Tag: Jeanette Hunter

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REVIEW: MARMITE Theatre in Ladies’ Day, Theatre@41, Monkgate, York ****

Nicki Clay’s Shelley, left, and Gemma McDonald’s Linda in MARMiTE Theatre’s Ladies Day

AMANDA Whittington’s frisky-as-a-colt northern comedy-drama is on to a winner once more, this time trained by Martyn Hunter in the colours of MARMiTE Theatre.

Premiered by Hull Truck Theatre in 2005 to take advantage of Royal Ascot’s migration north to York Racecourse that summer, Ladies’ Day was last saddled up at Theatre@41, Monkgate, by Robert Readman’s Pick Me Up Theatre in 2019 with a cast led by the formidable female frontline of Rosy Rowley, Florence Poskett, Bromwyn Jennison and May Tether.

Lucy Beaumont, later to flourish as a none-more-Hull comedian, had made her professional debut as shy Linda in the Hull Truck show by the way.

Jeanette Hunter’s Pearl, left, Nicki Clay’s Shelley and Jackie Cox’s sozzled Jan in MARMiTE Theatre’s Ladies Day. Picture: Lucy Baines

Martyn Hunter had no hesitation in picking his principal quartet without auditions for MARMiTE Theatre’s second production, following up last autumn’s sold-out debut account of The Vicar Of Dibley.

Jeanette Hunter’s Pearl is on the cusp of leaving the Hessle fish-filleting factory where she works with food-obsessed Jan (Jackie Cox), diffident Tony Christie fan Linda (Rowntree Players pantomime goofball Gemma McDonald) and brassy, brittle wannabe celebrity Shelley (Nicki Clay, so splendid as vicar Geraldine in The Vicar Of  Dibley).

Readman had favoured two burgeoning talents in Poskitt and the now professional Tether, alongside Rowley and Jemmison, whereas Hunter banks on years and years of experience in his quartet, as Pearl heads off with the girls to Ladies’ Day at Royal Ascot on the Knavesmire track for her “non-retirement” party.

Jeanette Hunter’s Pearl, left, Nicki Clay’s Shelley, Jackie Cox’s Jan and Gemma McDonald’s Linda hoping for victory for Broken Dream in the sixth race in Ladies’ Day. Picture: Lucy Baines

Matched by Hunter’s design switching from white tiles and work surfaces to the pageantry of the racecourse, depicted in scenery artist Lucy Baines’s Knavesmire mural, they transform from peaked caps and white wellies to their Ascot glad rags and fascinators. Like Cinderella, all they need now is a ticket to have a ball, whereupon Linda chances across a mislaid handbag with four tickets inside.

“It’s stealing,” she says. “It’s fate,” says last-chance saloon dreamer Shelley, and in they go, placing a jackpot accumulator across the race card with each selection picked for its Tony Christie connection.

What ensues is a comedy whose breeding bears hallmarks of both Eliza Doolittle in My Fair Lady and John Godber’s stable of fast and furious, physical, happy-sad plays, where characters look to improve their circumstances as the ordinary briefly encounters the extraordinary.

Trevor Britain’s world-weary Irish jockey Patrick and Gemma McDonald’s Linda, Tony Christie’s number one fan, in Ladies’ Day. Picture: Lucy Baines

At work, the girls gossip, tease, spark and spar to counter the monotony,  singing Tony Christie’s (Is This The Way To) Amarillo and Michael Jackson’s Ben, and dreaming beyond the Hessle hustle and bustle. On the course, they still gossip, tease, spark and spar, but Whittington’s broad, brash comedy is underscored by darkness, in part influenced by the prodigious intake of alcohol by all but Linda.

Each makes a startling revelation as the day at the races progresses and the accumulator wins pile up towards the climactic sixth race. If Broken Dream wins, they will take home £500,000. If not, their dreams are broken.

In Hull, York pantomime regular Martin Barrass had brought chameleon character acting skills and comic craft to playing all of Whittington’s roster of men, who each crave an injection of happiness in their daily routines.

Jackie Cox’s Jan listens to Jeanette Hunter’s Pearl as she reveals her secret in Ladies’ Day. Picture: Lucy Baines

Hunter makes the decision to spread the roles, being rewarded by colourful turns by Chris Gibson’s Joe, the Australia-bound factory foreman; Robbie Howe’s leery, jaundiced TV racing pundit Jim McCormack; Stuart Rae’s cynical ticket tout Fred and drunken betting addict Kevin and Trevor Britain’s exotically coiffured Tony Christie and wistful veteran Irish jockey Patrick.

Martyn Hunter makes a late cameo appearance as bookie Barry in the play’s most heart-rending scene with wife Jeanette’s Pearl, to the accompaniment of Westverse’s cover of Unchained Melody. Pearl, who has hidden a secret for seven years, brings out the full range of Jeanette’s acting, adding grit to the familiar sparkle.  

