Dancefloor disciple John Godber keeps the faith in Northern Soul in days of drudgery and nights of joy in Do I Love You?

Emilio Encinoso-Gil, Martha Godber, centre, and Chloe McDonald in John Godber’s Do I Love You?, returning Northern Soul to Scarborough this week. Picture: Ian Hodgson

“I’M not afraid to admit I was a rather good dancer,” says playwright, director, actor and erstwhile terpsichorean tornado John Godber. “Not so good now, mind. My knees.”

His ‘tap’ these days would be on the laptop, leading to his latest play, a hymn to Northern Soul that keeps the faith with the Wigan Casino days but addresses today’s believers in Do I Love You?, on tourthis week at the Stephen Joseph Theatre, in Scarborough, where John once cut a rug at all-nighters.

“This is Northern Soul for a new generation, but with rising costs, unemployment and small-town blues, has anything really changed?” asks John, now 67. “Is this England 1973 or 2023? The pubs are closing, hospitality has gone, and strikes are everywhere…but when you’re out on the floor…”

…There you will find Godber’s twentysomethings, Sally, Nat and Kyle, as they develop a love for Northern Soul and the people absorbed in its culture across the industrial north. What started as a college project has grown into a passion, but the dance steps are exhausting.

Far beyond their home city of Hull, they find excitement, purpose and the tribe they have been seeking. Cue talcum powder, loafers and weekenders, from Brid Spa to Stoke, from Oxford to the Blackpool Tower Ballroom, as these young soulies vow to keep the faith, even as Britain crumbles, school buildings and all.

Do I Love You? Indeed he did, back in the day. “I went to all-nighters in Scarborough, Doncaster, Wakefield, Whitby, Hornsea, and even then that single [Frank Wilson’s title song] was worth £45,000,” says John.

“It’s the one that lots of people know, but lots of soulists despise it because it’s too well known! Only 200 copies were printed, and one copy recently sold for £150,000.

“There’s this really interesting thing that soulies want to keep it underground, which is difficult, particularly when the BBC Proms did a Northern Soul Prom last summer [July 15 2023, curated by broadcaster and writer Stuart Maconie], gentrifying it with symphonic arrangements, of course!”

Playwright and Northern Soul devotee John Godber

John recalls his dancing nights and early single acquisitions. “Dobie Gray’s Out On The Floor was my first one, then The Flasher, the instrumental by Mistura, and then you’re on to Al Wilson’s The Snake,” he says.

“Every church hall had a Northern Soul night, every youth club had a Northern Soul Night back then. For every song, they danced throughout and clapped in time together because the music realy meant something to them.

“Before we opened the tour last September , the cast went to a soul night at an ex-servicemen’s club, where they played Frank Wilson’s Do I Love You?, and they came away saying, ‘oh my God, it’s all true’.

After a run of state-of-the-nation plays (Shafted, 2015; Scary Bikers, 2018, Sunny Side Up, 2020; Living On Fresh Air, 2023), Godber’s latest comedy is more of a celebration, albeit with politics still at its rotten core.

“I’m interested in enclosed environments: nightclubs [Bouncers], schools [Teechers], gymnasiums [Gym And Tonic], now the Northern Soul scene,” says John.

“This time there’s a lot of music, a lot of dancing, in the show, and we’ve had the world champion Northern Soul dancer, Sally Molloy, in for a couple of sessions. Just extraordinary!

“She came to the read-through to authenticate the piece and said, ‘I bless this show’, which was great because we want it to be authentic.

“Dancing was important to the casting, so we looked far and wide and even looked at auditioning some Northern Soul dancers but they just didn’t cut the mustard with the acting.”

John settled instead on a typically compact cast of Yorkshire actors Emilio Encinoso-Gil and Martha Godber and Belfast-born, Liverpool-trained newcomer Chloe McDonald.

Dancefloor discussion: Emilio Encinoso-Gil, Chloe McDonald, centre, and Martha Godber in Do I Love You?. Picture: Ian Hodgson

“Martha went to Northern Contemporary dance in Leeds when she was 16 and got into Trinity Laban [Conservatoire of Music and Dance], but then decided to go to LIPA (Liverpool Institute for Performing Arts) to train as an actor,” he says.

“They worked with Sally a couple of months before rehearsals started, then did a full day with her, after the read-through day, when they almost couldn’t walk for a week!”

