Tag: Martin Lay

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REVIEW: York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, until July 4 ***

Rosa Burns’ Marcy Park in a defiant outburst in The 25th Annual Putnam County Spelling Bee

IN a spelling bee competition, contestants are asked to spell words aloud, letter by letter, with no backtracking, one by one, in order, on a loop. 

Participants are eliminated if they misspell a word, indicated by the death-knell ding of a bell, and the contest will continue until only one winner is still standing uncorrected.

The word “bee”, by the way, has nothing to do with the honey-making insect. Instead, in American English, the “bee” once referred to a community gathering where neighbours worked together on a specific task.

The 25th Annual Putnam County Spelling Bee has been causing a buzz as a Tony and Drama Desk Awards Best Book-winning musical since 2004, a buzz that has spread belatedly to York 22 years later for York Light’s summer production at Theatre@41, Monkgate.

Sweltering in the June heat wave, the John Cooper Studio’s black box theatre has been converted into a school gymnasium with a basketball on the back wall to emphasise the American setting.

James Dickinson’s Chip Tolentino in one of his “over-excited” moments at the microphone in York Light Opera Company’s The 25th Annual Putnam County Spelling Bee

Provided by theatre staff, hand-held fans were being wafted feverishly in the clammy night air by grateful audience members, but Neil Wood’s cast had no such wind assistance on Wednesday, Hannah Shaw’s Olive Ostrovsky gamely wearing a pink jumper throughout. The show must go on, as they say.

Six awkward “mid-pubescent” spelling champions gather for the chance to make the national final, joined at each show by four audience members who volunteer to join the linguistic gymnastics (mirroring the stars of stage and screen being the guest spellers in the latest off-Broadway revival of Rebecca Feldman, William Finn and Rachel Sheinkin’s musical in New York).

Taking part are the geeky one with a health condition (Stephen Wright’s William Barfee); the alpha-male one (James Dickinson’s Chip Tolentino); the zany, off-the-rails one (Daniel Wood’s Leaf Coneybear); the proto-politician one with two pushy dads (Lotty Farmer’s lisping, asthmatic Logainne SchwartzandGrubenniere); the already career-driven future businesswoman one (Rosa Burns’ Marcy Park) and the neglected one, with the adoring but always too busy parents (Shaw’s Olive Ostrovsky).

One by one, we learn their back stories, the home life that shapes them, as we observe the characteristics that will mark them in adulthood and root for their spelling prowess.

To avoid the question-and-answer format of the competition becoming repetitive, the show’s writers find ways to keep it on the move, to build an ever faster pace, both in dialogue and in song, helped hugely by the input of the question master, Neil Foster’s increasingly irascible vice-principal, Douglas Panch, whose past troubles re-surface in his erratic behaviour, expressed in his waspish tongue.

If he is the “bad cop”, the “good cop” is the kind-hearted, beatific contest hostess, Katie Brier’s one-time champion, Rona Lisa Piretti. On hand with a consoling pat on the back and a box of fruit juice for each losing contestant is Mikhail Lim’s scene-stealing “comfort counsellor”, whose manner can be as discomfiting as comforting, closer to intimidating on occasion as he sings of the contest descending into pandemonium.

Lim, Foster and Wright in particular capture the offhand, offbeat humour of Sheinkin’s book, matched by the wit of Finn’s lyrics – typified by the rhyme of ‘protuberance’ with ‘exuberance’ – while the adult cast transforms into sometimes troubled tweens with elan under Wood’s smart direction.

What Spelling Bee lacks is knockout tunes to go with the knockabout laughs and astute social observation, although pianist Martin Lay’s four-piece band plays spiritedly throughout with Katie Maloney on reeds, Rosie Morris on synths and Jez Smith on percussion.

To bee or not to bee? It is always good to check out a “quirky little” musical new to York, and the combination of a snappy script and humorous, heartfelt performances works well, even if the show falls short of being spell-binding.  

York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, June 25 to 27, then June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026). Box office: tickets.41monkgate.co.uk.

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Feel the tension as York Light enters The 25th Annual Putnam County Spelling Bee

Daniel Wood, left, Stephen Wright, Lotty Farmer, Rosa Burns, Hannah Shaw and James Dickinson in in York Light Opera Company’s production of The 25th Annual Putnam County Spelling Bee

SIX awkward spelling champions learn that winning – and losing – is not everything in York Light Opera Company’s summer production, The 25th Annual Putnam County Spelling Bee.

Conceived by Rebecca Feldman, with music and lyrics by William Finn and book by Rachel Sheinkin, the 2004 American musical will be staged at Theatre@41, Monkgate, York, from June 24 to July 4 under the direction of Neil Wood and musical direction of Martin Lay, at the helm of a four-piece band.

Be prepared for a riotous ride as an eclectic group of six “mid-pubescents” battle for the spelling championship of a lifetime in a fast-paced, wildly humorous show replete with audience participation.

While candidly disclosing touching stories from their home life, the tweens spell their way through a series of – potentially made-up – words, each hoping to never hear the soul-crushing, pout-inducing ding of the bell that signals a spelling mistake.

Rosa Byrne’s Marcy Park rehearsing for York Light’s The 25th Annual Putnam County Spelling Bee

Taking part will be Lotty Farmer’s Logainne SchwartzandGrubenierre; Hannah Shaw’s Olive Ostrovsky; Rosa Burns’ Marcy Park; Daniel Wood’s Leaf Coneybear; James Dickinson’s Chip Tolentino and Stephen Wright’s William Barfeé.

“The 25th Annual Putnam County Spelling Bee promises unforgettable entertainment with a heart-warming message highlighting themes of friendship, identity and perseverance, all while celebrating the awkwardness and excitement of growing up,” says Neil, as York Light looks to build on the success of Eurobeat and Annie, Martyn Knight’s final production in the director’s chair.

“I love this quirkly little show that was first done as a workshop show in 2004 and then played off-Broadway and made its Broadway debut in 2005. Spelling Bee is one of those shows that invites the audience into the world of the spellers to cheer, to laugh, to cry and just have a wonderful evening. It’s back in New York, playing off-Broadway, winning every award insight, playing in a complex with six productions going on in one building.