Cox handles the tricky challenge of Jan’s drunk-as-a-skunk  behaviour with aplomb; McDonald’s Linda, the quiet one with the troublesome mother, suddenly blossoms with new radiance; Clay’s Shelley is the tour-de-force standout, even more vulnerable than the rest behind the boldest of fronts.

Robbie Howe’s TV racing pundit Jim spins his yarn to Nicki Clay’s Shelley in Ladies’ Day. Picture: Lucy Baines

Hunter’s design uses York Races and Royal Ascot insignia, a railing and foliage to set the scene, while a television screen announces each scene change and the betting odds for each race. Look out for the MARMiTE name on the fish factory sign.

There is so much to love about MARMiTE Theatre’s version of  a play long established as worthy of the winner’s enclosure.  Should you see it?  You bet!

MARMiTE Theatre presents Ladies’ Day, Theatre@41, Monkgate, until Saturday, 7.30pm plus  2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

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MARMiTE Theatre’s racecourse comedy-drama Ladies Day comes under starter’s orders at Theatre@41, Monkgate

Jeanette Hunter’s Pearl, left, Jackie Cox’s Jan, Nicki Clay’s Shelley and Gemma McDonald’s Linda in MARMiTE Theatre’s Ladies Day. Picture: Lucy Baines

YORK company MARMiTE Theatre’s second production, Amanda Whittington’s racecourse comedy-drama Ladies Day, comes under starter’s orders  next Tuesday.

Rehearsals are in the final furlong for artistic director and company founder Martyn Hunter’s production at Theatre@41, Monkgate, York, from September 8 to 12.

Premiered at Hull Truck Theatre in June 2005, Ladies Day’s tale of friendship, sisterly support and, above all, love follows Hull fish-filleting factory packers Pearl, Jan, Shelley and Linda as they embark on Pearl’s “I’m not retiring” leaving-do.

Out go the hairnets, wellies and overalls, in come the outrageous hats, high heels and posh frocks, as the four friends set off for Ladies Day at Royal Ascot in the one-off summer when the racing festival relocated to York’s Knavesmire course in 2005.

Jackie Cox’s Jan in rehearsal for MARMiTE Theatre’s Ladies Day. Picture: Lucy Baines

“As the racing begins and the champagne flows, we find out there is more to the mundane fish-packing lives of our four friends than we first thought,” says Martyn. “As the day unfolds and the races go by, we see their loves, losses and insecurities laid bare, but if their luck holds they could still hit the jackpot and a lot more besides.”

Jeanette Hunter’s Pearl will be joined in MARMiTE Theatre’s cast by Jackie Cox’s Jan, Nicki Clay’s Shelley, Gemma McDonald’s Linda, Chris Gibson’s Joe, Stuart Rae’s Fred and Kevin, Robbie Howe’s Jim, Martyn Hunter’s Barry and Trevor Britain’s Patrick and Tony Christie (yes, the South Yorkshire crooner).

Ladies Day has since spawned Whittington’s plays Ladies Down Under and Ladies Unleashed, but MARMiTE Theatre picked her original play as the racing cert for a winning production. “It was on our radar for quite some time, and then our hand was forced by not being able to do our second Vicar Of Dibley production, The Second Coming, as the follow-up to our sold-out November 2025 debut,” says Martyn.

“Or, rather, we decided not to do it, because the story of Hugo and Alice setting out on married life and parenthood was heavily written around the Christmas Nativity and the birth of their fist child.

MARMiTE Theatre artistic director Martyn Hunter

“We had permission from Ian Gower to adapt the script, but we didn’t think a September run quite gelled with a Christmas setting. Ladies Day was always in my mind to do and we knew we wouldn’t have any problems staging it.”

Last performed at Theatre@41, Monkgate, by Robert Readman’s company Pick Me Up Theatre in 2019, Ladies Day appealed to Martyn on several grounds. “Firstly, Amanda Whittington is one of the attractions because people know of the quality of the plays she’s written. Then there are the local connections: the four women coming from Hull, and York Racecourse – everyone of a certain age remembers Royal Ascot coming to York and all the chaos and opportunities that went with it!

“The  play also fits MARMiTE Theatre’s ethos of presenting light comedies, not deep-thinking plays. Audiences can buy a ticket, have a great time, go home.”

Martyn suggests audiences and actors alike are drawn to Whittington’s characters being ‘real people’. “Just to read it, it’s such a funny play that people can identify with, but then when you start rehearsing it, you realise they’re not superficial characters. They’re deeper than that, which is true to life. Everyone has a story to tell,” he says.

Off to the races: Jackie Cox’s Jan, left, Nicki Clay’s Shelley, Gemma McDonald’s Linda and Jeanette Hunter’s Pearl, front, in MARMiTE Theatre’s Ladies Day. Picture: Lucy Baines

York pantomime luminary Martin Barrass memorably played all the male characters in the Hull Truck premiere, but Martyn made the decision to divide the parts this time. “I’m glad we’ve spread them across five actors, who bring different qualities to the characters,” he says.

