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REVIEW: York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, making waves until Saturday ****

Pascha Turnbull’s Ursula, James Dickinson’s Flotsam and Adam Gill’s Jetsam in York Light Opera Company’s Disney’s The Little Mermaid. All pictures: Matthew Kitchen Photography

THREE matinees this week are testament to the family appeal of Disney’s aquatic adventure The Little Mermaid, a show ideal for half-term week.

Across the city from February 16 to 18 at York Barbican, a Tylosaurus, the largest predatory marine reptile to ever grace our oceans and now the largest marine puppet ever made, will be making a big splash in a purpose-built tank in Jurassic Live. “If you sit near the front, you will get wet,” comes the safety alert.

No such warning is necessary at the Theatre Royal, but in the absence of water, everything else is thrown at director/choreographer Martyn Knight’s hi-tech production: an LED screen by AV Matrix; flying by Blue Chilli Flying; images and animations by Broadway Media Distribution and additional scenic elements by Scenic Projects, Lowestoft, and Curtain Call Productions, Crewe.

Bon appetit: Zander Fick’s Chef Louis

The tentacle costume for 6ft tall Pascha Turnbull’s evil sea witch, the giant squid Ursula, has been made specially by Caroline Guy, to go with a spectacular array of sea-world costumes by Spotlight Costume Hire and additional costumes created by York Light.

Wardrobe coordinator Carly Price has overseen a sewing team of ten, complemented by 21 dressers at the theatre; ten people in Ellie Ryder’s wig, hair and make-up team; ten more in the stage crew, all serving a cast of 43. Set building took 14 people; Paul Laidlaw conducts an excellent nine-strong orchestra, three of them on keyboards.

Those numbers tell you this is a big, expensive show to mount, taking on the challenge of staging a musical produced originally by Disney Theatrical Productions, based on Hans Christian Andersen’s fairytale and John Musker and Ron Clements’s animated 1989 film for Disney.

Monica Frost’s Ariel in mermaid mode in Disney’s The Little Mermaid

Built on a book by Doug Wright, music by Alan Menken and lyrics by Howard Ashman & Glenn Slater, this is every inch a Disney show, in style, content and philosophy, but Knight’s cast still brings a York Light air to it too.

This is helped by the experienced presence of not only Turnbull’s terrific villain, Ursula, but also Neil Wood’s mandarin Grimsby, Martin Lay’s bird-brained Scuttle and in particular Rory Mulvihill’s stern King Triton, ruler of the underworld.

Turnbull’s Ursula and her henchmen with the flashing footwear, James Dickinson’s Flotsam and Adam Gill’s Jetsam, savour the dark side with more than a hint of pantomime villainy, and Turnbull’s rendition of Poor Unfortunate Souls is a formidable finale to Act One.

Neil Wood’s Grimsby and James Horsman’s Prince Eric

Jonny Holbek’s Caribbean crustacean, Sebastian the crab, carries the heaviest comedy load, and although painting a face red to deliver a calypso caricature in Under The Sea might not be on a par with a white actor blacking up as Othello in 2024, the Jamaican jive could sit awkwardly for those who cringed at Jar Jar Binks in Star Wars: The Phantom Menace.

Nevertheless, Holbek is such a personable presence on stage – witness his Dewey Finn lead turn in School Of Rock last November – that his Sebastian goes down well, breaking down theatre’s fourth wall in the style of a panto daft lad.

Under The Sea, by the way, is as big and bright and fun as the big ensemble number should be, while Monica Frost’s Ariel, the mermaid who makes a deal with Ursula to take on human form (at the cost of her voice), relishes her spotlight in Part Of Your World in a resolute lead performance.

Rory Mulvihill’s King Triton

Lay’s Scuttle and the Seagulls could not be more positive in Positoovity, danced to tap choreography by Rachel Whitehead, and if you want an actor to maximise a cameo with comic flair and French drama, step forward Zander Fick’s Chef Louis  in Les Poissons in the palace kitchen.

Roller-skating is all the rage under the sea for Triton’s daughters (Frost’s Ariel, Annabel Van Griethuysen’s Aquata, Helen Miller’s Andrina, Madeleine Hicks’s Arista, Chloe Chapman’s Atina, Sophie Cunningham’s Adella and Sarah Craggs’s Allana), who swish hither and thither and sing siren-style.