“It has top-quality writing and is just as relevant today from when it was first performed and we’ve upated with a reference to President Trump! With a show that has such a cult following, once you see it, you will want to come back over and over again!”

Vice-principal Douglas Panch (Neil Foster), left, watching the contestants, James Dickinson’s Chip Tolentino, front, left, Daniel Wood’s Leaf Coneybear, Lotty Farmer’s Logainne SchwartzandGrubenierre and Stephen Wright’s William Barfeé, in The 25th Annual Putnam County Spelling Bee

Part of the fun will be audience members’ opportunity to be guest spellers in each performance. “I’ll be chatting beforehand, saying, ‘do you fancy trying out your spelling’? It’s not compulsory, but I’m confident we will find people to do it,” says Neil.

The show has echoes of Dennis Potter’s Blue Remembered Hills and Willy Russell’s Blood Brothers in having adult actors play children. “The six main spellers in the competition are 12/13-year-old adolescents, and most people will be able to recognise themselves in at least one of them,” says Neil.

“There’s a geek;  a zany, off-the-rails one; an alpha-male; a future businesswoman, already looking career driven; a young politician, being brought up by two dads, and a girl whose parents adore her but they’re always busy pursuing their own lives. I think the audience will end up rooting for the one they identify with the most.

“There’s a proper plot in this character-centred show, whereas there wasn’t in Eurobeat, which was more like ‘an experience’. The three adults running the event are important too: the one-time champion (Katie Brier’s Rona Lisa Piretti), the vice-principal (Neil Foster’s Douglas Panch) and the comfort counsellor (Mikhail Lim’s Mitch Mahoney), who is there to look after the children, should they not success in the spelling bee. They all have a back story, and the stories intertwine with little bits of flashback.”

Mikhail Lim’s comfort counsellor Mitch Mahoney in rehearsal

The fact that the children are played by adults, “you just get transfixed by them,” suggests Neil. “It calls on a totally different skill set for the actors , and one of the things that we’ve really worked on is the consistency of the characters as they’re on stage all the time, so they have to hold those characters traits at all times.”

Should you be wondering, Neil’s research reveals there are no fewer than nine Putnam Counties in the United States. “But then there are 20 different Springfields there by the way, including the one in Missouri in The Sopranos and the town in The Simpsons!” he says.

“We’ve given it over to the company members to find their accents for our show, which is set at a regional heat before the national final in Washington,”

The setting will be a school gymnasium, where the young spellers must exercise their minds. “We’ll have a basketball hoop on the set to give a sense of a gym,” says Neil.

Looking forward to tomorrow’s opening, he enthuses: “What I love about the show is how the audience can forget about the outside world for two hours, when they’ll smile, they’ll be moved by the story, they’ll have fun – and you’ve got to have fun at the theatre!

“We giggle at rehearsals from start to finish, and you have to do that with this piece because, if we’re not having fun, nor will the audience, but I guarantee they will come out with grins on their faces.”

York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, June 24 to 27 & June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026). Box office: tickets.41monkgate.co.uk.

Katie Brier’s Rona Lisa Piretti, left, and Hannah Shaw’s Olive Ostrovsky in a scene from York Light’s The 25th Annual Putnam County Spelling Bee

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REVIEW: York Light Opera Company in Annie, York Theatre Royal, the sun’ll come out, tomorrow to Saturday ****

Harriet Wells’s Annie with Primrose’s Sandy in York Light Opera Company’s Annie at York Theatre Royal. Picture: Matthew Kitchen Photography

ANNIE is Watford-based director Martyn Knight’s swan song with York Light Opera Company after 22 shows over two decades of working with “such a wonderful theatre ‘family’”.

All that travelling north to make the Light shine brightly has been rubber-stamped by Knight being made an honorary life member, and he leaves with a sparkling account of Charles Strouse, Martin Charnin and Thomas Meehan’s 1977 musical.

He knows Annie so well – this is his fifth production – but by comparison, York Light has not revisited the show since 2001 when the late titan of the York am-dram stage, Bev Jones, was at the helm as director, choreographer and conductor. “No nonsense but great,” as Gemma Kirk, one of his Annies, described him in her 2026 programme recollections, grateful for his guidance into “what it’s like in the real world of performing”.

In turn, Martyn Knight believes the greatest joy of Annie is the chance to see young talent blossom, in this case in the nine-strong Yellow Team (on press night) and Blue Team of orphans, being nurtured under the erratic, maladroit tutelage of Annabel van Griethuysen’s ever-tipsy Miss Hannigan under the shadow of the Wall Street Depression in 1933 New York City.

Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan. Picture: Matthew Kitchen Photography

Among those orphans is the precocious, wilful Annie, a role shared between Harriet Wells, so impressive as Young Alison in Pick Me Up Theatre’s Fun Home at York Medical Society last year, and Hope Day, whose stage credits list already takes in the Grand Opera House pantomime Beauty And The Beast, Opera North’s A Midsummer Night’s Dream, Jemima Potts in York Stage’s Chitty Chitty Bang Bang and York Theatre Royal’s 2023 community play Sovereign.

It was all Wells that starts Wells on press night ­– Day’s nights would follow – as Harriet affirmed all that promise in Fun Home in a musical production on a much grander stage and scale. She looked every inch at home as much as Primrose, the four-year-old Golden Labrador, in the role of Sandy, the stray dog she befriends on the Big Apple’s impoverished streets.

Harriet’s Annie, she of the ginger hair and eternal optimism, is the show’s driving force, determined to find her long-missing parents. Her opening song may be Maybe, but she has the positivity of Definitely, not Maybe. Harriet has the nascent singing chops, the American accent, and all the indefatigable energy, reminiscent of Judy Garland’s Dorothy in The Wizard Of Oz.

Director-choreographer Knight and assistant director Kathryn Addison bring out the full characterisation in Miss Hannigan’s cheeky, defiant orphans (Yellow Team members Elizabeth Reece’s Duffy, Sophie Helme’s Pepper, Perdie Rolfe’s July, Belle Sturdy-Flannery’s Tessie, Bea Wells’s Kate, Lottie Barnes’s Lizzie, Leonore Thornton’s Lilly and the particularly exuberant Emilia Cole’s Molly). Their dancing is so full of joy; their singing in It’s The Hard Knock Life a thrill rather than shrill.