“I’ve looked at clips of amateur companies doing the show with one actor doing all the male roles, and often the actor looks ludicrous when playing the jockey. We have a guy called Trevor Britain in that role, who looks the part. He’s been in his local panto for years and has done a couple of shows with Escrick Monday Players. He’s the right stature, and even before opening his mouth, you think, ‘yeah, he could be a jockey’.”

Martyn handpicked Jeanette Hunter for Pearl, Jackie Cox for Jan, Nicki Clay for Shelley and Rowntree Players pantomime regular Gemma McDonald for Linda from “being in shows with them or seeing them on stage”. “I knew they were highly competent to take on their roles, and they all have that fun, easy-going character about them, which makes them great to work with,” he says.

“Rehearsing through July and August has been enlightening and enjoyable, but at the same a nightmare,” he jokes. “Can you imagine spending every Sunday with four loud, giggly ladies?! But at the end of the day, you will see the sacrifice has been worthwhile!

Jackie Cox’s Jan and Jeanette Hunter in fish-filleting garb in rehearsal for MARMiTE Theatre’s Ladies Day. Picture: Lucy Baines

“They’re all good for a laugh and nobody takes themselves too seriously, which is a big part of making rehearsals work. They’re good company to be with and it’s just a bonus that they’re all such talented actresses.”

Martyn has turned his hand to the set design too, one that will feature a racecourse mural, painted specially for the production by Lucy Baines. “It will all come together on Monday afternoon in time for Tuesday,” he says.

Looking ahead, a second coming for The Vicar Of Dibley: The Second Coming  could yet be on the cards for MARMITE Theatre. “I’m still very hopeful that we can do it in November 2027 at Theatre@41,” says Martyn. Watch this space.

MARMiTE Theatre in Ladies Day, Theatre@41, Monkgate, York, September 8 to 12, 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.

Did you know?

MARTYN and Jeanette Hunter are no strangers to enjoying Ladies Day, having attended Ladies Day at Ripon Racecourse for the past decade.

MARMiTE Theatre’s poster for Ladies Day at Theatre@41, Monkgate, York

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Under starter’s orders: MARMiTE Theatre to stage racing comedy Ladies Day at Theatre@41, Monkgate, from Sept 8 to 12

MARMiTE Theatre’s show announcement poster for Ladies Day at Theatre@41, Monkgate

YORK company MARMiTE Theatre will begin rehearsals on June 21 for Ladies Day, Amanda Whittington’s “racecourse comedy-drama to warm the cockles of your heart”.

Directed again by company founder Martyn Hunter, the company’s second production will run at Theatre@41, Monkgate, York, from September 8 to 12.

Premiered at Hull Truck Theatre in June 2005, Ladies Day’s tale of friendship, sisterly support and, above all, love follows Hull fish-filleting factory packers Pearl, Jan, Shelley and Linda as they embark on Pearl’s “I’m not retiring” leaving-do.

Nicki Clay’s Geraldine Granger in MARMiTE Theatre’s debut production, The Vicar Of Dibley, last November

Out go the hairnets, wellies and overalls, in come the outrageous hats, high heels and posh frocks, as the four friends set off for Ladies Day at Royal Ascot in the one-off summer when the racing festival relocated to York’s Knavesmire course in 2005.

“As the racing begins and the champagne flows, we find out there is more to the mundane fish-packing lives of our four friends than we first thought,” says Martyn. “As the day unfolds and the races go by, we see their loves, losses and insecurities laid bare, but if their luck holds they could still hit the jackpot and a lot more besides.”

Ladies Day playwright Amanda Whittington

Jeanette Hunter’s Pearl will be joined in MARMiTE Theatre’s cast by Jackie Cox’s Jan, Nicki Clay’s Shelley, Gemma McDonald’s Linda, Chris Gibson’s Joe, Stuart Rae’s Fred and Kevin, Robbie Howe’s Jim, Martyn Hunter’s Barry and Trevor Britain’s Patrick and Tony Christie.

“MARMiTE Theatre had hoped to follow up November 2025’s sell-out debut production of The Vicar Of Dibley with a return to the village of Dibley this year to continue the  story of Hugo and Alice as they set out on married life & parenthood,” says Martyn. 

“However, due to unforeseen difficulties, we’ve had to postpone a second visit but are keen to return to Dibley in 2027.” Watch this space.

Tickets for Ladies Day cost £15 at tickets.41monkgate.co.uk.

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REVIEW: MARMiTE Theatre in The Vicar Of Dibley, Theatre@41, Monkgate, York, tonight to Saturday ****

Always time for chocolate: Nicki Clay’s Geraldine Granger in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Paul Miles

MARMiTE Theatre’s entire run of The Vicar Of Dibley sold out before opening night. What an achievement for this new York company – and how enviously any number of village churches must look at the full congregation.

New company, yes, but one steeped in names familiar to followers of the York theatre scene, from director Martyn Hunter to Nicki Clay, a third generation York performer with more than 50 shows in 26 years to her name.

Here she is on doubly Dibley duty, having played the Reverend Geraldine Granger in May for the Monday Players in Escrick.