James Horsman’s Prince Eric, the royal who would prefer to be a sailor, is played as straight as a ruler, fitting the Disney tropes of dark hair, slim frame and mono-focus on his one – find his bride – task in hand.

Jonny Holbek’s Sebastian the crab and Ryan Addyman’s Flounder performing Under The Sea

Ryan Addyman, who had everyone talking about his Jamie New in York Stage’s  Everybody’s Talking About Jamie Teen Edition last June, was promptly head-hunted to play Flounder, and he anything but flounders as Ariel’s fabulous fish sidekick here. One to watch, definitely.

Dial M for Mermaid if you enjoy Disney with a York Light touch, colours galore, fairytale fantasy, Turnbull terrors and Mulvihill regal authority

Performances:  7.30pm nightly, plus 2.30pm, Wednesday, Thursday and Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Martin Lay’s Scuttle, front, and the Gulls dancing Positoovity in York Light’s tap number in Disney’s The Little Mermaid
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Squid’s in! Pascha Turnbull can’t wait for the sea-witching hour as underwaterworld villain Ursula in Disney’s The Little Mermaid

Pashca Turnbull in full regalia as Ursula, the sea witch, in York Light Opera Company’s production of Disney’s The Little Mermaid. Picture: Matthew Kitchen

WHY is the seaweed always greener in someone else’s lake? Find out in Disney’s The Little Mermaid, the spectacular finale to York Light Opera Company’s 70th celebrations that opens tonight (7/2/2024) at York Theatre Royal to coincide with half-term week.

Director Martyn Knight and musical director Paul Laidlaw are at the wheel for this underwater adventure with music by Alan Menken, lyrics by Howard Ashman & Glenn Slater and book by Doug Wright, based on Hans Christian Andersen’s 1837 fairytale and John Musker & Ron Clements’s 1989 animated film.

York Light bring LED projection, dazzling costumes and choreography by Rachel Whitehead to the timeless enchanting tale of Ariel, a mermaid who dreams of trading her tail for legs to explore the human world. Aided by mischievous sidekick Flounder and the cunning Ursula, Ariel strikes a bargain that will change her life forever, but all is not what it seems.

Ariel will be portrayed by Monica Frost, Flounder by Ryan Addyman, Sebastian the crab by Jonny Holbek, Prince Eric by James Horsman and King Triton by the York stage stalwart Rory Mulvihill.

Billed as “the now renowned witch performer”, Pascha Turnbull will play sea witch Ursula, the greedy squid with powers of dark magic that, spoiler alert, will lead to her banishment.

“I haven’t seen the live action re-make [Rob Marshall’s 2023 film] – on purpose! Melissa McCarthy plays Ursula in that version. No pressure there then!” says Pascha.

How would she describe Ursula? “I think she’s more than cunning. She’s sly, devious, manipulative…she’s just awesome! Some little girls dream of being princesses, but some dream of playing villains – like me! Baddies absolutely have more fun – and you don’t have to kiss anybody!

“The big powerful woman, the larger-than-life character, is just something I’ve always enjoyed. On top of that, my natural singing voice is alto –they tend to play villains – and I’m 6ft tall.”

Pascha Turnbull being made up for the role of evil squid Ursula in Disney’s The Little Mermaid. Picture: Matthew Kitchen

Armed with “lots of tentacles I have to co-ordinate”, Pascha forms a new York Light team with James Dickinson’s Flotsam and Adam Gill’s Jetsam. “We’re Team Evil, as we call ourselves. James and Adam are even taller than me, so we’re a formidable team when we’re on stage together!” she says.

“I’ve seen James and Adam in other shows, like Joseph And The Mazing Technicolor Dreamcoat, and James happens to work in the print industry, like me.”

Should you be wondering, Pascha and her brother Nick – even taller at 6ft 5ins – run Inc Dot Design & Print, in Seafire Close, York, a print and graphic design company set up by their father, John Turnbull, in 1980.

“I’ve always said it’s great to be tall because you always get served at the bar,” says Pascha, who will be part of a cast of 40 in York Light’s show, performing a suitably big solo number, Poor Unfortunate Souls, to boot. “That song sums up her manipulative nature. She’ll help people to live out their dreams, but there’s always a payment required!”