Neil Wood’s Oliver “Daddy” Warbucks with Hope Day’s Annie in York Light’s Annie. Picture: Matthew Kitchen Photography

Knight’s first instinct was that Annabel van Griethuysen – who he first directed in her York Light debut in Guys And Dolls in 2018 – might be a little young for the sozzled sourpuss role of Miss Hannigan, but her audition had “Cast me”  written all over it, he said.

As her programme profile states, Miss Hannigan is “one of my favourite characters in one of my favourite musicals”, and that assertion is matched by van Griethuysen’s woozy headache of a performance: that skill of ‘drunk’ acting, flask in hand, but without overplaying it, so that there is still humour, even pathos, in her villainy: at once a lush, but louche. She’s a mighty fine singer too, caustic in Little Girls, full of bravado in Easy Street.

From Mr Bumble in Oliver to Callaghan in Legally Blonde and especially cut-throat Sweeney in Sweeney Todd: The Demon Barber Of Fleet Street, Neil Wood has put the dark into York Light shows aplenty, but here he shines as principled industrialist Oliver “Daddy” Warbucks, influential friend of the President.

Warbucks may have a house full of servants and famous paintings (latest acquisition, Leonardo da Vinci’s Mona Lisa), but something is missing from a life fuelled by making money and the need to reopen his factories. Annie, the orphan he gives a home for Christmas, opens his heart with her belief that “the sun’ll come out tomorrow”.

Lottie Barnes, Sophie Helme, Belle Sturdy-Flannery and Emilia Cole from the Yellow Team’s Orphans

Wood’s partnership with Wells’s Annie is delightful – Warbucks blooms as she blossoms – while his singing is full of warmth, conviction and resonance, assertive in N.Y.C, questioning himself in Why Should I Change A Thing? and reflective in Something Was Missing.

Sarah Craggs’s unflappable Grace Farrell is ever supportive of Annie and Warbucks alike; Martin Lay’s Rooster and Chloe Jones’s Lily St Regis bring bags of wrong’un personality to grafter duo Rooster and Lily St Regis; Richard Weatherill makes a dapper radio show presenter, Bert Healy, performing Never Fully Dressed Without A Smile so perkily with Pascha Turnbull, Clare Meadley and Rhian Wells, who amuse as vintage harmony act The Boylan Sisters.

Fifty years after his York Light debut in Showboat (“when half the cast ‘blacked up’,” he recalled in conversation post-show), John Hall  brings gravitas to President Roosevelt, his singing as powerful  as ever. Paul Laidlaw’s orchestra enrich every number, Scenic Projects’ set design and The Loft Costumes’ costumes are colourful and smart, adding to the high quality of Knight’s fantastic finale to his York Light years.

York Light Opera Company in Annie, York Theatre Royal, resuming tomorrow until February 21, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Chloe Jones’s Lily St Regis, left, Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan performing Easy Street in York Light’s Annie. Picture: Matthew Kitchen Photography

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Martyn Knight to make exit with Annie after 21 years of directing York Light Opera Company at York Theatre Royal

Chloe Jones’s Lily St Regis and Martin Lay’s Rooster in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

MARTYN Knight directs York Light Opera Company for the last time in its first staging of Annie in 25 years at York Theatre Royal from tomorrow to February 21.

“It’s my swan song for York Light after 21 years,” says Martyn. “I’m nearly 70, I’m still haring up and down the country – and I’ve just finished the panto season in Eastbourne, where I’ve been the dame for 21 years [at the Devonshire Park Theatre], playing Sally Smee, Smee’s mum, in The Adventures Of Peter Pan this winter.

“You have people coming through as performers all the time, and you need to have directors coming through too. There are only so many dance numbers you can do over the years.”

To prove the point, Martyn is directing Annie for the fifth time. “That spans several years,” he says. “Until now, they’ve all been in the south, High Wycombe, Taunton, Weymouth and… the other one eludes me. York Light is the first one in the north.”

Reflecting on more than two decades at the helm of 22 York Light shows, he says: “As a company, they have brought me friendship and family, as I’ve made so many friends over the years, working with incredible people, with all the joy of giving back to amateur theatre.

“What I get out of it is amazing. I started in the amateurs, never training in dancing and singing, but got the chance in 1976 o start working as a dancer in Portugal at Casino Estoril, the biggest casino in Europe at the time.

Annabel van Griethuysen’s Miss Hannigan. Picture: Matthew Kitchen Photography

“I was in the floor show, I was 19/20, in my ‘gap year’, and being paid to do it, then went to Japan, Hong Kong and Singapore – onwards and upwards.”

Martyn continues: “I was never excellent in the three disciplines, but I could act, sing and dance, did lots of rep things, and ultimately went into the West End in one of those shows. In around 1990, I was in panto with Hinge & Bracket, alongside these 18 and 19-year-olds, when I was in my 30s, and I remember thinking, ‘I should get a proper job’, just as my mum always suggested.”

Cue Martyn directing and choreographing shows at the Watford Palace Theatre, where he had first performed at the age of 11 “when my mum got me into theatre”. “My dad was very high up in management at Heinz, but I have always been a rebel, going against what’s expected,” he says.

Directing has brought him much joy, not least when revisiting a musical such as Annie, a heart-warming tale of hope, family, and second chances with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile. 

“I think it’s the children’s element of the show that makes Annie so popular, the chance to see your local talent on stage. We have 18 girls, aged seven to 13, and we auditioned far more than that,” says Martyn.

Annie at the double-trouble: Hope Day, left, and Harriet Wells sharing the title role in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

“They really have that wow factor, and to me it’s all about the next generation of young performers. That’s what I like, when you see the talent coming through.”

Harriet Wells and Hope Day will be sharing the title role in the heart-warming tale of hope, family and second chances with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile.

“Harriet and Hope have very different qualities and different approaches to playing the part, which I love,” says Martyn. “Harriet is very expressive; Hope was among the first ones I saw in the auditions, where you’re looking to spot someone who has star quality, and she really made me watch. She has a beautiful face.

“They’re both lovely singers and very good actresses, with demanding songs that they do so well, and though the hardest part is the dancing, they’re coming to terms with that too.”

