearless, funny performance she gave.
Still the feel-best of all the feel-good musicals, Hairspray will be playing to big houses all week, all the more so in half-term week when families are looking to fill the diary with not only Halloween parties and too many sweets.
Paul Kerryson and Brenda Edwards’s touring production last played the Grand Opera House in July 2018, and it returns looking even more kaleidoscopically colourful in Takis’s design for this black-and-white anti-segregation story.
Rooted in John Waters’ cult 1988 cinematic nostalgia spoof and the tongue-in-cheek panache of the 2007 Travolta-led movie remake, this fabulously flamboyant, highly humorous and exuberantly energetic spin-off Broadway musical is propelled by Marc Shaiman and Scott Whittman’s Sixties pastiche songs and Mark O’Donnell and Thomas Meehan’s witty, anarchic book.
Takis delivers a deliciously gaudy set and costume design, as groovy as an Austin Powers movie, now complimented by George Reeve’s projections designs that bring a hi-tech sheen to evoking an early-Sixties retro vibe, whether depicting Baltimore streets, the TV studio for The Corny Collins Show, the Turnblad and Pingleton homes or a prison cell that echoes Elvis’s Jailhouse Rock movie.
Hairspray is set in 1962 Baltimore, Maryland, where teen rebel Tracy Turnblad (Brace/Emmerson-Kirby) vows to prove “fat girls can dance”, as she challenges the segregation policy that excludes her like and the black community from appearing in the TV talent contest introduced by the slick Corny Collins (cheeky charmer Declan Egan).
On one side of the divide are Tracy; outspoken, larger-than-life mum Edna Turnblad (Hickey/Hurst) and joke shop-owning doting dad Wilbur (Dermot Canavan), and geeky pocket-dynamo best friend Penny Pingleton (Nina Bell/Freya McMahon).
So too are hip-swivelling black pupil Seaweed J Stubbs (Shemar Jarrett/Reece Richards)) and the sage, savvy Motormouth Maybelle (Michelle Ndegwa).
On the other side are the aspiring pageant queen, spoilt brat Amber (Allana Taylor) and her bigoted mother, the TV show’s shrewish, bigoted producer, villainous Velma Von Tussle (Strictly Come Dancing alumna Joanne Clifton in the latest of multiple Grand Opera House musical appearances).
Torn between needy pin-up girl Amber and boundary-breaking Tracy is the TV show’s Elvis-lite pretty boy, Link Larkin (Solomon Davy).
Hickey’s Edna is very much a towering man in a dress, but equips her with the requisite twinkling eye, abundant love of family and well-timed putdowns for authority, and is at his best in the double act duet with Canavan’s ever-resourceful Wilbur, Timeless To Me. Mel Brooks would surely love it.
Beneath her bouffant beehive, Brace’s Tracy buzzes with enthusiasm for life and taking every opportunity; Davy’s Link carries a crooner’s tune and pink suit with equal aplomb, and Clifton’s humorously sour-faced Velma is full of vile style.
Soul and gospel singer Michelle Ndegwa is resplendent in her theatre debut as Motormouth Maybelle after working with the likes of Gorillaz, Gregory Porter and Leeds band Yard Act. Golden hair, golden dress, golden voice, she brings the house down in the stand-out I Know Where I’ve Been.
Exuberant dance numbers choreographed with oomph and pizzazz by Drew McOnie combine with fun, fabulous and forthright performances in a knockout show where “you can’t you stop the beat” but you can beat intolerance, bigotry and racism.
Hairspray, Grand Opera House, York, until Saturday, 7.30pm and 2.30pm Saturday matinee. Box office: atgtickets.com/york.
OLIVIER Award winner Sally Cookson directs Bristol Old Vic’s production of Wonder Boy, Ross Willis’s exploration of the power of communication, on tour at York Theatre Royal from tonight to Saturday.
Playful humour, dazzling visuals and thrilling original music combine in this innovative show that uses live creative captioning on stage throughout as 12-year-old Sonny, who lives with a stammer, must find a way to be heard in a world where language is power, with the aid of his imaginary friend Captain Chatter.
When cast in a school production of Hamlet by the head teacher, Sonny discovers the real heroes are closer than he thinks.
Here Sally discusses the wonders of Wonder Boy.
How did your production of Wonder Boy come to fruition?