Looking forward to playing the York Theatre Royal stage, Pascha says: “York Light have always done their February shows there. It’s a heck of a feeling performing in such an iconic theatre building, and just having that professional experience around you is fantastic. Being back in that theatre makes you feel giddy,

“The fact that we’re doing this show over half-term means so many more people can see it, especially with all the matinees, and anything that encourages people into the theatre is a good thing. I’m very excited!”

York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, tonight 7/2/2024) until February 17, except February 12. Box office: 01904 623568 or yorktheatreroyal.co.uk.

York Light Opera Company’s cast for Disney’s The Little Mermaid

Monica Frost’s Ariel

Ariel: Monica Frost
Ursula: Pascha Turnbull
Mersister Aquata: Annabel Van Griethuysen
Mersister Andrina: Helen Miller
Mersister Arista: Madeleine Hicks
Mersister Atina: Chloë Chapman
Mersister Adella: Sophie Cunningham
Mersister Allana: Sarah Craggs
Prince Eric: James Horsman

York Light debutant Ryan Adamson in the role of Flounder


Grimsby: Neil Wood
Flounder: Ryan Addyman
Sebastian: Jonny Holbek
Scuttle: Martin Lay
King Triton: Rory Mulvihill
Flotsam: James Dickinson
Jetsam: Adam Gill
Chef Louis: Zander Fick

Annabel van Griethuysen’s Mersister Aquata, “Ariel’s mean, ambitious and devious big sister”. Picture: Matthew Kitchen
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REVIEW: York Light Youth in School Of Rock, The Musical, The Next Generation, Joseph Rowntree Theatre, York ****

Emma Louise Dickinson and Jonny Holbek in rehearsal with York Light Youth company members for School Of Rock The Musical

YORK Light Youth’s tenth anniversary show is the York premiere of The Next Generation Edition of School Of Rock, with music by Andrew Lloyd Webber, lyrics by Glenn Slater and a book by Julian Fellowes, of Downton Abbey fame.

This all-American celebration of music, friendship and the power of self-expression is described as “technically and musically challenging”.  “Technically” because it features not one, but two bands, an adult one in the pit and a group of whippersnapper talents ready to knock rock into shape on stage.

“Musically” because Lloyd Webber’s rock songs do rock out, not to the level of screeching heavy metal pyrotechnics, but demanding muscular singing from Jonny Holbek’s lead character, substitute teacher Dewey Finn, especially in When I Climb To The Top Of Mt. Rock and Jack Black’s In The End Of Time.

“Any York production is always better for the presence of Jonny Holbek,” CharlesHutchPress opined when reviewing his scene-stealing Tobias Ragg in York Light Opera Company’s Sweeney Todd: Demon Barber Of Fleet Street in February.

That York Theatre Royal performance was marked by “humour and tragedy, light and darkness, hope and desperation, naivety and madness”. Move forward to School Of Rock, where Holbek brings buckets of humour and a dab of sadness, light and shade, hope and desperation, naivety and madcap mayhem to Dewey Finn.

A musician as well as an actor, here’s Jonny lapping up a well-deserved lead role, such fun to watch as he interacts brilliantly with the young company (aged ten to 17), the big kid among a bunch of them. Dewey is a ckeeky chappie role he was born to play, and he is indeed the Finnished article here.

Based on Mike White’s storyline for the  2003 film, Holbek’s Dewey is a failed wannabe rock star, who passes himself off as teacher flatmate Ned Schneebly (Flynn Coultous) to raise the rent by becoming the  substitute teacher to a class of prep school students.

What can he teach them? Not history but the history of rock and how to play, so they can take on his old band No Vacancy in the Battle Of The Bands. They learn, he learns, and there is something of the vibe and spirit of both John Godber’s Teechers and Willy Russell’s Our Day Out in looking outside the box to stimulate children’s minds and actions.

Prominent among the adults in the story is Emma Louise Dickinson’s headteacher, Rosalie Mullins, repressed and orderly until Dewey brings out the Stevie Nicks butterfly from her dowdy chrysalis. She sings as beautifully as ever, best in show once more.