Expect dazzling choreography, stunning costumes and a full live band in Martyn’s production, alongside a stellar cast of York talent, led by Annabel van Griethuysen as Miss Hannigan after her forgetful but unforgettable Sister Mary Amnesia in  Nunsense: The Musical at Theatre@41, Monkgate, in Summer 2024   and hostess Marlene Cabana in Eurobeat: Pride Of Europe at the same theatre last summer.

Sarah Craggs and Neil Wood in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

“Annabel is someone who didn’t cross my mind…until I saw her in the audition; slightly younger than she should be for Miss Hannigan, but her performance said ‘Cast me’,” says Martyn.

“Her last lead for me, [as Sarah Brown in 2018] in Guys And Dolls, was very different, which shows she is a very diverse, powerful performer. Put her together with Martin Lay’s Rooster and Chloe Jones’s Lily St Regis, and they’re really good together.”

Martyn is as busy as ever – also working on a production of Priscilla Queen Of The Desert The Musical in Watford at present– and he is exacting in his standards. “You play to your strengths, but I also change,” he says. “As a director, I always think I could do it better, so I do alter things.”

York Light Opera Company in Annie, York Theatre Royal, February 12 to 21, 7.30pm, except February 15 and 16; February 14, 15 and 21, 2.30pm; February 19, 2pm. The February 17 show will be British Sign Language Interpreted. Box office: 01904 623568 or yorktheatreroyal.co.uk.

  

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REVIEW: Joseph Rowntree Theatre Company in Calamity Jane, Joseph Rowntree Theatre, York, until Saturday ****

Helen Gallagher’s ‘Calamity’ Jane and Matt Tapp’s ‘Wild’ Bill Hickok in Joseph Rowntree Theatre Company’s Calamity Jane

ONE of the joys of York’s remarkable spread of theatre companies is the chance to catch the ever-widening span of acting talent in leading roles.

Helen Gallagher has performed in musicals since she was young, across Yorkshire, in Manchester and overseas in Seoul, South Korea. Now she takes the title role in Sophie Cooke’s production of Sammy Fain and Paul Francis Webster’s 1961 musical story of friendship, adventure, and romance, set against the backdrop of the American Western Frontier. 

Alongside her is the towering Matt Tapp, who has played everything from a sailor to an asylum owner in amateur musicals for years, not least a Viking (no surprise there, given his heavy metal mane of hair and beard).

Here he takes on a “real challenge, but an amazing one” in his Joseph Rowntree Theatre Company debut as “Wild” Bill Hickok (soldier, scout, lawman, cattle rustler, gunslinger, gambler, showman and actor of the American Old West), here spelled ‘Hickock’ in the programme.

Gallagher’s ‘Calam’ and Tapp’s ‘Wild’ Bill are both superb leads in Cooke’s impressively well-drilled company, one that fills the stage to the gills with bright energy, fun, frills and bonhomie, choreographed with admirable precision and passion by Heather Stead and Rachel Shadman.

The Joseph Rowntree Theatre Company’s eighth fundraising show for the JoRo Theatre’s maintenance since 2017 is built on strong foundations: Cooke’s direction, so alive to the show’s romance, love of theatrical performance and balance of frivolity, femininity, feminism and competitive male swagger, in tandem with Martin Lay’s zestful musical direction of an 11-strong orchestra (featuring polymath James Robert Ball in yet another guise as trombonist).

Then add Stead’s choreography, maximising ensemble movement, Julie Fisher and Costume Crew’s costume designs and Eliza Rowley’s set design of a prettily refurbished cabin for Calamity and Katie Brown (Jennifer Jones) and an open-plan structure for the Golden Garter, the saloon run by Alex Schofield’s  ever-harassed by perennially willing-to-please Henry Miller.

Charting the interlinked lives of the Deadwood City community in 1876, when everyone knows everyone’s business, Calamity Jane is suffused with colourful characters united by dreams of a better life. Not only the frontier-town folk and fort of soldiers, but also Jones’s Katie Brown, the dresser mistaken by Calamity Jane for Chicago singing sensation Adelaide Adams (Mollie Raine) when she promises Miller she will bring back Adelaide from the Windy City to perform at the saloon.

Gallagher’s sharp-shooting Calam’ (real name Martha Jane Canary) is as fast with her tongue as her gun, always in a rush, ready for the rough and tumble, a no-nonsense tomboy, but with a romantic heart held in check beneath the bravado.

She sings delightfully too, from The Deadwood Stage opener, through the exasperated Men! to Windy City and the ever-gorgeous My Secret Love. Best of all is her Act Two opening duet with Jones’s Katie, A Woman’s Touch.

Tapp’s ‘Wild’ Bill has bags of stage presence too, matched by his assured singing, whether in his I Can Do Without You duet with Calamity or his ‘big number’, Higher Than A Hawk.

At the heart of Calamity Jane is the love interest, played with a lightness of touch by Gallagher’s Calamity, who’s in love with Adam Gill’s upstanding but very forward Lt Danny Gilmartin, who’s fallen in love with Jones’s Katie, the new apple of the eye of Tapp’s ‘Wild’ Bill. Such a merry-go-round of the heart is delightfully daft and yet deftly played.

Sadie Sorensen’s Susan blossoms in the story’s other romance with Tom Menarry’s Francis Fryer, the Chicago act booked mistakenly (as Miss Frances Fryer) by Miller. Menarry is a particular joy in drag for Hive Full Of Honey, while Raine revels in Adelaide’s moment in the spotlight , It’s Harry I’m Planning To Marry.

From Emily Hawkins’ poster designs to Scenery Solutions’ backcloth for the Black Hills Of Dakota, this Calamity Jane is spot on in every way.

Joseph Rowntree Theatre Company in Calamity Jane, Joseph Rowntree Theatre, York, 7.30pm tonight and 2.30pm (last few tickets) and 7.30pm tomorrow. Box office: 01904 501935 or https://www.josephrowntreetheatre.co.uk/whats-on/musical/calamity-jane/2830.