John’s own research brought him into contact with Dr Sarah Raine, from the cultural industries department at Leeds University.

“What she’s identified is a real growth in Northern Soul, when working men’s clubs have gone, youth clubs have gone, Sunday League football has gone, funding has gone, but Northern Soul club nights go on,” says John.

“It’s an echo back to when there was pride in your work, what you do, where you fit into your community, doing something that requires a skill through the ability to dance, and conssequently you gain status in your community.

“The music is put first; it’s not about leaving with someone on your arm, unlike in Bouncers, though the drug scene is pretty clear, but after 12 hours of stomping, you’re going to need something stronger than coffee and Red Bull!

Godber’s twentysomethings in Do I Love You? work in a “chicken drive-through portal” as he euphemistically puts it. “It’s not a great place to work. Two of them have degrees, one in psychology, one in musical theatre; the other has stayed at home to look after her grandmother,” he says.

High kicks: Martha Godber in rehearsal at Hull Truck Theatre for Do I Love You?

“After Covid, they’ve picked up these low-grade jobs, but the music underlines where they are in their rites of passage. They find this creed they have some sympathy with, a kind of religion, a kind of tribe, to counter domestic difficulties, loss of love and dreary jobs.”

“In 2024, with the drudgery of daily life, now it’s about finding meaning and young people feeling they’re in a safe place.”

As for keeping the faith by seeing Do I Love You?, “What’s interesting is that if you’re my age, you’ll be re-living your youth; if your’re young, in your 20s, you’ll think, ‘yes, I can see why it means so much to them’.

“Why coin that adage ‘Keep the faith’? I guess soul music is not a million miles away from religion, so it’s not far away from faith.”

Northern Soul disciple John has a confession to make: “The full disclosure is, I was really into Northern Soul, but I was also into prog-rock,” he says. “That was my intellectual side. Northern Soul was my spiritual side.”

John Godber Company in Do I Love You?, Stephen Joseph Theatre, Scarborough, until Saturday, 7.30pm nightly; 1.30pm tomorrow; 2.30pm, Saturday. Box office: 01723 370541 or

Leap of faith: Emilio Encinoso-Gil during rehearsals for Do I Love You?

Did you know?

NORTHERN Soul dancers, in their flat, slippy shoes, would dust the dancefloor with talcum powder to make their moves glide more easily, countering the stickiness of spilt beer. “But talc is frowned on these days because it’s carciogenic,” says John.

Did you know too?

RARE American soul songs, expressing pain and suffering, were favoured over slick Motown chartbusters by the working-class, predominantly male dance crowds that gathered at burgeoning Northern Soul nights across the north in the late-1960s and early 1970s. Football fans on away days would bring back records from London record shops.

What is John Godber’s favourite Northern Soul record?

TOBI Legend’s Time Will Pass You By. “It’s a song about dying, which makes it utterly existential,” says John.

REVIEW: Do I Love You?, from when John Godber’s premiere opened at Wakefield Theatre Royal in September 2023

TWO Big Egos In A Small Car podcasters Charles Hutchinson and Graham Chalmers discuss John Godber’s Do I Love You? and last autumn’s premiere of Alan Ayckbourn’s Constant Companions, at the Stephen Joseph Theatre, Scarborough, in Episode 152.

Head to 12 minutes 45 seconds into:

Amanda Whittington celebrates friendship, growing older and living for today in third Hull Truck instalment Ladies Unleashed

Amanda Whittington: Ladies Unleashed playwright

HULL Truck Theatre’s second half of their 50th anniversary season unleashes Ladies Unleashed, the third instalment of Amanda Whittington’s trilogy.

In the wake of Hull Truck hits Ladies Day – the one set at York Racecourse to coincide with Royal Ascot switching to Knavesmire in 2005 – and Ladies Down Under two years later, now the Nottingham playwright celebrates friendship, growing older and living for today.

Directed by artistic director Mark Babych, Ladies Unleashed reunites four friends, Hull fish factory workers Jan, Pearl, Linda and Shelley in 2022 on the peaceful, magical retreat of the Holy Island of Lindisfarne in a story of secrets and mysteries, reunions and an imminent wedding, twists and surprises.

“Seventeen years! It’s absolutely frightening! I was checking when I started, thinking it must be ten years ago, but in fact it was 2005, and the world has changed so much since then,” says Amanda.