Multiple performers delight among the young company: whether Flynn Coultous revelling in the bossed-about adult role of Ned Schneebly; Georgia Foster as the insufferable Patty Di Marco; Olivia Swales’s precocious, bossy Summer Hathaway or Iris Wragg’s reserved Tomika Spencer-Williams, brought out of her shell by Dewey to reveal her singing talent. Look out for Isaac Patterson’s fashion-obsessed Billy Sandford too.

You will love the talented young musicians: Sam Brophy’s keyboard wizard Lawrence Turner, a Rick Wakeman in the making; Bella Smith’s too-cool-for-school bass player Katie Travis; Ollie Lee’s putative guitar god and Finley Walters’ all-action drummer Freddie Hamilton.

The first half is too long, with so many songs to fit in, but Sue Hawksworth’s direction elicits the best from individual and ensemble performances alike; musical director Martin Lay and his band power the songs to the max, and David Pumfrey’s set design ensures quick scene changes.

York Light Youth’s exuberant production really does Stick It To The Man, right down to an in-joke putdown at Lloyd Webber’s expense when Holkbek’s Dewey disses his lordship’s ballad Memory.

York Light Youth in School Of Rock, Joseph Rowntree Theatre, York, 2.30pm and 7.30pm today. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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York Light Youth and York Light Opera Company principals team up for York premiere of School Of Rock next week

Emma Louise Dickinson’s headteacher Rosalie Mullins and Jonny Holbek’s Dewey Finn rehearsing with the ensemble for York Light Youth’s School Of Rock

YORK Light Youth’s tenth anniversary show will be the York amateur premiere of School Of Rock, ready to rock at the Joseph Rowntree Theatre, York, from November 8 to 11.

Directed by Sue Hawksworth, this technically and musically challenging musical – music by Andrew Lloyd Webbber, lyrics by Glenn Slater, book by Julian Fellowes – will be performed by a cast combining young performers aged ten to 17 and adults from the York Light Opera Company in equal numbers: a unique occurrence for York Light.

Among the adult cast will be Megan Overton and Maddy Hicks, who both performed in York Light Youth’s first show, Joseph And The Amazing Technicolor Dreamcoat, in 2013 and are enjoying their return to the group.

Based on Richard Linklater’s 2003 American film, the storyline follows Jonny Holbek’s Dewey Finn, a failed wannabe rock star, who decides to make some cash by teaching at a prestigious prep school. Soon he discovers his students to be clueless about rock’n’roll, but he vows to mould them into a rock band to enter Battle of the Bands.

Bella Smith, Jonny Holbek, Finley Walters and Ollie Lee rehearsing a number in School Of Rock

Along the way, Dewey finds romance, self-worth and a proper job as he initiates the children and their parents in the beauty of rock.

Director Sue Hawksworth was formerly assistant director of York Light Opera Company for 18 years, working on diverse productions ranging from The Sound Of Music and Oliver! to South Pacific and The King & I, and she is no stranger to working with young people.

Assistant director Gavin Shaw has performed in many musical theatre productions, appearing as Officer Krupke in York Light Youth’s West Side Story in 2016. Martin Lay is the musical director, a post he has held for York Light Youth since 2019.

Playing opposite Jonny Holbek in his relentless lead role will be leading lady Emma Louise Dickinson’s formidable headteacher Rosalie Mullins. Jonny and Emma Louise last appeared together as Che and Eva Peron in York Light’s 2022 production of Evita.

For those about to rock: School Of Rock band members Ollie Lee, Finley Walters, Sam Brophy and Bella Smith

Flynn Coultous and Georgia Foster take on the roles of Ned Schneebly, Dewey’s long-suffering flatmate, and his girlfriend, Paty Di Marco. Best friends Flynn and Georgia have been performing together since they were seven and five respectively, ten years in total.

Flynn joined York Light Youth for Hairspray in 2019 and played a loud and comical Joe Vegas in last year’s production of Fame.

School Of Rock is unique among musicals because not one, but two bands play live on stage. The adult band, No Vacancy, features cast members and musicians Jonny Holbek, Mat Tapp, Ant Pengally and Kathryn Lay, along with musicians Ben Huntley on guitar and Mike Hampton on drums.