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Joseph Rowntree Theatre Company to stage Western Frontier musical Calamity Jane under Sophie Cooke’s direction

Helen Gallagher’s ‘Calamity’ Jane and Matt Tapp’s Wild Bill Hickok: Leading the Joseph Rowntree Theatre Company cast in Calamity Jane. All pictures: Jennifer Jones

THE Deadwood Stage rolls into York from February 4 to 7 when the Joseph Rowntree Theatre’s in-house fundraising company kicks off the spring season with Calamity Jane.

Gracing the JoRo stage for only the second time since the Haxby Road theatre’s inception in 1935, Sammy Fain and Paul Francis Webster’s 1961 musical – preceded by the 1953 film version – is  a story of friendship, adventure, and romance, set against the dramatic backdrop of the Western Frontier. 

Director Sophie Cooke, musical director Martin Lay and choreographer Heather Stead steer the Joseph Rowntree Theatre Company’s eighth full-scale production since forming in 2017.

Charting the interlinked lives of a South Dakotan community, full of characters united by dreams of a better life, Calamity Jane takes audiences to the golden age of musicals in an adaptation by Ronald Hanmer and Phil Park from Charles K Freeman’s stage play.

Tom Menarry’s Mister Francis Fryer and Alex Schofield’s Henry Miller in rehearsal for Calamity Jane

Led by tough talkin’, gun-totin’ heroine ‘Calamity’ Jane, and ex-peace-officer ‘Wild’ Bill Hickok, the citizens of Deadwood are content with their ways of life: supporting their fort of soldiers, socialising at the beloved Golden Garter saloon and awaiting treasures brought in from the world beyond.  

However, when a new face blows in from the Windy City and creates a stir, friendships will be formed, long-time loyalties tested and perhaps even secret love revealed.

As a fan of Calamity Jane in all its adaptations since her childhood, director Sophie Cooke chose this show for JRTC, drawn to songs beloved by multiple generations, the humorous, heart-felt story and the show’s combination of operetta, vaudeville and vintage Broadway.

“It’s been a dream to direct,” she says. “Calamity Jane is a story about friendship, love, and community, with a true feel-good factor. The community spirit in Deadwood really captures the spirit of community theatre: everyone pulling together, supporting each other and having fun along the way. 

Calamity Jane director Sophie Cooke in the rehearsal room

“It celebrates that golden-age musical feel: big songs, big characters and lots of heart. It’s a timeless show, with themes, characters and songs that defy decades.”

In the cast will be Helen Gallagher as ‘Calamity’ Jane; Matt Tapp as Wild Bill Hickok; Jennifer Jones, Katie Brown; Adam Gill, Lieutenant Daniel Gilmartin; Mollie Raine, Adelaide Adams; Sadie Sørensen, Susan; Tom Menarry, Mister Francis Fryer, and Alex Schofield, Henry Miller

 Joining them will be Paul Betts as Joe; company newcomer David Hartley as stage-coach driver Rattlesnake; Jamie Benson, Charlie from Nantucket; Kit Stroud, poker-playing doctor-undertaker “Doc” Pierce; Matthew Jarvis an d Conor Heinemeyer as scouts Hank & Pete and Gary Bateson as Colonel. 

Playing the CanCan Girls will be Abigail Atkinson; Liz Campbell; Chloe Chapman; Hollie Farmer; Sarah Rudd; Rachel Shadman and Heather Stead. Featured dancers will be Britt Brett; Katie Crossley; Robyn Hughes-Maclean; Rebecca Jackson; Lorna Newby and Jennifer Dommeck.

Joseph Rowntree Theatre Company cast members enjoying a rehearsal for Calamity Jane

The ensemble will comprise Meg Badrick; Victoria Beale; Amy Blair; Ruth Boag-Chapman; Pamela Bradley; Sophie Coe; Sue Coward; Lois Cross; Phoebe Dixon; Catherine Halton; Johanna Hartley; Cate Lawson; Caitlin McDowell; Lucy Moul; Rocks Nairn-Smith; Cameron O’Byrne; Kayleigh Oliver; Eliza Rowley; Rachael Turner and Charlotte Wetherell.

Joseph Rowntree Theatre Company in Calamity Jane, Joseph Rowntree Theatre, York, February 4 to 7, 7.30pm plus 2.30pm Saturday matinee (last few tickets available). Box office: 01904 501935 or https://www.josephrowntreetheatre.co.uk/whats-on/musical/calamity-jane/2830.

Joseph Rowntree Theatre Company: back story

FORMED in 2017, the company has since staged such shows as Kiss Me, Kate!, Hello Dolly, Curtains and 2025’s Beauty And The Beast as the im-house company at the JoRo.

All show profits fund the maintenance and development of the long-running community stage, allowing York performers, volunteers and audience members alike to enjoy classic and contemporary theatre in a space of their own. More than £50,000 has been raised so far, with plans for future productions already underway. 

The Joseph Rowntree Theatre Company’s poster for next week’s production of Calamity Jane

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Annabel van Griethuysen to lead York Light Opera Company cast as Miss Hannigan in Annie at York Theatre Royal next month

Annabel van Griethuysen’s Miss Hannigan in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

YORK Light Opera Company will stage Annie for the first time in 25 years at York Theatre Royal from February 12 to 21 under the direction of Martyn Knight.

This heart-warming tale of hope, family, and second chances with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan is packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile. 

Expect dazzling choreography, stunning costumes and a full live band, alongside a stellar cast of York talent, led by Annabel van Griethuysen as Miss Hannigan after her forgetful but unforgettable Sister Mary Amnesia in  Nunsense: The Musical at Theatre@41, Monkgate, in Summer 2024   and hostess Marlene Cabana in Eurobeat: Pride Of Europe at the same theatre last summer.

Joining Annabel in the cast of 38 others will be Harriet Wells and Hope Day, sharing the role of Annie, Neil Wood as Oliver “Daddy” Warbucks, Sarah Craggs as Grace Farrell, Martin Lay as Rooster and Chloe Jones as Lily St Regis.  

Annie at the double: Hope Day, left, and Harriet Wells sharing the title role in Annie. Picture: Matthew Kitchen Photography

Neil Wood’s Oliver “Daddy” Warbucks and Sarah Craggs’s Grace Farrell in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography

Assistant director Kathryn Addison says: “This production of Annie places special emphasis on the young performers who are the soul of the show. Through the casting process, the orphan casting for two teams of young people was developed first, fostering strong connections, confidence and ensemble storytelling before the final roles were assigned. 