“I was invited to a new writing festival at Bristol Old Vic Theatre School pre-pandemic in which Ross Willis’s play was presented. It jumped out at me as a piece of unique writing, and I was attracted to the way Ross combined an absurd world with the very real. It made me laugh and cry.
“I contacted him and went to see his production of Wolfie at Theatre 503 [in Battersea, London], which I loved. Tom Morris [the then artistic director of Bristol Old Vic] agreed to programme Wonder Boy the following year at Bristol Old Vic but that got postponed because of Covid.
“Ross and I got to know each other during the pandemic via delightful phone calls where we’d just talk about anything and everything. Chatting with Ross is like being in one of his plays. Wonder Boy finally got performed in 2022, a couple of years later than intended, but by which time we’d had a chance to dream up ideas together about the show.
Hilson Agbangbe as Sonny in Bristol Old Vic’s Wonder Boy. Picture: Steve Tanner
In the play, Ross Willis writes movingly about the frustrations that can come with having a stammer. How did you bring that into the structure of the show?
“This is at the heart of the piece. Ross calls it the great inner operatic pain that comes not being able to be seen or express yourself. It was essential that we found a way of bringing all elements of the production together to illustrate and highlight Sonny’s plight.
“Music is especially important in helping with this and Benji Bower’s composition manages to get right inside the character’s head. But casting an actor who is able to portray the character’s trauma is key.
“Understanding what causes Sonny to behave in the way he does and identify every moment of his thought process is vital. Some of Sonny’s darkest moments happen when there is no text, so being able to identify how his pain manifests physically is important too.
“Ross has written it into the structure of the show, those big absurd moments when Shakespeare comes to life to torment Sonny or when vowels and letters attack him are all moments that tap into his inner operatic pain.”
How is creative captioning used in the show?
“The play is about what happens when a person communicates differently and the challenges they face when fluent speech is the expected societal norm. It felt entirely natural to include creative captions as part of the overall design of the show to tap into the major theme of communication.
“Creative captioning involves incorporating the entire text into the world of the play. We don’t just display the words on a small digital strip positioned either to the left or right of the stage; we ensure that all the words spoken are visually central to the piece.
Designed by Tom Newell, the creative captions provide another creative layer and are not only an access tool for deaf, deafened or hard of hearing people but an important part of the imaginative world created in the play.”
Hilson Agbangbe’s Sonny with his imaginary friend, Ciaran O’Breen’s Captain Chatter. Picture: Steve Tanner
Wonder Boy deals with mental health issues, such as suicide. Can theatre do that particularly well?
“My experience is that theatre is a wonderful place to interrogate the stuff that frightens us as humans. And to ask those questions safely in a rehearsal room, and to share that with an audience is what theatre does best.
“In Wonder Boy the protagonist Sonny experiences complicated feelings of guilt, shame, grief and anger as a result of his mother’s death by suicide. A lot of plays written for young people shy away from themes such as this, but Ross approaches the subject with honesty and integrity. He understands what young people endure and gives voice to their suffering in an imaginative way.
“Theatre is a space to gather together to explore human behaviour, and hopefully come away with a bit more understanding of why we do the things we do.”
Wonder Boy is a play for young people – and very “sweary” too. Discuss…
“Oh, we had so many discussions about the ‘sweariness’. It has taken us around and about and back to where we started, which is why we’ve changed very little of it. Ross is quite right – most young people swear a lot. It has become part of the way they communicate.
Some adults get quite upset about the amount of swearing in the show; no young people do. And the play really is for teenagers. Getting teenagers into the theatre is very difficult, and I think Ross has absolutely found a way of engaging them – by telling a beautiful and important story and using an extreme version of the language they identify with.
A scene from Bristol Old Vic’s touring production of Wonder Boy
This show illustrates the impact of art, and theatre in particular, on young people, especially those who experiencing difficulties. Are you passionate about this?
“Yes. That’s what helped me. I hated school. I was really miserable. And my mum sent me to the local youth theatre. That’s where my journey into the arts started. And it’s where I suddenly felt valued, and where I had a voice, so I feel very strongly about it.
And now more than ever – with a curriculum starved of the arts (hopefully this will soon change) – theatre is essential in engaging young people’s imaginations and allowing them space to dream and think big.”
What can theatre give to a young person who is struggling to be heard or to find a voice?