Jonny Holbek’s Dewey Finn rocks out with the ensemble in the School Of Rock rehearsal room

The young band, School Of Rock, comprises four highly talented musicians who have achieved great things already. On keys will be Sam Brophy, a 2022 finalist in the BBC’s Young Chorister of the Year competition. On guitar will be Ollie Lee, whose band Bangers And Thrash won Minster FM’s Battle of the Bands in 2019, when he was nine.

Double bassist Bella Smith took up playing bass guitar less than a year ago, very similar to the trajectory of her character, Kate, a cellist turned bass guitarist. Completing the line-up will be Finley Walters, already an accomplished drummer at the age of ten. Invited to perform at the RSL Virtual Music Festival in 2021, he opened with a solo drum performance.

“School Of Rock is a celebration of music, friendship and the power of self-expression,” says York Light chair and publicity officer Helen Eckersall. “We’re confident that audiences of all ages will thoroughly enjoy it. Don’t miss the York premiere of this amazing show.”

York Light Youth in School Of Rock, Joseph Rowntree Theatre, York, November 8 to 11, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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REVIEW: Pick Me Up Theatre in Oh! What A Lovely War, Theatre@41, Monkgate, York ***

Ian Giles, front, leading Adam Price and Joy Warner in Adieu La Vie in Pick Me Up Theatre’s Oh! What A Lovely War at Theatre@41, Monkgate

PICK Me Up Theatre are staging Oh! What A Lovely War to mark the 60th anniversary of Joan Littlewood’s Theatre Workshop premiere at the Theatre Royal, Stratford East.

Why else Robert Readman and co-director Johnny Holbek are reviving this old stager is not so clear on encountering the veteran work of Sixties’ agit-prop; rather like the surfeit of voices that are sometimes a struggle to comprehend in the absence of head microphones.

Body mics do the hard-working company no favours, especially Ian Giles’s all-important master of ceremonies, whose deadpan punchlines fall flat when dying in the muffled air. In contrast, the regular toots on his whistle could not have been shriller.

Ironically, when your reviewer – seated up on the mezzanine level – couldn’t decipher what the drill sergeant was shouting, it turns out it was supposed to be gibberish, but the joke was lost after the uncertainty caused by the earlier encounters with the lack of clarity.

Alison Taylor, front left, and Beryl Nairn performing En Avant!

Oh! What A Lovely War, constructed as a searing satirical chronicle of the First World War, as told through songs and documents in the form of a seaside Pierrot entertainment, was a landmark in British theatre history, prompting the intrigue surrounding Pick Me Up’s revival.

Likewise, Richard Attenborough’s 1969 film account of the working-class Smith lads, Jack, Freddie, Harry and George, seeing initial hope swallowed up by the mud and stench of the trenches, resonated amid the Sixties’ vibe of Make Love, Not War.

From Blackadder Goes Forth to Michael Morpurgo’s War Horse and Private Peaceful, Sam Mendes’s 1917 to this year’s BAFTA-winning All Quiet On The Western Front, the Great War continues to provoke eloquent, elegiac reflection across the arts and literature.  

Oh! What A Lovely War is closest in spirit to Blackadder in the trenches, in its sense of futility, chiming with Winston Churchill’s maxim in favour of dialogue over destruction. “Jaw Jaw is better than War War,” he forewarned, and in turn Oh! What A Lovely War has plenty of jaw jaw about war war, while making a song and dance of it with familiar music-hall songs from the Great War period and hymns fitted out with new lyrics to give them a satirical snap.

Florence Poskitt, left, Maggie Smales and Marlena Kelli in the Kamerad! Kamerad! vignette in Pick Me Up Theatre’s Oh! What A Lovely War

Against the John Cooper Studio’s back wall, ever more damning statistics of the body count are typed out across the screen, the factual counter to the officers’ cavalier attitude to so many wasteful deaths of the working-class cannon fodder.

They have the show’s most shuddering impact, ensuring that a sense of righteous anger prevails, as does a haunting sorrow, further enhanced by the presence of a junior ensemble.

However, the strident tones of surrealism, in part set by the Pierrot costumes with their out-of-period elasticated waists, always feels one step removed from connecting. Likewise, you can see the ever-willing cast having to push too hard to make the satire amusing in a show that starts to drag on, like the war itself.