“Our energetic cast of young performers are joined by experienced adult performers and a creative team committed to storytelling. Annie promises to deliver a heartfelt and joyful theatrical experience for audiences of all ages.”  

York Light Opera Company in Annie, York Theatre Royal, February 12 to 21, 7.30pm, except February 15 and 16; February 14, 15 and 21, 2.30pm; February 19, 2pm. The February 17 show will be British Sign Language Interpreted. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Back row: left to right, Olivia Watts, Rose Hirst, Phoebe Ellis, Emilia Heward, Sophie Helme, Elizabeth Reece and Lottie Barnes; middle row, Eliza Clarke, Eleanor Powell, Meredith Clarke, Belle Sturdy-Flannery, Bea Wells, Perdie Rolfe and Leonore Thornton; front row, kneeling, Olive Connolly, Hope Day, Harriet Wells, Emilia Cole. Picture: Matthew Kitchen Photography

      

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    REVIEW: York Light Opera Company in Eurobeat: Pride Of Europe, Theatre@41, Monkgate, York, until July 5 ***1/2

    Annabel van Griethuysen’s hostess Marlene Cabana vamping it up in York Light Opera Company’s Eurobeat: Pride Of Europe. All pictures: Matthew Kitchen Photography

    EUROBEAT is essentially Eurovision by another name, and if you love the campery, pageantry and “political” shenanigans of Eurovision, then you will love Eurobeat.

    Presented in York its third iteration (after 2008’s Eurobeat…Almost European and 2016’s Eurobeat Moldova), this affectionate send-up is the work of Aussie composer, writer and lyricist Craig Christie, a Eurovision devotee whose love of the annual song contest pre-dates Australia’s inclusion since 2015’s special guest appearance.

    Should you still be wondering why the faraway land of Oz is involved, apparently Aussies have a long-standing affection for Eurovision and the nation is a member of the European Broadcasting Union (EBU).

    Emma Swainston’s Astrid Lungstomberg waving the flag for Swedish entry Semaphore Of Love

    Christie updates his show with each re-telling, tongue pushed further into cheek, politically and culturally savvy to the world’s woes, and steeped in Eurovision’s tropes, gauche jokes and awkward silences, while keeping the distance of a mischievous onlooker.

    In the words of York Light director Neil Wood, “it’s fun”. “It ends up as more of an event, though it’s still a theatre show, and from the audience point of view, it’s a blast!” he says. “If you want to come in costume, you’re more than welcome to do so. We’ll have slash curtains, glitter and haze, everything you’d expect from Eurovision, but without the big budget.”

    No-one took up the costume invitation at Wednesday’s press night: auditorium conditions were too hot and airless for that, but a Portuguese flag was waved enthusiastically from the front row, probably doubling as a cooling fan too.

    Zander Fick’s punctilious martinet, Master of Protocols “Boring” Bjorn Bjornson, in Eurobeat: Pride Of Europe

    Welcome to Lichtenstein, hosts apparently by default of Eurobeat 2025. Up on the mezzanine level are Joy Warner’s Fanny Feuberger and Simon Kelly’s Kevin Kupferblum, starchy Cultural Ambassors with their regal airs and cod European accents.

    They look over everything and, in turn, tend to be overlooked by show-off show hostess Marlene Cabana (Annabel van Griethuysen), glamorous Lichtenstein singing star, who has a costume change for every song and a putdown quip or three for every contestant and national stereotype.  She is as much the mouthpiece for Christie as an echo of Terry Wogan and Graham Norton’s mickey-taking.

    Annabel Van Griethuysen (could the lead actress have a more pan-European name?) is fabulous from start to finish. Her five-star Marlene is an irresistible, irrepressible force, with no time for woke sensibilities, and an Alpine European accent befitting a Bond Girl of Connery days. She takes the demands of direct address in her sassy stride, always accompanied by eye contact.

    This Is How I Dance (by not dancing): Idomus (Pierre-Alain van Griethuysen and Megan Taaffe) in statuesque form for Lithuania in Eurobeat: Pride Of Europe

    As well as parading her operatic prowess in her singing, especially in Act Two, Van Griethuysen does pretty much all of the script’s heavy lifting, aided occasionally by the staid Cultural Ambassadors and Zander Fick’s Master of Protocols, “Boring” Bjorn Bjornson, a moribund martinet whose every energy-draining interjection is begrudged by Marlene as unnecessary competition for her limelight-hogging.

    Trained in opera and jazz singing, Fick has been carving a niche for himself on the York stage in a series of impressively understated yet bang-on performances since moving here from South Africa in April 2023. Once again he favours less is more as he blossoms on the arid terrain of the humourless killjoy, making being “boring” highly watchable.

    The importance of being Earnestasia: Emma Rockliff performing Romanian entry Listen

    In Act One, somewhat reluctantly on each occasion, hostess Marlene has to make way for the ten acts (nine European, plus the United Kingdom, she quips), looking to upstage them on each costume change. The songs must do their talking for them.

    Christie plays on each nation’s Eurovision history and characteristics, kicking off with the infectious, over-calculated melody hooks of Sweden’s Semaphore Of Love, sung by Emma Swainston’s Agnetha-blonde Astrid Lungstomberg.

    Poland’s Obwody Wirujące (Kit Stroud, Sophie Cunningham and Chloe Branton), all hard hats and robotic movements, clash for attention with three maids in traditional dress, their song pulling in different directions too. Romania’s Earnestasia (Emily Rockliff) throws in every outdated Eurovision cliché, boom-bang-a-bang style, in Listen. 

    Nigel and Nadine (Stephen Wilson and Pascha Turnbull) at odds with each other in the United Kingdom’s typically unloveable Why Don’t You Love Me Anymore

    The United Kingdom’s  Nigel and Nadine (Stephen Wilson and Pascha Turnbull) are akin to a washed-up cabaret act from a bygone era on a crash course to nil points with Why Don’t You Love Me Anymore. Or more accurately, why don’t you love us anymore, post-Brexit?