“I can’t believe it’s so long since we first went to Ladies Day with the fish factory foursome, and to Australia in Ladies Down Under a few years later. Creating these stories for Hull Truck was a magical time and the audience response was unforgettable. 

“Since then, the two Ladies plays have been a firm favourite on the amateur circuit across the UK. Barely a month goes by without a production somewhere in the country, keeping the play alive since its original production. It’s such a gift as a writer to know what affection your characters are held in.”

Pearl (Fenella Norman), Jan (Allison Saxton) and Linda (Sara Beharrell) have not seen Shelley (Hull-born Gemma Oaten) for years, but when she suddenly turns up, Linda’s plans for a weekend of quiet contemplation (“not a hen party,” she says) take a different turn as tensions rise with the tide.

“I’ve always set the plays in the present day, so now Pearl is in her early 70s; Jan, mid-60s; Linda and Shelley around 40,” says Amanda.

Gemma Oaten in rehearsal for her role as Shelley in Ladies Unleashed at Hull Truck Theatre

“A whole generation has gone by, and I was quite reluctant to get back on the bike, after doing Ladies Day as a one-off, but then I did another one two years later, and so the characters are still very much alive in village halls and community centres.

“I thought of all the people who’ve been in Ladies Day or seen it, and there were discussions with Nick Hern Books, the publishers, who’ve been really instrumental in keeping the Ladies alive all these years.

“Then I started talking to artistic director Mark Babych about new ideas for the 50th anniversary, and a new Ladies play was floated. I was curious to think about where they were a generation later, but presenting it as a stand-alone play, looking at getting older and the benefits and challenges of doing that, when you don’t normally do that with characters from earlier plays.”

The third instalment was commissioned pre-pandemic. “There was a first draft, then the lockdowns, and when I came back to it, there’d been more changes,” says Amanda.

“I write about where we are, where we’ve been, so it’s partly a play about time. Writing dialogue for those characters again, I found it was like they’d never been away. They were just back in the room.

“It felt instantly right, and then it was about putting it in a dramatic framework that felt contemporary.”

After a day at the York Races in Ladies Day and a trip to Australia in Ladies Down Under, Amanda now sends Pearl Jan, Linda and Shelley to Lindisfarne and lets the island work its spell on them, like in Shakespeare’s The Tempest and Tim Firth’s Neville’s Island.

“That was exactly the thought behind it, to get them to a place they can’t get off, a place that had so much history and texture, and, like Hull, had a great fishing industry, giving it that connection with the past.”

Ladies Unleashed cast members in the rehearsal room: from left, Martha Godber, Nell Baker, Fenella Norman, Sara Beharrell,, Allison Saxton and Gemma Oaten

Here was the cue for two new additions to the Whittington ranks of women, young fish workers Mabel (played by Martha Godber) and Daisy (Nell Baker), whose friendship from Lindisfarne’s past stirs anew as the island itself becomes restless, the sky darkens, the air chills, and the winds of change blow skeletons from closets. Whereupon past, present and future collide.

“I thought, what happens if the past comes alive and the young women they might have been awaken, working on the island a century earlier?” says Amanda. “This was the chance to bring magic realism into the play, and that’s been a lovely thing to open up.”

Women’s stories are at the heart of Amanda’s plays. “That’s very much what I’m about as a writer. It felt very natural for me to do that, and right from the beginning of my career that’s the voice I’ve always spoken in. Even now it’s still not common but it’s a characteristic of my work,” she says.

“John Godber’s plays, Arthur Miller’s plays, are never talked about as ‘male plays’, but women’s plays stand out because there just aren’t as many. Ladies Unleashed is about a female world, and as the women of Holy Island’s past come alive, it shows how women’s lives have changed so radically and yet how some things have still not changed.

“Thankfully, there are lots of untold stories from history about women that are being told now, but they’re not stories just for women; they’re stories for everyone.”

Ladies Unleashed plays out in the age of #MeToo and a rising focus on women’s rights. “It’s released something in the last few years that’s not about men versus women, or oppressing women, particularly as there are damaged men as well,” says Amanda. “That’s the spirit of my work, with women giving their perspective on a century of change, and in 2022 it’s really welcomed by audiences.”

What are the ladies unleashing, Amanda? “What holds them together is that core of friendship, and the key to that is their work as fish factory workers, but they all have something they need to be released from, barriers to break through, and part of that comes down to how that differs in the different generations and how that’s changed,” she says.