Readman and Holbek’s period-piece production seeks to break down theatre’s fourth wall, often through Giles’s conspiratorial asides, sometimes through music-hall repartee, but the best scenes are self-contained, most notably for the Christmas Day exchange of gifts in No Man’s Land and the grotesque grouse moor shooting-party bluster among those making money out of the war (in a haunting forerunner of Covic contracts).

James Willstrop and Sanna Jeppsson, front, with the Pick Me Up Theatre ensemble performing Row Row Row

Inspired by Charles Chiltern’s radio series that combined First World war statistics with songs, Littlewood’s piece was constructed through improvisation and credited to the company of performers. In the spirit of that gestation, Pick Me Up’s multi role-playing troupe of troops is credited by a list of cast names and not by character, and it is very much an ensemble piece, teamwork to the fore, although James Willstrop, Florence Poskett, Alison Taylor and in particular Craig Kirby stand out.

Accompanied by Natalie Walker’s piano-led band, the songs transition from hope to despair, from perky to poignant, from Belgium Put The Kibosh On The Kaiser to I Don’t Want To Be A Soldier.

Reviving Oh! What A Lovely War does not evoke nostalgia and nor should it. Instead, it feels and looks out of its time, like Richard Lester’s 1967 film How I Won The War. Some vignettes still work, elsewhere the satire has tired or lost coherence over 60 years.

What hasn’t changed? War, huh, yeah, what is good for? Absolutely nothing. Except anti-war songs.  

Pick Me Up Theatre in Oh! What A Lovely War, Theatre@41, Monkgate, York, tonight (6/4/2023) and tomorrow, 7.30pm; Saturday, 2.30pm and 7.30pm. Box office: tickets.41monkgate.co.uk.

Pick Me Up Theatre’s poster artwork for Oh! What A Lovely War
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REVIEW: York Light Opera Company in Sweeney Todd, The Demon Barber Of Fleet Street, York Theatre Royal, until March 4 ****

Razor sharp: Neil Wood’s Sweeney Todd conducting his sharp practice as Julie Anne Smith’s Mrs Lovett hovers in York Light’s Sweeney Todd: The Demon Barber Of Fleet Street. All pictures: Matthew Kitchen

LIGHT and dark combine for the tale of Sweeney Todd, York Light’s heavyweight production to mark both the company’s 70th anniversary and last November’s passing of composer and lyricist Stephen Sondheim at 91.

In 2016, Robert Readman favoured going dangerously up close at 41, Monkgate. In 2023, director-choreographer Martyn Knight returns Sondheim’s knife-edge musical thriller to a gothic grand scale, large ensemble et al, while adjusting the setting from venal Victorian to gory Georgian at York Theatre Royal.

Costume designers Suzanne Ayers and Jean Wilkinson and wardrobe co-ordinator Carly Price pull out all the stops, aided by Ellie Ryder’s wigs, hair and make-up, and sewing, wardrobe and make-up teams in big numbers. Fantastic work all round.

Full of foreboding: Clare Meadley’s harrowing Beggar Woman

Under conductor Paul Laidlaw, keyboardist Simon Kelly’s organ swells to unnerving, edge-of-the-seat effect, forewarning of the terrible deeds to come in an opening that establishes how important the 30-strong ensemble will be throughout this murder-is-meat musical, whether as feral harbingers, boozy pie eaters or mental asylum incumbents.

The grave mien and embittered baritone of Neil Wood’s ponytailed Sweeney Todd further concentrates the mind on the serious business ahead as he flees Australia to return to East London after 15 years of wrongful exile at Botany Bay, vowing vengeance on the corrupt Judge Turpin (Craig Kirby, reprising his Pick Me Up role with even more insufferable judicial arrogance).

The self-flagellating Judge is the abusive ward to Sweeney’s daughter Johanna (Madeleine Hicks), keeping her like a caged bird: a revelation that brings even more of a cutting edge to Sweeney’s resumption of his demon barbershop business above the worst pie gaff in London town.

Clinging on to love amid the wreckage: Maximus Mawle’s Anthony Hope and Madeleine Hicks’s Johanna

Mrs Lovett (Julie Anne Smith) needs an upgrade from the grit and gristle in her pies; Sweeney is up for a slice of the action, when she turns out to be as manipulative as Lady Macbeth.