“So many things. It’s not just about encouraging young people to work in the arts. By joining a youth theatre, being part of an audience regularly, partaking in drama, it can make you feel more connected, less alone.
“It can inspire your imagination, make you think bigger, think differently; it can encourage empathy by helping you understand why other people behave like they do. It can tap into your own artistic talents, and help you find things out about yourself that you never knew you had. It can also just be a good laugh. The list is endless.”
Bristol Old Vic presents Wonder Boy, York Theatre Royal, tonight until Saturday; evenings, 7.30pm, tonight, tomorrow and Friday; matinees, 2pm, Wednesday, Thursday; 2.30pm, Saturday. Box office: 01904 623568 / yorktheatreroyal.co.uk.
Flashback
Nadia Clifford as Jane Eyre in the National Theatre’s Jane Eyre, directed by Sally Cookson
IN the 2017 Hutch Awards, Sally Cookson’s National Theatre staging of Jane Eyre, performed on tour at the Grand Opera House, York, won Stage Production of the Year in York made outside York.
“YOU will not see a better theatre show in York this year, and you won’t have seen a better theatre show in York since The Curious Incident Of The Dog In The Night-Time”. So The York Press review stated in May that year.
How true that proved to be. Cookson’s devised production of vivid, vital imagination brought Charlotte Bronte’s Jane Eyre back to Yorkshire with breathtaking results.
The Whitby Rebels cast on a boat trip in Scarborough’s South Bay: from left, Keith Bartlett, Duncan MacInnes, Jacky Naylor, Jacqueline King, Louise Mai Newberry and Kieran Foster. Picture: Tony Bartholomew
FROM a motley crew all at sea to Eighties’ pop and rock stars, a beehive buzz of a campaigning American teen to a boy with a stammer, Charles Hutchinson’s week promises both adventure and misadventure.
World premiere of the week: The Whitby Rebels, Stephen Joseph Theatre, Scarborough, until November 2, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees
IN Whitby Harbour, in the summer of 1991, something extraordinary happened. A humble pleasure boat set sail for the Arctic crewed by misfits, pensioners and the vicar for Egton and Grosmont, North Yorkshire.
This motley crew was assembled by Captain Jack Lammiman to complete a daring mission: to erect a plaque honouring Whitby whaling Captain William Scoresby senior on a volcanic island hundreds of miles north of Iceland. Bea Roberts’s new play tells their true story, boat on stage et al. Box office: 01723 370541 or at sjt.uk.com.
Ayana Beatrice Poblete and Reggie Challenger in Black Sheep Theatre Productions’ Songs For A New World
Song cycle of the week: Black Sheep Theatre Productions presents: Songs For A New World, National Centre for Early Music, Walmgate, York, today, 2.30pm and 7.30pm
ON the heels of last week’s The Last Five Years, Black Sheep Theatre perform another Jason Robert Brown work, 1995’s Songs For A New World.
Defying conventional musical theatre formats, Brown and original director Daisy Prince say the non-linear show is “neither musical play nor revue”, but exists as a “very theatrical song cycle” that explores such universal themes as hope, faith, love and loss in its emotionally charged songs. Box office: ticketsource.co.uk/blacksheeptheatreproductions/.
While & Matthews: Playing Hunmanby on closing night of 30th anniversary tour
Folk gig of the week: While & Matthews, Hunmanby Village Hall, near Filey, Sunday, 7.30pm
THE 30th anniversary tour of the longest-lasting female folk duo, singer-songwriters Chris While and Julie Matthews, concludes this weekend at Hunmanby Village Hall, where they sold out two years ago. Together they have played more than 2,500 gigs, appeared on 100 albums, written hundreds of original songs and reached millions of people around the world.
Chris (vocals, guitar, banjo, dulcimer and percussion) and Julie (vocals, piano, guitar, mandolin and bouzouki) released their 13th studio album, Days Like These, on Fat Cat Records last month. Box office: ticketsource.co.uk.
Arthur Smith: Grumpy old man of comedy at Helmsley Arts Centre
Comedy turn of the week: An Audience With Arthur Smith, Helmsley Arts Centre, Sunday, 7.30pm
COMPERE, playwright, panellist, performer and Edinburgh Fringe stalwart Arthur Smith worked previously as a road sweeper, dustman, market researcher and teacher. He even advertised chicken burgers in supermarkets dressed as a fox.