Joining her in Hunter’s company are Florence Poskitt, Neil Foster, Mike Hickman, Adam Sowter, Jeanette Hunter and Helen “Bells” Spencer, all regulars on York’s boards, and Glynn Mills, whose absence of a cast profile in the programme made him a man of mystery to your reviewer.

Who will fill that empty seat? Dibley Parish Council awaits the arrival of the new incumbent in The Vicar Of Dibley. Present are Mark Simmonds’s Owen Newitt, left, Neil Foster’s Hugo Horton, Glynn Mills’s David Horton, Mike Hickman’s Frank Pickle, Jeanette Hunter’s Letitia Cropley and Adam Sowter’s Jim Trott. Picture: Paul Miles

Research enquiries revealed he had been connected with theatre for 62 years, attending Central School of Speech & Drama, working in repertory theatre, the West End and on UK tours, and doing voiceovers and cabaret too. All that experience shows in a performance full of fire and ire, putdowns and intolerance as council chairman David Horton.

Rich Musk and Martyn Hunter’s set design accommodatesGeraldine’s cosy sitting room cum office with desk and typewriter alongside the tables and chairs of Dibley Parish Hall, permanently laid out for the next meeting.

Above is a screen, on which Ian Gower and Paul Carpenter’s cherry-picking of the best of Richard Curtis and Paul Carpenter’s first two television series opens with the familiar Dibley faces walking through the churchyard. Scene titles, Later, Later Still, Later That Evening, and such like, denote time of day and the change from one day to the next.

To either side of the screen on the mezzanine level is a neon-lit cross; on one occasion up there, Clay’s Geraldine tells one of her shaggy dog tales to Poskitt’s Alice Tinker, the ditzy church verger, but the lighting puts a distracting shadow slash across the vicar’s face from the barrier railing. Hopefully that can be eradicated.

In perfect harmony: Rachel Higgs, Helen “Bells” Spencer, Henrietta Linnemann and Cat Foster on choral duty in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Paul Miles

On more than one occasion, the York vocal harmony group The Hollywood Sisters (“Bells” Spencer, Cat Foster, Henrietta Linnemann and Rachel Higgs) transform themselves into The Holy Sisters to sing hymns in beatific Songs Of Praise manner. Wholly in harmony with the play’s multitude of formal meetings and informal chats, their inclusion is typical of Hunter’s good directorial judgements that see the sitcom flow of short scenes sustain momentum with a twinkle in the eye throughout.

The play opens with Mills’s grouchy parish council chairman David Horton hosting the meeting where the new vicar will make a first appearance. In attendance are his awfully nice son Hugo (Neil Foster); the stickler-for-accuracy minute-noting parish clerk Frank Pickle (Mike Hickman); knitting-on-her-knee Letitia Cropley (Jeanette Hunter) , creator of endless inedible cakes and sandwiches, and no-no-no-no-yes man Jim Trott (a gurning Adam Sowter, left arm in a sling, presumably not for extra comic effect?!).

Dashing in and out with bodily ablution problems that he loves to describe is blunt dairy farmer Owen Newitt (Mark Simmonds, York’s busiest actor of the moment as he follows his Macheath in York Opera’s The Beggar’s Opera with Dibley, only a month to go to Pick Me Up Theatre’s Anything Goes).

 Enter the new vicar, very definitely not a man as irascible chairman Horton expects, but Clay’s Geraldine Granger, drawing attention to her ample bust (matched by her even more ample supplies of chocolate). Whereupon Clay performs in the French style, mirroring the speech rhythms, facial expressions and mannerisms of Dawn’s sitcom vicar but with her own panache.

Nicki Clay’s Geraldine Granger looks on as Neil Foster’s Hugo Horton and Florence Poskitt’s Alice Tinker kiss at last in MARMiTE Theatre’s The Vicar Of Dibley. Picture: Paul Miles

Clay’s Geraldine is a delight throughout, at once reverent yet irreverent, and her scenes with Poskitt’s ever-slow-off-the-mark, exasperating Alice are a particular joy.

Poskitt, a supremely expressive physical comedian, wins hearts too in her love-struck, tongue-tied bonding with Foster’s equally awkward, inhibited Hugo. Their kissing clench that stretches from Act One finale into Act Two opener is one of the comic highpoints, not least from the nimble-footed input of Clay’s Geraldine, breaking down the fourth wall to play to the audience in providing a running commentary on what’s going on.

Hickman’s Pickle, Jeanette Hunter’s Letitia, Sowter’s Trott and especially Simmonds’s brusque Owen all have their moments too in MARMiTE Theatre’s debut that you will surely love, not hate. Don’t swear if you are too late for a ticket; Hunter and co have plans to do further Dibley village capers.

MARMiTE Theatre in The Vicar Of Dibley, Theatre@41, Monkgate, York, November 11 to 15, 7.30pm and 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk. All profits will be donated to Comic Relief.