Mrs Lovett may be devoid of humanity, but now that there is 100 per cent humanity in her pies, they turn out to be bloody good, celebrated heartily in God, That’s Good, the ensemble high point of a consistently impactful performance as London’s exposed underbelly.

Behind dark eyes and a bustling air, add Smith’s humour, love-a-duck London accent and top-notch singing, and hers is a best-in-show performance, relishing Sondheim’s devilish wit and snappy turn of phrase.

Pie high: Jonny Holbek’s Tobias Ragg, furthest forward to the right, leads the euphoric singing in God, That’s Good!

As the bodies pile up, deposited down the shoot from Sweeney’s barber’s chair with a rumble in the tumble each time he shortens life rather than hair, gradually a macabre darkness of humour permeates the audience response, all the more so for Wood’s Sweeney not changing his countenance . And yet vulnerability courses through his inner turmoil.

Praise too for Maximus Mawle’s Anthony Hope and Hicks’s Johanna in the young love roles, as up against it as Romeo and Juliet, plus a treat of a camply comic turn from Richard Bayton as henchman Beadle Bamford and Clare Meadley’s damaged bird of a harrowing prophetess, the homeless Beggar Woman. Martin Lay has great fun with his faux Italian accent as preposterous, twinkling rival barber Adolfo Pirelli.

Any York production is always better for the presence of Jonny Holbek, and his Tobias Ragg, assistant first to Pirelli then kitchen aid to Mrs Lovett, is a scene stealer here: humour and tragedy, light and darkness, hope and desperation, naivety and madness, all at play in his performance.

Gritty encounter: Julie Anne Smith’s Mrs Lovett entreats Neil Wood’s Sweeney Todd to try the worst pie in London town

Paul Laidlaw’s wind and brass players, together with Kelly’s keyboards and Francesca Rochester and Laurie Gunson’s percussion, bring out all the drama and rich musicality in Sondheim’s score, sometimes luscious, other times juddering and jagged.   

Martin Knight’s choreography matches that musical diversity, adding to the deliciously dark delights of this juicy psychological drama. Make sure to grab a bite of this very tasty pie.

Performances: 7.30pm,  tonight (27/02/2023) until Saturday plus 2.30pm Saturday matinee.  Box  office: 01904 623 568 or yorktheatreroyal.co.uk.

By Charles Hutchinson

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York Light enjoy musicals old and new in A Night With The Light at Friargate Theatre

York Light Opera Company performers and production team for A Night With The Light. From the left, musical director Martin Lay, producer Helen Eckersall and director Jonny Holbek are pictured in the centre

YORK Light Opera Company’s summer show, A Night With The Light, runs at Friargate Theatre, Friargate, York, from tomorrow until Saturday.

In the wake of York Light’s production of Evita, directed by Martyn Knight at York Theatre Royal in February, the amateur company presents a feel-good programme of powerful, funny, emotive and irreverent numbers from favourite musicals and new ones too.

Under the direction of Jonny Holbek and musical direction of Martin Lay, the show features songs from Hamilton, Waitress, Wicked, Chicago, Chess, Avenue Q, The Phantom Of The Opera, Les Misérables, The Sound Of Music and plenty more.

Jonny Holbek: Directing York Light Opera Company in A Night With The Light

Taking part will be: Abby Wild; Alexa Chaplin; Al Elmes; Annabel van Griethuysen; Chloe Chapman; Clare Meadley; Emily Hardy; Emma Louise Dickinson; Grace Harper; Helen Eckersall; Henry Fairnington; Kathryn Tinson; Kirsten Griffiths; Matt Tapp; Pascha Turnbull; Paul Hampshire; Pippa Elmes; Rachael Cawte; Ruth Symington; Ryan Richardson; Tom Menarry and Victoria Rimmington. The producer is Helen Eckersall.

“Come join us as we have Magic To Do!” say Jonny and Martin ahead of this week’s 7.30pm evening shows and 2.30pm Saturday matinee.

Tickets cost £10 upwards on 01904 655317 or at ridinglights.org/a-night-with-the-light/.