A career in stand-up comedy was the only one that could follow a build-up like that, he decided, since when he has appeared on quiz shows and Loose Ends, been a regular Grumpy Old Man and Countdown wordsmith and presented BBC Radio 4’s Excess Baggage and Radio 2’s The Smith Lectures. Box office: 01439 771700 or helmsleyarts.co.uk.
Chrissie Hynde: Fronting The Pretenders at a sold-out York Barbican on Thursday
What an Eighties’ week at York Barbican: The Cult, Tuesday, sold out; Adam Ant, AntMusic 2024, Wednesday, limited ticket availability; The Pretenders, Thursday, sold out
THE Cult’s 8424: 40th Anniversary Tour brings Ian Astbury and Billy Duffy’s band to York with their pioneering fusion of post-punk, hard rock, and experimentalism. Pop icon Adam Ant performs his chart-topping hits and personal favourites in his AntMusic 2024 show on his return to the Barbican.
Chrissie Hynde leads The Pretenders in York, one of three additions to their extended 2024 tour, combining new tracks with classics such as Brass In Pocket and Back On The Chain Gang. Last year they released their 12th studio album, Relentless. Box office: yorkbarbican.co.uk.
Katie Brice’s Tracy Turnblad and Neil Hurst’s Edna Turnblad in Hairspray The Musical, on tour at the Grand Opera House, York
Musical of the week: Hairspray, Grand Opera House, York, October 28 to November 2, 7.30pm plus 2.30pm Wednesday and Saturday matinees
BASED on cult filmmaker John Waters’ 1988 American movie, Hairspray The Musical follows the progress of heroine Tracy Turnblad, with her big hair, big heart and big dreams to dance her way on to national television and into the heart of teen idol Link Larkin.
When Tracy (Katie Brice/Scarborough actress Alexandra Emerson-Kirby in her professional debut) becomes a local star, she uses her newfound fame to fight for liberation, tolerance, and interracial unity in Baltimore. Look out for Yorkshireman Neil Hurst as Tracy’s mum, Edna, and Strictly Come Dancing’s Joanne Clifton as villainous Velma Von Tussle. Box office: atgtickets.com/York.
Ciaran O’Breen as Captain Chatter and Hilson Agbangbe as Sonny in Wonder Boy, on tour at York Theatre Royal
Children’s story of the week: Wonder Boy, York Theatre Royal, October 29 to November 2; evenings, 7.30pm, Tuesday, Wednesday, Friday; matinees, 2pm, Wednesday, Thursday; 2.30pm, next Saturday
OLIVIER Award winner Sally Cookson directs Bristol Old Vic’s touring production of Wonder Boy, Ross Willis’s exploration of the power of communication, told through the experiences of 12-year-old Sonny and his imaginary friend Captain Chatter.
Playful humour, dazzling visuals and thrilling original music combine in this innovative show that uses live creative captioning on stage throughout as Sonny, who lives with a stammer, must find a way to be heard in a world where language is power. When cast in a school production of Hamlet by the head teacher, he discovers the real heroes are closer than he thinks. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Victoria Delaney and Tony Froud in J M Barrie’s Mary Rose, next week’s production by York Actors Collective. Picture: Clive Millard
Theatre Royal debut of the week: York Actors Collective in Mary Rose, York Theatre Royal Studio, October 30 to November 2, 7.45pm plus 2.30pm Thursday and 2pm Saturday matinees
YORK Actors Collective make their York Theatre Royal debut with a revival of Peter Pan and Quality Street playwright J M Barrie’s Mary Rose, adapted and directed by Angie Millard.
“Barrie uses dimensions of time to great effect,” she says. “His treatment of love, loss and unwavering hope draws in an audience and gives it universality. I’ve adapted the script to appeal to modern thinking but his themes are intact. The strange and ghostly atmosphere fits beautifully into our autumn slot, which includes Halloween and is a time for considering other worldliness.” Box office: 01904 623568 or yorktheatreroyal.co.uk.
Katie Brice’s Tracy Turnblad and Neil Hurst’s Edna Turnblad in Hairspray The Musical, on tour at the Grand Opera House, York, next week
YORKSHIREMAN Neil Hurst returns to York’s Grand Opera House all this week after his standout turn as big Dave in The Full Monty last October – and this time he has to wear a fat suit.