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REVIEW: Rowntree Players in Glorious!, Joseph Rowntree Theatre, York, 2.30pm and 7.30pm today ***

Neil Foster’s Cosme McMoon Jackie Cox’s Florence Foster Jenkins and Mike Hickman’s St Clair Bayfield in the Rowntree Players poster for Glorious!, mirroring the composition of the poster for Stephen Frears’ film, by the way

GLORIOUS! is the true story of 1940s’ New York socialite heiress Florence Foster Jenkins, “the worst singer in the world”, yet cherished by Cole Porter and Tallulah Bankhead, no less.

You may recall Meryl Streep’s Oscar-nominated tour de force in Stephen Frears’ 2016 film or Hull actress Maureen Lipman in the West End premiere of Peter Quilter’s 2005 play with music. Now is the turn of Jackie Cox in Martyn Junter’s elegant production for Rowntree Players.

Meanwhile, as chance would have it, across the Pennines, Wendi Peters is playing Florence in a revised version of Quilter’s joyous drama at the Hope Mill Theatre in Manchester until March 30.

In her day, bemused audiences would great the screeching warbling of the deluded Florence with mocking laughter, but in Glorious! the laughter is reserved for Quilter’s script, whose wit is even sharper than Florence’s ever-enthusiastic but far-from-pitch-perfect singing.

We first encounter Cox’s flamboyant Florence in her grand hotel suite abode, where her constantly supportive manager and long-time companion, failed British Shakespearean actor St Clair Bayfield (Mike Hickman), has arranged for dapper Cosme McMoon  (Neil Foster) to be her new piano accompanist.

Apparently, St Clair has been cut from the streamlined Manchester production, but Hickman makes you wonder why as he continues his run of impressive performances with this arch, dry-humoured fixer.

Foster’s McMoon takes his place behind assorted grand pianos through the show, his face a picture of alrm when he first encounters the shocking noise of “the First Lady of the sliding scale”.

It becomes a running joke how McMoon’s eloquence allows him to seemingly flatter Florence by leaving out the exact word that would insult her and yet impart that meaning to the audience. Here Quilter’s delicious, mischievous writing is at its best, along with the moment he plays a delightful trick on the audience in a funeral scene, turning sombre repose to chuckles.

Florence loves to sing, loves to dress up, loves to entertain, loves to raise money for charity, loves music, but she does not take kindly to criticism, vetting her potential audiences by restricting entry to invitation only to her notorious balls.

She is shielded from the truth by kindly/sycophantic friends, such as Dorothy (Jeanette Hunter in a double act with a stuffed dog), but in Cox’s hands you cannot but warm to her passion for performing, even if you cover your ears when another high note falls off the cliff edge.

What’s more, like comedian Les Dawson’s deliberately maladroit piano playing, it takes skill to sing always tantalisingly either side of the right note. Director Hunter encouraged Cox to worsen her singing in rehearsal, advice that pays off in Cox’s indestructible performance.

Her Madame is neither an operatic diva, nor a circus freak show, more a singing equivalent to Olympian ski jumper Eddie “The Eagle” Edwards in still giving pleasure for all the faults in her technique. Quilter brings so much heart her character and to his storytelling, summed up in a poignant finale where we are invited to think how Florence, by now in angel wings for her triumphant Carnegie Hall farewell, thought she sounded when she sang.

That angelic frock is but one of many striking costume choices by Julie Fisher and Cox herself, matched by the set design with yellow walls and green doors for Florence’s hotel apartment.  Abundant flowers adorn the stage, courtesy of Robert Readman and cast members, and if Cox’s singing puts teeth on edge, the soothing recorded piano arrangements by Sam Johnson are of the highest order.

Martyn Hunter pops up in dapper dinner jacket to play a CBS news reporter, Graham Smith has a cameo as the Undertaker, and Quilter’s skill at crafting humorous characters is further affirmed by Moira Tait’s Maria, Florence’s Mexican maid, who sticks stoically to speaking Spanish  – aside from “sandwiches” – but understands every English utterance in another running gag.

Chris Higgins draws boos for her performance as Mrs Verrinder-Gedge, not for the quality of her acting, be assured, but for her music snob’s rude, mean-spirited interruption of Madame’s concert.

Not boos, but cheers, even tears, accompany Florence’s swan song – fitting for Rowntree Players’ polished, amusing, ultimately poignant show. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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Meet ‘the worst singer in the world’ as Rowntree Players stage Glorious!, the true story of socialite Florence Foster Jenkins

Enthusiastic performer: Jackie Cox’s Florence Foster Jenkins poses for the camera in full regalia in the rehearsal room for Rowntree Players’ production of Glorious!

COVER your ears! Here comes Glorious! The True Story Of Florence Foster Jenkins, The Worst Singer In The World, as told by Peter Quilter in his play with music, to be staged by Rowntree Players from March 13 to 15 at the Joseph Rowntree Theatre, York.

Billed as a “joyous and heart-warming comedy”, this 2005 play is based on the life of 1940s’ New York socialite Florence Foster Jenkins, who had a passion for singing but a voice for disaster, nevertheless defying her far-from-perfect pitch to perform enthusiastically to bemused audiences.