Hull Truck Theatre in Ladies Unleashed, September 29 to October 22. Last performance, 7.30pm. Box office: 01482 323638 or

REVIEW: Teechers Leavers ’22, Hull Truck Theatre and John Godber Company, at Hull Truck Theatre, term ends on June 11 *****

Teenage rampage: Martha Godber’s Hobby, left, Levi Payne’s Salty and Purvi Parmar’s Gail in Teechers Leavers ’22 at Hull Truck Theatre

ON learning that Gavin Wilkinson was to receive a Boris Johnson-garlanded knighthood, Shadow Education Secretary Bridget Phillipson commented: “He left children to go hungry, created two years of complete chaos over exams and failed to get laptops out to kids struggling to learn during lockdowns.”

If reading her end-of-term report on Wilkinson’s “astonishing and disgraceful record” brings out feelings of anger all over again, then multiply that fury in John Godber’s 35th anniversary re-write of Teechers, his despairing 1987 tragi-comedy on the rotten state of state education.

To mark the 50th anniversary of his former Hull Truck stamping ground, he has revisited Teechers in the stultifying shadow of Covid, the encouragement of science and technology over the arts on the school curriculum and the never-ending systemic inequalities that divide swish private education establishments from state schools with leaking, outdated buildings.

Central character Salty, one of those pupils with no laptop, is doing his homework on his mobile phone: perhaps the most damning image in Teechers Leavers ’22.

Godber, the miner’s son from Upton, West Yorkshire, educated at Bretton Hall College and Leeds University, is a former teacher with not only Teechers to his name, but also Chalkface, the 1991 TV drama series charting the day-to-day events at a comprehensive school.

“How come people get education so wrong?” he said in an interview in 2008 when launching an earlier revival of his classroom comedy that dismissed the Labour Government’s latest proposed tinkering as nothing more than “rearranging the chairs on the Titanic”.

Lessons learned? Not since 1987, it would seem, as John Godber revisits Teechers to deliver an even more damning report

Labour Government, note. His righteous anger goes beyond party lines, even if, 14 years later, his frustration with England’s education system has reached boiling point under Tory rule. Exacerbated by the pandemic, state education equals: exam chaos, tech poverty, isolation, absenteeism, lost school hours, remote learning, the arts downgraded, children let down, he says.

Plus ca change, you might say. Teechers was rooted in Godber’s response to them-and-us education in the Thatcher years, but it does not feel a period piece at all, partly through grievances aplenty from 1987 still applying in  2022, and partly because of Godber’s extensive update.

His trademark fast-and-furious physical theatre style; his Brechtian love of breaking down theatre’s fourth wall; his deployment of a high-energy cast of only three to play multiple roles; his relish for social comment and his penchant for bloody-minded, bloody-nosed, raucous humour are all very much alive and kicking in Teechers Leavers ’22.  So too is preference for pathos over sentimentality.

Hull Truck artistic Mark Babych matches him stride for stride in his up-and-at’em direction, and 35 years since Godber himself played drama teacher Geoff Nixon, now his daughter Martha Godber is doing so, the role newly turned female.

Covid masks, Ofsted reports and a Partygate joke feature now, but funding shortages, baffling timetables, boring teachers and bored teenagers remain, as Martha Godber’s Hobby, Purvi Parmar’s Gail and Levi Payne’s Salty narrate the tale of their stultifying life at struggling comprehensive Whitewall College.

Set designer Caitlin Mawhinney splashes the set with bold colours, as a counter to the greyness that pervades the school, but if, in the words of Madness’s schoolroom anthem Baggy Trousers, there needs to be someone “trying different ways to make a difference to the days,” step forward new probationary teacher, Miss Nixon.

School uniformity? Not if Levi Payne’s Salty, Martha Godber’s Hobby and Purvi Parmar’s Gail have their way in Teechers Leavers ’22

Having seen off three previous drama teachers, scathing Salty and co are initially dismissive of the newcomer, but even if theatre has been relegated to an after-school option, Miss Nixon is not to be beaten.

The role previously had been played in more serious mode; Martha Godber makes her no-nonsense, but also more of a grouchy outsider, a lone voice, determined to help the three disillusioned teenage protagonists blossom.

Nixon remains John Godber’s voice too, calling for change, for better recognition of the importance of the arts in shaping young lives, but the ending becomes a more damning statement than ever with its abandonment of all hope.