    Representing Lithuania are Idomus (Pierre-Alain van Griethuysen and Megan Taaffe), seriously Eastern European yet delightfully, cutely devoid of self-awareness (unlike hostess Marlene) in singing This Is How I Dance, statuesque to a T, eschewing dance steps in the best moment of Wood and Sarah Cragg’s amusing choreography.

    Greece is the word: Chloë Chapman’s Persephone performing Oh Aphrodite, a song she also choreographed

    On song for Greece is Persephone (Chloë Chapman), tapping into Greek tragedies in the highly theatrical Oh Aphrodite. Portugal’s Mateus Villela (boy band looker Cain Branton) lives up to the lonesome title Guy With The Guitar, ushering off violinists while stoically declining to play his allotted instrument until the last note in one of Christie’s titular best jokes.

    Vatican City (rather than Italy) gives Christie the chance to take pot shots at the Catholic church before Mother Morag and the Sisters of Perpetual Harmony (Evie Latham, Lizzie Kearton, Sophie Cunningham and Emma Swainston) catch the Sixties girl group habit in Good Girl – throwing in a Bucks Fizz costume “strip” for good measure.

    Mother Morag and the Sisters of Perpetual Harmony: Vatican City’s answer to a Sixties’ girl group

    Christie’s best pastiche goes to France’s Estelle LaCroix (Amy Greene), in red beret and matching lipstick, with a mime artiste to one side and a cyclist with baguettes and string of garlic to the other, as she sings the Gallic ballad Je Vous Deteste Tous, resolutely in French bien sur, her disdain writ large.

    Norway closes the contest with Hammer Of Thor (Daniel Wood and Matt Tapp) hammering out the heavily metallic The Vikings, wherein an accountant sheds his day-job skin to join the Nordic warrior beside him as if on a Jorvik Viking Festival weekender in York.

    Time for an interval break, one where audience members must pick their top three, either by utilising a somewhat resistant QR Code or resorting to time-honoured pen and paper.

    Pulling the heart strings, but not playing the guitar ones: Cain Branton’s Mateus Villela holds back on his fret work in Portuguese entry Guy With A Guitar

    Van Griethuysen’s hostess comes even more into her element as the Eurovision send-ups continue, the tension rises and the forced jollity of a Euro party takes over. Martin Lay’s band has fun; costumier Carly Price has even more fun.

    Who wins? That’s up to you each show, but you’re on to a winner here if Eurovision is your guilty pleasure.

    York Light Opera Company in Eurobeat: Pride Of Europe, Theatre@41, Monkgate, York,  until July 5. Performances: 7.30pm, tonight and July 1 to 4, plus 3pm, June 28 and 29 and July 5. Box office: tickets.41monkgate.co.uk.

    Who wins at Eurobeat? You decide in the audience vote

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    Here’s your chance to vote in York Light’s Eurovision spoof at Theatre@41, Monkgate

    Waving the flag: Contestants on parade in the rehearsal room for York Light Opera Company’s Eurobeat: Pride Of Europe

    ABBACADABRA! York Light Opera Company will celebrate the magical spirit and vibrant energy and Eurovision in Eurobeat: Pride Of Europe at Theatre@41, Monkgate, York, from June 25 to July 5.

    Expect non-stop, infectious Eurobeat rhythms and dazzling visuals in Australian composer, writer and lyricist Craig Christie’s high-octane, electrifying musical, presented in its York debut under the direction of Neil Wood and musical direction of Martin Lay.

    “I didn’t know of the show until the company approached me and said, ‘this is what we want to do for the summer show’, and I thought, ‘absolutely’! It’s such fun,” says Neil.

    “It seems to have taken various guises. The first one I found, from 2008, starred Les Dennis and Mel Giedroyc and was called Eurobeat…Almost European. Then, in 2016, it was revamped by the same writer as Eurobeat Moldova, starring  Rula Lenska and Lee Latchford-Evans. Then MTI [Music Theatre International] released this one, Eurobeat: Pride Of Europe.

    “It’s very much a re-write but with some of the same songs. Craig Christie updates it each time, freshening it up with more Eastern bloc countries, like Lithuania, this time. 

    York Light Opera Company in rehearsal for Eurobeat: Pride Of Europe

    “The challenge for us is to present it as an event to take part in. For anyone who loves Eurovision, if it’s on your bucket list, then this is your opportunity to get involved.”

    What happens? “The audience can not only dance and revel in the fun of the European song contest, but also they will decide the winner, with the chance to vote on an app or good old pen and paper,” says Neil.

    “The cast won’t know who’s won until it’s announced, but there’ll be a nod to it ten minutes out from the end because of the costume changes needed.”

    The Eurobeat show will be hosted in Lichtenstein – winner of the right to do so by default, apparently – by Annabel van Griethuysen’s Marlene Cabana and overseen by Zander Fick’s master of protocols, Bjorn Bjornson, while Fanny Feuberger, Joy Warner, Kevin Kupferblum and Simon Kelly will take on the roles of Cultural Ambassadors.

    Representing Sweden will be Astrid Lungstomberg (played by Emma Swainston); for Poland,  Obwody Wirujące (Kit Stroud, Sophie Cunningham and Chloe Branton); Romania, Earnestasia (Emily Rockliff); United Kingdom, Nigel and Nadine (Stephen Wilson and Pascha Turnbull) and Lithuania, Idomus (Pierre-Alain van Griethuysen and Megan Taaffe).

    York Light Opera Company cast members working on a routine in rehearsal for Eurobeat: Pride Of Europe

    On song for Greece will be Persephone (Chloë Chapman); Portugal , Mateus Villela (Cain Branton); Vatican City,  Mother Morag and the Sisters of Perpetual Harmony (Evie Latham and Lizzie Kearton); France, Estelle LaCroix (Amy Greene) and Norway, Hammer Of Thor (Daniel Wood and Matt Tapp).

    “Each of the ten songs has an individual character in keeping with the familiar style of each country, but not too many ballads. So the French entry is very sultry; the Swedish entry has Loreen-esque vibes; the Norwegians have entered a heavy metal song – again!,” says Neil.

    “The British act, Nigel and Nadine, are on the comeback trail. They were actors in what might have been 1970s’ sitcom and now they’re back, representing the UK.”

    Eurobeat takes the form of the song contest in Act One, followed by the voting and extra songs in Act Two, climaxing with the result and the reprise of the winning number. “But rather than five hours on TV, it takes two hours on stage,” says Neil, who also provides the choreography in tandem with Sarah Craggs.