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REVIEW: Martin Dreyer’s verdict on York Light’s Evita at York Theatre Royal

Emma-Louise Dickinson’s Eva Perón and Jonny Holbek’s Che in York Light’s Evita. All pictures: Tom Arber

York Light in Evita, York Theatre Royal, until February 19, including Saturday matinees. Box office: 01904 623568 or at yorktheatreroyal.co.uk

IT’S no fun being out of action for two years. So there was relief and pleasure on all the faces of York Light – the musical theatre company formerly known as York Light Opera Company – when they returned to their rightful home base in a rousing Martyn Knight production of Evita.

The company is sensibly alternating two groups of principals over its 12 performances. On this second night (10/2/2022) it was Team Blue’s turn.

Eva Perón, familiarly known as Evita, and even Santa Evita to diehard fans, still excites
controversy today, even in Argentina. She was both an ambitious social climber who slept her way to the top but also a benefactress, a figurehead who spent lavishly on herself, a unifying icon for some and a uniquely self-seeking politico for others.

Neil Wood as Juan Perón : “His baritone serves him well over a wide range”

None of which makes it easy for the actress playing her. How likeable should she be?
Emma-Louise Dickinson’s response is bravely sassy, which comes close to being a warts-and-all exposé. It is the right approach. Nobody wants a prissy heroine. Tim Rice’s lyrics don’t allow her to be.

Much of her singing is stridently assertive, which doesn’t always make for the prettiest of sounds. For those we have to wait till Act 2 and in particular the scenes surrounding her illness and death.

Like all true operatic heroines, Evita takes a long time to die but Dickinson uses it to show us that she has a pleasing soprano. She is the main reason why Act 2 generates such pathos. Buenos Aires and You Must Love Me are poles apart but her versatility is more than equal to both.

Jonny Holbek’s Che: “Brings a folk-singing style to the role”

Juan Perón may have been twice Eva’s age when he married her, but their personalities were well-matched. He strong-armed his way to power and was just as ruthless. His police state is echoed here with several shows of repressive policing. But Neil Wood plays him with sensitivity as well as strength and his passion for his young wife is never in doubt. His baritone serves him well over a wide range.

Jonny Holbek brings a folk-singing style to the role of Che, the narrator and social conscience of the unfolding events, which makes him an engaging man of the people, even if he sometimes strays from the notes that are actually in the score. He is mainly dressed in camouflage pants which verge on the paramilitary. He leads And The Money Kept Rolling In superbly.

Two other roles deserve special mention. Richard Weatherill’s big number as Magaldi, Eva’s
home-town boyfriend, comes early but he is more than ready. So too is Hannah Witcomb as Peron’s glamorous bit on the side, neatly crystallised in Another Suitcase In Another Hall.

Melanie Groom and Tom Menarry: “Dancing a succulent tango”

A word, too, for the top brass in the musical chairs of The Art Of The Possible: good fun. There is also a succulent tango danced by Melanie Groom and Tom Menarry. Considering the importance of tango in Argentinian music, we could stand to see a lot more of them.

The chorus shows a marvellous mix of voices and ages, with plenty of young blood among several company veterans. All its numbers are danced, which means that a huge amount of choreography – also by Martyn Knight – has had to be memorised, an incredible feat considering they barely put a foot wrong.

Chorus delivery is occasionally on the shouty side but the opening Requiem is beautifully sustained and there is some lovely quiet singing in Act 2. The ladies look especially appealing in vintage hats and dresses.

Hannah Witcomb as “Juan Perón s glamorous bit on the side”

Mike Thompson conducts an 11-piece orchestra with plenty of pizzazz. Its feel for Latin
American rhythms is consistently excellent. The balance is not always quite right. The bass is too boomy in Act 1, which means that several delicate phrases from keyboard or guitar do not get the prominence they deserve. In general the amplification could be turned down a notch to good effect.

The show is well served by its permanent set (from Lowestoft, but otherwise uncredited), which casts a presidential aura. It is absolutely heart-warming to have York Light back in action and in such amazing shape. The company’s enthusiasm is infectious. You daren’t miss it.

For the record, the Yellow Team principals are Alexa Chaplin as Eva, John Hall as Perón and Dale Vaughan as Che. All are seasoned performers.

Review by Martin Dreyer

Alexa Chaplin, centre, as Team Yellow’s Eva Perón with the ensemble in in York Light’s Evita