Or maybe not. In his interview, Godber said if he were a young man today, he would still go into teaching, a profession that needs more Miss Nixons, more John Godbers.

Mark Babych and his cast, switching from role to role, sometimes even taking over each other’s roles, never letting the pace drop, dipping into rap, equally adept at troubled teenager and exasperated, exhausted teacher alike, make Godber’s school report all the more powerful. Oh, and amid the rage, it is seriously funny too.

Box office: 01482 323638 or

REVIEW: John Godber’s seaside last resort comedy, Sunny Side Up! ****

John Godber as taciturn B&B owner Barney in Godber’s coastal comedy Sunny Side Up!. Picture: Martha Godber

John Godber Company in Sunny Side Up!, Stephen Joseph Theatre, Scarborough, tonight, 7.30pm; Hull Truck Theatre, November 1 to 6; 7.30pm; 2pm, Wednesday and Saturday. Box office: Scarborough, 01723 370541 or at; Hull, 01482 323638 or

WHEN the Godber family presented last October’s premiere of Sunny Side Up! in their isolated North Sea bubble at Scarborough, the first sighting of the SJT audience in face masks prompted John Godber to say he thought he was in an operating theatre, not a theatre.

Unlike at many theatres, socially distanced seating prevails at the SJT, where wearing a mask is still the expectation, rather than the exception.

The Godbers, writer-director-actor John, wife Jane Thornton and daughter Martha Godber, remains the cast; her elder sister, Elizabeth, now studying at Hull University for a PhD in the poetry of Emily Dickinson, still finds time to be the company stage manager. Both sisters took the production pictures too.

What has changed? Sunny Side Up! is even better than it was a year ago – and longer too, with an interval inserted, more political grit, more comic interplay to go with the self-analysis and class wars, but still fast moving.

Godber has always been at his best when he is riled, questioning the status quo with Yorkshire frankness, shaking his head but finding humour as he observes British characteristics with befuddlement but a dart’s player’s accuracy, driven by a desire both for mischief making and for change.

Above all, an even stronger sense emerges of Godber commenting, not on the deathly march of Covid, nor the Government’s handling of the pandemic, but on its impact on our behaviour, our appreciation of people and nature around us, our re-evaluation of our neglected, suffering towns and forgotten, left-behind villages amid the expedient rise of the staycation.

Sunny Side Up! is billed as a “hilarious and moving account of a struggling Yorkshire coast B&B and the people who run it: down-to-earth proprietors Barney, Tina and daughter Cath and Tina as they share their stories of awkward clients, snooty relatives and eggs over easy” in Godber’s familiar conversational, pull-up-a-chair story-telling style.

Martha Godber’s affronted holiday-maker confronts John Godber’s retired academic in Sunny Side Up!. Picture: Elizabeth Godber

The focus, however, falls more on one of those “snooty relatives”, the fish-out-of-water Graham, Tina’s brother, who has taken up her invitation to bring his wife for a short break back at his roots, now that a foreign trip has been ruled out.

It is not so much that Graham was a big fish in a small pool, so much as that his academic prowess led him to other pools, culminating in his becoming a professor and university pro-vice chancellor, who wanted his own success to be a template for other working-class children to follow suit on a social-mobility conveyor belt. He has not been “back home” to this East Coast last resort for ages.

Graham (John Godber) has the big black car with tinted windows, the expensive shoes and the expensive food tastes; his wife (Thornton) has an MBE for her work in the public cause. She is invariably happy, wanting to stop for a sandwich break on a lay-by after only four miles; Graham is perennially unhappy; he would not be going at all, if it came down to choice rather than a sense of family duty.

Brexiteer Barney, who largely takes a back seat, out on errands, is no fan of Graham, while daughter Cath (Martha’s main role) has the bloody-minded, mischievous streak that Godber himself loves.

Consequently, she, more so than Tina and Barney, breaks down theatre’s fourth wall to engage directly with the audience, putting them on her side as she makes sure Graham’s visit is anything but easy over and comments on his wife always calling her “Catherine”, a name she has grown to dislike for its unnecessary floweriness.

There are echoes of September In The Rain and Happy Jack as Graham revisits his past, going fishing in one beautiful, tender scene, but there is no whiff of nostalgia here. Initially, he had laughed scornfully at the cramped, antiquated top-floor bedroom Tina had provided, but the more he sees, the more it sets off his frustration at such places being forgotten, under-funded, under-appreciated, in need of watering.