“I’m a big lad, but I’m not big enough for this role,” he says of the requirements to play agoraphobic laundry-business boss and mum Edna Turnblad in Hairspray The Musical, the part played by Divine in John Waters’ cult 1988 American film and later by John Travolta in the 2017 movie musical remake.
“I have to wear a fat suit as well as the false boobs to look the part. It’s all about finding the physicality of the character that’s important. But everything’s there on the page, to find the voice, the way she moves.”
More than 100 shows into the tour, Halifax-born Neil says: “My feet are killing me with the heels I have to wear. I’m learning a lot about what it’s like to be a woman, but I’m having a ball. It’s such a joy to play Edna.
“Every now and then I slip into panto dame mode, but I do try to play Edna as a mum and a wife, finding the real woman in her rather being a big northern lad in a dress.”
How is the tour progressing since opening in July, with around 270 shows still to go? “I started getting RSI [Repetitive Strain Injury] in my right elbow because of all that flapping of my wrists, but now I think my muscles have got used to it,” says Neil.
“Having said that, as I stood by the fridge the other day, my wife said, ‘Why are you standing like that?’. I was standing with a hand on a boob, like Edna does!”
Quick refresher course: Hairspray The Musical is the story of heroine Tracy Turnblad, with her big beehive hair, big heart and big dreams to dance her way on to national television and into the heart of teen idol Link Larkin, supported all the way by mum Edna but hindered by villainous Velma Von Tussle (Strictly Come dancing’s Joanne Clifton).
When Tracy (Katie Brice/Scarborough actress Alexandra Emerson-Kirby in her professional debut) becomes a local star, she uses her newfound fame to fight for liberation, tolerance, and interracial unity in Baltimore, but can she succeed?
“It’s a massively popular show,” says Neil. “I was a big fan of the original film in the Eighties, and then the musical and the later film too. At the core of it, it’s a really good story, and if you get the story right, you can’t go wrong. It’s got a good message, it’s politically apt, saying you should love people for who they are, not what they look like.
“Also, every few minutes, there’s a banging number, ending with You Can’t Stop The Beat. The music is great, the script is brilliant, and then we have Joanne Clifton, who’s wonderful as the baddie character, Velma Von Tussle.
“We get on like a house on fire. We love to do a jigsaw puzzle at every venue, and we’re like these two old fuddy-duddies with all the others being about 20 years old!”
Neil will be taking a winter break before resuming the tour until April, but not for a rest. Instead, this award-winning pantomime performer will be returning to Hull New Theatre for Goldilocks And The Three Bears.
“This time I’m playing Joey the Clown, who’s in love with Goldilocks. I’ve got to try to woo her affection by being the biggest and best act in the circus,” he says. “This will be my fifth Hull pantomime, I love doing the panto there, and this one is very different.
“We’re bringing Hairspray to Hull New Theatre in a few weeks’ time, in the middle of November, but annoyingly I start panto rehearsals the week after, when we’ll be in Bradford that week, so I’ll be be going over in the day to do rehearsals and performing Hairspray at night.”
Hairspray The Musical, Grand Opera House, York, October 28 to November 2, 7.30pm plus2.30pm Wednesday and Saturday matinees. Box office: atgtickets.com/york.
Did you know?
NORTHERN actor, presenter, writer, podcaster, husband and dad Neil Hurst began his career as a song-and-dance act, touring the country in comedy and variety shows and supporting comedy legends such as Bruce Forsyth, Bob Monkhouse, Jimmy Tarbuck, Ken Dodd and Cannon and Ball.
Neil Hurst’s television credits include two series in a recurring live improvisation role on Michael McIntyre’s Big Show on BBC One, working alongside McIntyre to set up his Unexpected Star of the Show.
Did you know too?
NEIL’S television credits include two series in a recurring live improvisation role on Michael McIntyre’s Big Show on BBC One, working alongside McIntyre to set up his Unexpected Star of the Show.
He hosted his own USA television pilot for Food Network, Hopping The Pond, wherein he travelled the United States, eating local dishes, drinking local brews and learning all about small-town America from the locals.
One more thing..
NEIL wrote the pantomime scripts for Beauty And The Beast at CAST Doncaster and Cinderella for Towngate Theatre, Basildon. In his writing partnership with actress Jodie Prenger, together they have scripted A Very Very Bad Cinderella, The Government Inspector and Cinderella, A Socially Distanced Ball for London theatres The Other Palace, MTFest UK and Turbine Theatre.