Considered by many to be “the worst singer in the world” and “the First Lady of the sliding scale”, Florence gave charity private recitals to fans, such as Cole Porter, sang at extravagant balls, made bizarre recordings and revelled in a legendary, triumphant sold-out performance at New York’s Carnegie Hall at the age of 76.

Neil Foster’s Cosme McMoon, left, Jackie Cox’s Florence Foster Jenkins and Mike Hickman’s St Clair in Rowntree Players’ Glorious!

Soprano Florence warbled and screeched her way through her performances, where audiences greeted her with derisive laughter, but this delusional and joyously happy woman paid little attention to her critics, instead surrounding herself with a circle of devoted friends who were almost as eccentric as she was.

Presented by arrangement with Concord Theatricals, Quilter’s play is a story of friends who embrace their delusions and have the courage to follow their dreams, no matter what.

Director Martyn Hunter has assembled a cast of Jackie Cox as Florence Foster Jenkins; Neil Foster,  Cosme McMoon; Jeanette Hunter, Dorothy; Mike Hickman, St Clair; Chris Higgins, Mrs Verrinderr-Gedge, and Moira Tate, Maria.

Mike Hickman in rehearsal for his role as St Clair

Martyn is joined in the production team by production and technical manager Graham Smith and marketing and costumes team Sara Howlett and Leni Ella.

Rowntree Players present Glorious! The True Story Of Florence Foster Jenkins, The Worst Singer In The World, Joseph Rowntree Theatre, York, March 13 to 15, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Did you know?

GLORIOUS received its West End premiere at the Duchess Theatre, London, on November 3, 2005, directed by Alan Strachan with Hull actress Maureen Lipman in the role of Florence Foster Jenkins.

Chris Higgins’s Mrs Verrinderr-Gedge, Jeanette Hunter’s Dorothy and Moira Tate’s Maria in a poster for Rowntree Players’ production of Glorious!

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REVIEW: York Musical Theatre Company in The Wizard Of Oz, Joseph Rowntree Theatre, York, until Saturday ****

Toto puppeteer Adam Gill, left, Rachel Higgs’s Scarecrow, Zander Fick’s Tin Man, Sadie Sorensen’s Dorothy and Daan Janssen’s Lion in York Musical Theatre Company’s The Wizard Of Oz. Picture: Lucy Baines, Joy Photography

BY day, Sadie Sorensen teaches A-level Biology. By night and weekend matinee this week, she is “very excited to take on the bucket list role” of Dorothy in only her second show for York Musical Theatre Company (YMTC).

She is relatively new to the York am-dram scene, having relocated here two years ago, but brings bags of experience, having performed in many shows in her Hull past.

What a good talent spot by director and choreographer Kathryn Addison, who is rewarded with a super lead performance by Sorensen.

At 26, she is ten years older than Judy Garland’s iconic Dorothy Gale in Victor Fleming’s 1939 film – much older too than Eleanor Leaper’s Dorothy, aged 13, in YMTC’s 2010 production at York Theatre Royal – but she utterly evokes the tearaway teenager. Pitch of Kansas voice, spot on. Her singing, both powerful and emotive, especially in Over The Rainbow.

Addison’s cast has plenty more hits too, not least casting York stage stalwart Jeanette Hunter into the dark side for the first time as the mean-spirited Miss Gulch and the grouchy villain, the Wicked Witch of the West. Hunter is as entertaining as ever, such a good sport as the baddie.

Fellow “veteran” Martyn Hunter is on good form too, both as the kindly Professor Marvel and the “humbug” Wizard of Oz; Ben Caswell’s Emerald City Guard is full of comic panache; Elizabeth Gardner glitters as Glinda and Marlena Kellie’s Aunty Em is suitably homely.

Full of green energy: Ben Caswell’s Emerald City Guard. Picture: Lucy Baines, Joy Photography

Addison’s cast has an international flavour too. Zander Fick, classically trained in opera and jazz singing, moved to York from South Africa in April 2023 and now follows his scene-stealing Chef Louis in York Light Opera Company’s The Little Mermaid with a Tin Man replete with squeaky, robotic movement and, ironically, plenty of heart.

Better still is Dutch-born Daan Janssen, who honed his musical theatre-inspired drag performing skills while studying for his PhD in Germany and now turns in a terrific Lion. From his arch American accent to his timid yet proud demeanour and supreme singing voice, so deep and playful, he is a roaring success.

JoRo regular Rachel Higgs is an appealing Scarecrow and the Yellow Brick Road travelling troupe is completed by canine puppeteer Adam Gill’s ever attentive Toto in a show with two Totos for the price of one. Cast member Helen Barugh’s dog Daisy takes the role in the opening and closing Kansas farmhouse scenes; Elanor Kitchen’s puppet in Oz.

Addison’s choreography makes splendid use of both the adult ensemble and young Munchkins, while Helen Barugh, Katie Crossley and Kirsty Farrow’s Trees and Rob Davies and Caswell’s Crows have their moments too.