Yet he himself had left Sunny Side, forgotten it, and so Godber does not let that pathos go unchallenged, nor Graham’s despair at a pair of holidaying old miners spouting Yorkshire cliches (in a cameo by John and Jane not far removed from the old Four Yorkshiremen sketch from The At Last The 1948 Show and Monty Python).

Jane Thornton’s Tina and Martha Godber’s Cath in Sunny Side Up! Picture: Elizabeth Godber

In the defining scene, Martha Godber’s second principal character, a blunt, no-nonsense holiday-maker no longer able to afford Zante, confronts Graham as to why he did not come home to try to make a difference – to do his own version of levelling up – rather than preach from his academic high tower, out of touch and out of reach.

Godber and Graham are both over 65; both have aching knees, both are bright working-class lads with teaching in their locker; both always vote Labour; both want better for what is already there or once was there until the oxygen was switched off.

Graham has retired, Godber is anything but retired, and Sunny Side Up! is up there with his radical environmental satire Crown Prince and his post-mining drama Shafted! as the best of his 21st century writing. Godber at his most humane and touching but b****y funny too.

There is even magic realism in an encounter between Graham and his late mother (Martha again), her memory eroded by dementia, and moments of physical comedy in the Bouncers tradition as Graham, his wife and Cath climb the endless stairs without a stairwell in sight.

Four chairs and a suitcase, a miniature lighthouse, some rocks and a plastic seagull make up Graham Kirk’s set with familiar Godber economy. In that open space, with room to breathe in that sea air, the performances are terrific. Godber doing a Godber play, with innate comic timing, is always a joy; likewise, his stage partnership with wife Jane makes for a wonderfully forthright double act but one grounded in truthfulness as much as playfulness.

Martha, meanwhile, continues a run of stand-out performances this year in Godber’s Moby Dick at Stage@The Dock, Hull; as Olivia in Luke Adamson’s Twelfth Night at Selby RUFC and now her multi-roles in Sunny Side Up!, full of humour but poignant too. Never better than when the grounded Cath, unlike Graham in younger days, says she will not move on but will look to make Sunny Side a better B&B.

Godber is on such good form here, he even weaves his and Jane’s conversion to “sort-of veganism” into the play with a running in-joke where Cath offers up eggs sunny side up as the vegan breakfast option. Think about it!

Review by Charles Hutchinson

John Godber and Jane Thornton: “A wonderfully forthright double act but grounded in truthfulness as much as playfulness”. Picture: Martha Godber

John Godber’s B&B comedy Sunny Side Up! is up for a return to Stephen Joseph Theatre

John Godber and Jane Thornton premiering Sunny Side Up! at the Stephen Joseph Theatre last October. Picture: Martha Godber

THE John Godber Company returns to the Stephen Joseph Theatre next month with Sunny Side Up!, the coastal comedy premiered by the Godbers in a family bubble at the Scarborough theatre last autumn.

Rehearsed at home, John Godber’s play played to socially distanced sell-out audiences at the end of October 2020, just before the start of the second pandemic lockdown. From October 7 to 9, it will be performed before a socially distanced audience once more in the Round.

Writer-director Godber will reprise his role as Barney alongside his wife, fellow writer Jane Thornton, and daughter, Martha Godber. Daughter Elizabeth completes the family line-up as company stage manager; Graham Kirk provides the design and lighting.

In Godber’s moving account of a struggling Yorkshire coast B&B and the people who run it, down-to-earth proprietors Barney, Cath and Tina share stories of awkward clients, snooty relatives and eggs over easy.

Jane Thornton and Martha Godber in a scene from last October’s premiere of John Godber’s Sunny Side Up!. Picture: Elizabeth Godber

“If you’re thinking of holidaying at home this year, why not book into the Sunny Side Boarding House soon,” invites Godber, whose seaside feel-good rollercoaster digs into the essence of “staycations”.

Godber’s play is told in his signature style, blending authenticity and pathos as he addresses the problems of levelling up, leaving home and never forgetting where you come from.

This John Godber Company and Theatre Royal, Wakefield production can be seen at the SJT on October 7 at 1.30pm and 7.30pm, October 8, 7.30pm, and October 9, 2.30pm and 7.30pm.

Tickets, priced from £10, are available on 01723 370541 and at

Barney trouble: John Godber in the role of struggling B&B proprietor Barney in Sunny Side Up!. Picture: Martha Godber