    “Our job has been not just to create the songs as Eurovision moments but to find the humour, and if you know my style, if I can see a joke, I’ll use it. Having directed I Love You, You’re Perfect, Now Change and Nunsense  for this company, this one goes in a completely different direction.

    “It ends up as more of an event, thought it’s still a theatre show,” says Eurobeat: Pride Of Europe director Neil Wood

    “It ends up as more of an event, though it’s still a theatre show, and from the audience point of view, it’s a blast! If you want to come in costume, you’re more than welcome to do so. We’ll have slash curtains, glitter and haze, everything you’d  expect from Eurovision,  but without the big budget.”

    Praising Christie’s writing, Neil says: “It’s very cleverly written because the contestants and other characters have to talk directly to the audience or to speak in their second language, so the jokes deliberately don’t always land.”

    He admits to being a Eurovision devotee.  “I love  it!” says Neil. “I grew up in the era where the UK still used to win. My earliest memories were Abba, Brotherhood Of Man and Milk And Honey, from Israel.

    “It was the thing to watch it as a family, as I have with my kids as they’ve grown up, watching with the packets of Haribo in front of us. It’s so huge now; really in vogue.”

    York Light Opera Company in Eurobeat: Pride Of Europe, Theatre@41, Monkgate, York,  June 25 to July 5. Performances:  7.30pm, June 25 to 27 and July 1 to 4, plus 3pm, June 28 and 29 and July 5. Box office: tickets.41monkgate.co.uk.

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    REVIEW: York Light Opera Company in Nunsense: The Mega-Musical!, Theatre@41, Monkgate, York, until July 6 *** ½

    Let us pray…for laughs: The Little Sisters of Hoboken and Ben Wood’s Brother Timothy in York Light Opera Company’s Nunsense: The Mega-Musical! Picture: Matthew Kitchen

    BLACK box theatre. Thick walls. No air conditioning, beyond a smattering of cooling fans. Then add nuns’ habits and wimples and the hottest night of the year.

    No wonder, in the last breaths of her climactic big number, Clare Meadley’s Sister Mary Hubert suddenly exclaimed: “God it’s hot in here.”

    The stultifying heat made the opening joke of Act 2 even more apt. “How do you make holy water?” “Boil the hell out of it!”. Theatre@41 boiled the hell out of us all, actors, Martin Lay’s band up high on the mezzanine level, and audience members alike, some improvising impromptu fans from programmes.

    Good news – if not for sun worshippers – lies in the weather forecast. Lower temperatures for the rest of this week, even lower next week. Hallelujah, as the Little Sisters of Hoboken might well sing.

    Or at least the last 12 still standing – and dancing, singing, acting, and telling jokes, too – after Sister Julia, Child of God’s dodgy Vichyssoise put paid to 52 of the sisters in a culinary catastrophe. Forty-eight have been buried but, heaven forbid, Reverend Mother Mary Regina (Joy Warner) has chucked money at buying a plasma TV, leaving the final four in limbo in the convent freezer.

    Now the Little Sisters must stage a revue and talent show to raise the necessary funds, taking over the set for the 8th grade’s production of Grease at the neighbouring Mount St Helen’s School, James Dean & Marilyn Monroe posters, Fifties’ jukebox et al.

    Cue the out-of-touch Reverend Mother mistakenly thinking the high-school musical was called Vaseline, but otherwise Grease references are not milked in Dan Goggin’s 1985 off-Broadway musical comedy.

    Inspired by attending a school run by the Marywood Dominican Sisters that first spawned his line of greetings cards of a nun’s funny quips, Nunsense grew from a cabaret show into a full-scale production and later the Mega-Musical version with an expanded cast, more characters and more comic mayhem that Neil Wood is directing for York Light. In a nutshell, more fun per nun.

    See Emily play: Emily Rockliff’s scene-stealing Sister Robert Anne in Nunsense: The Mega-Musical!. Picture: Matthew Kitchen

    No nun pun is knowingly resisted by Goggin, from the song title Nunsense Is Habit Forming to the sisters’ vow that “on our way to heaven, we’re here to make some hell”, all in the cause of proving that “nuns can be fun”.

    Five principal nuns each have a story to tell in both song and tale, enabling nuns and York Light alike to parade “triple threat” skills, whether Emma Craggs-Swainston’s Sister Mary Leo’s ballet dancing on point, or Emily Rockliff’s restless Sister Robert Anne, desperate to outgrow her “understudy” role, the convent equivalent of rising from chorus line to lead, as she parades her gift for mimicry with her wimple.

    Kathryn Addison has fun with Sister Julia’s life-endangering cooking, Warner’s Reverend Mother maximises the comedy pratfalls in inhaling a mind-altering substance, and best of all is Annabel van Griethuysen’s forgetful but unforgettable Sister Mary Amnesia, parading her operatic voice, comic timing in eye contact and vocal delivery, even hammy ventriloquism with grouchy nun puppet “Maryonette”, all topped off by a country cowgirl song.

    The humour is broad in range and style, occasionally smutty, sometimes slapstick, never subtle, and Goggin’s songs are similarly varied, from gospel to Andrews Sisters’ close harmonies, familiar musical theatre tropes to an ensemble tap-dancing dazzler, choreographed joyously by Rachel Whitehead.

    Wood’s cast adheres wholly – and holy – to Goggin’s advice to “play nuns trying to be showgirls and not the other way round”, to the betterment of the show’s hearty comedy.

    For added entertainment, the role of Father Virgil will be played in The Play What I Wrote guest turn tradition by a different actor at each performance. First up was Richard Bayton, setting the bar high in his good-natured cameo.

    After The Sound Of Music and Sister Act The Musical, once more nuns are making a habit of entertaining in song and dance and unguarded humour in Nunsense. And that habit is catching: even stage manager Sarah Craggs is in nun’s clothes.

    York Light Opera Company in Nunsense: The Mega-Musical!, Theatre@41, Monkgate, York, running until July 6, 7.30pm (except June 30, July 1 and July 6); 3pm, June 29 and 30 and July 6.  Box office: tickets.41monkgate.co.uk.