Musical director John Atkin’s ten-piece orchestra feels at home in all those familiar Harold Arlen and E Y Harburg songs, the playing light on its feet, the energy infectious. Julie Fisher’s costumes are a delight, for principals, ensemble and children alike, combining with UK Productions’ set design, Ollie Nash’s sound and Nick Lay’s lighting to complete a high- quality production in the merry old land of Oz. Time to follow the Yellow Brick Road to the box office.  

York Musical Theatre Company in The Wiard Of Oz, Joseph Rowntree Theatre, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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York Musical Theatre Company ready to follow the Yellow Brick Road at the JoRo

YORK stage stalwart Jeanette Hunter will play a villain for the first time from Wednesday to Saturday, starring as the Wicked Witch in York Musical Theatre Company’s The Wizard Of Oz.

Following the Yellow Brick Road at the Joseph Rowntree Theatre, York, will be Sadie Sorensen’s Dorothy, Rachel Higgs’s Scarecrow, Zander Fick’s Tin Man and Daan Janssen’s Lion, while further principal roles will go to Liz Gardner as Glinda, Ben Caswell as the Guard, Rob Davies as Uncle Henry, Marlena Kellie as Auntie Em and Martin Hunter as the Wizard.

The production team of director and choreographer Kathryn Addison and musical director John Atkin promises a dazzling production of L Frank Baum’s story with music and lyrics by Harold Arlen and E Y Harburg.

In the ensemble will be Adam Gill, Katie Greene, Katy Barrow, Jo Gamble, Sue Coward, Katie Crossley, Helen Barugh, Kirsty Farrow and Iris Van Hout.

Jeanette Hunter’s Wicked Witch, right, in rehearsal with Daan Janssen’s Lion, left, Rachel Higgs’s Scarecrow, Zander Fick’s Tin Man, Sadie Sorensen’s Dorothy and Toto puppeteer Adam Gill

The delightful Munchkins will be played by the children’s cast of Amelia Berry, Sophie Blackmore, Anna Cook, Emilia Davenport, Olivia Dobson Lopez, Matilda Down, Erica Fletcher, Sucy Innes, Izzy Jackson, Eva Lofthouse, Lucas Macleod, Nia Mcvay, Edith Pickard, Matilda Rose and Ellena Sheader.

Adding to the enchantment will be Daisy the dog as Toto. Owned by cast member Helen Barugh, she brings alertness, friendliness, responsiveness and an affable nature to the part, along with an ability to interact with her fellow actors.

What’s more, audiences will be in for a delightful surprise as the show progresses. Once Dorothy and her companions reach the fantastical land of Oz, Daisy undergoes a magical transformation. From that point forward, Toto will be brought to life through the skilled, precise and charming puppetry of Adam Gill.

York Musical Theatre Company in The Wiard Of Oz, Joseph Rowntree Theatre, York, May 22 to 25, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Toto meet Toto: Adam Gill’s puppet version with canine star Daisy
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REVIEW: Pick Me Up Theatre in Agatha Christie’s And Then There Were None, Theatre@41, Monkgate, York, until Sat ****

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 Rogers in 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
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And now there are ten as Pick Me Up Theatre announces September cast for Agatha Christie’s And Then There Were None. UPDATED 18/9/2023

Pick Me Up Theatre’s poster for September’s production of And Then There Were None at Theatre@41, Monkgate, York

1939. Europe teeters on the brink of war. 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.

So begins Agartha Christie’s groundbreaking whodunit And Then There Were None, to be staged by York company Pick Me Up Theatre under Andrew Isherwood’s direction at Theatre@41, Monkgate, York, from September 22 to 30.

Grave expression: Rory Mulvihill, cast as Sir Lawrence Wargrave, the retired judge, in And Then There Were None

What the guests have in common is a wicked past that 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.

“Cut off from the mainland, they are each accused of a terrible crime. When one of the party dies suddenly, they realise they may be harbouring a murderer among their number,” says producer Robert Readman. “The tension escalates as the survivors realise the killer is not only among them but also is preparing to strike again… and again.”

See Emily play up: Jess Murray, cast as “ruthlessly religious” knittijng fiend Emily Brent in And Then There Were None

Director Isherwood will be among Pick Me Up’s “fabulous cast of the county’s finest”, playing William Blore alongside 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.

Pick Me Up’s Facebook page is introducing Christie’s “motley characters” one by one in an on-going series. First up: meet Rory Mulvihill’s judge, Sir Lawrence Wargrave. “The Judge…you wouldn’t want to cross him,” forewarns Readman’s profile notes.

What the butler’s wife saw: Jeannette Hunter, picked to play housekeeper Mrs Rogers in Pick Me Up Theatre’s And Then There Were None

“Recently retired, he is intelligent, cold and commanding. During his years on the bench, he had a reputation as a ‘hanging judge’ – a judge who persuaded juries to bring back guilty verdicts and sentenced many convicted criminals to death. He should be right at home then.”

Next meet Jeanette Hunter’s Mrs Rogers. “She is the housekeeper in a big posh mansion where eight perfect strangers have been invited to spend the weekend by an unknown host. She is rather timid, has a dominating husband and she tells us she’s ‘always left to do the dirty work’,” says Readman.

Mysterious, confident, cunning: Mike Hickman’s Philip Lombard

“And there’s plenty of it in And Then There Were None but take nothing at face value in this twisty tale of murder and revenge! Jeanette’s character might not be all she seems.”

Step forward dodgy character number three: Jess Murray’s Emily Brent. “She is a ruthlessly religious woman who reads her Bible every day,” says Readman. “She might devour the good book – but her actions are anything but Christian. And she knits – like those ghouls from the guillotine!”

Does Martyn Hunter’s butler Thomas Rogers look shifty? Find out from September 22 to 25

Next up: Mike Hickman’s Philip Lombard. “A mysterious, confident and cunning man, we think he was maybe a mercenary soldier in Africa? Anyway, it looks like Mike Hickman isn’t about to take any prisoners in this role…Could he be the guilty one?” ponders Robert.

Who’s next? “Here comes Thomas Rogers…A respectable and reliable butler. Or is he? Don’t you think he looks a bit shifty? And Martin Hunter plays the part perfectly. Come and find out if he dunnit in Agatha Christie’s corking murder mystery,” says Robert.

Ian Giles’s General John Gordon McKenzie: “Upstanding”…or does that not stand up to appraisal?

How about Ian Giles’s General John Gordon Mackenzie? “He’s an upstanding military man – or is he?” asks Robert. “One of eight seemingly random guests invited to a mysterious house party in Agatha Christie’s And Then There Were None, how could anyone think our Ian Giles could be the one wot dunnit?”

Who is Andrew Roberts playing? “This handsome devil (see below) is Anthony Marston: a rich, swanky guy who likes fast cars and fast living,” says Robert. “He seems to have no conscience but is he a murderer?”

If looks could kill…but is Andrew Roberts’s Anthony Marston the murderer in And Then There Were None

Back in York after an Edinburgh Fringe run in York musical comedy duo Fladam’s children’s show Green Fingers, Flo Poskitt takes the role of former governess Vera Claythorne, who comes to Soldier Island as secretary to fellow guest Mrs Owen.

“Flo’s Vera is clever and capable, but she is also super-nervy and suffers from attacks of hysteria, so don’t cross her off the murderer suspect list just yet,” says Robert.

“Clever and capable, but super-nervy too”: Flo Poskitt’s Vera Claythorne in And Then There Were None

“Don’t trust him – even though he’s a doctor,” he forewarns of any encounter with Mark Simmonds’s Dr Edward Armstrong. “The other seven guests certainly don’t. In fact Armstrong is high up the suspect list because – well, he knows media stuff, doesn’t he?! He could easily bump someone off (if he wasn’t always yearning after a large glass of scotch).

“So, is Mark Simmonds our man in And Then There Were None? If you’ve read Agatha Crhsistie’s book or seen the films, no spoilers please!”

High up on the suspect list: Mark Simmonds’s Dr Edward Armstrong

And now there are ten

INTRODCING retired Inspector William Henry Blore, director Andrew Isherwood ‘s on-stage contribution to And Then There Were None.

“He should know his way around a crime scene and be a dependable chap in a crisis – like the one ten strangers find themselves facing at a weird house party in Christie’s nail-biter,” says Robert. “But really…when the killing starts – is the former policeman your best hope?”

On closer inspection: Andrew Isherwood looks judgemental in his guise as retired Inspector William Henry Blore

Ten Little Soldiers: the back story of a sinister nursery rhyme

THIS epigraph appears at the start of Agatha Christie’s 1939 murder mystery novel, And Then There Were None, foretelling the ten deaths (spoiler alert!) that will occur on Soldier Island.

Ten Little Soldier Boys went out to Dine, one choked his little self and then there were nine.

Nine  Little Soldier Boys stayed up very late; One overslept himself and then there were eight.

Eight  Little Soldier Boys travelling in Devon; One said he’d stay there and then there were seven.

Seven Little Soldier Boys chopping up sticks; One chopped himself in halves and then there were six.

Six  Little Soldier Boys playing with a hive; A bumblebee stung one and then there were five.

Five Little Soldier Boys going through a door; One stubbed his toe and then there were four.

Four Little Soldier Boys going out to sea; A red herring swallowed one and then there were three.

Three Little Soldier Boys walking in the zoo; A big bear hugged one and then there were two.

Two Little Soldier Boys sitting in the sun; One got frizzled up and then there was One.

One  Little Soldier Boy left all alone; He went and hanged himself and then there were none. 

Did you know?

THE island and Art Deco hotel of the same name that inspired Agatha Christie to write both And Then There Were None and the Hercule Poirot mystery Evil Under The Sun are for sale at £15 million: namely Burgh Island, off the south Devon coast. The sale includes Christie’s beach house, where she wrote, on the cliff edge.

Pick Me Up Theatre in And Then There Were 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. Recommended age: eight plus.

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