Winter gruel charges: The Pick Me Up Theatre ensemble in Oliver Twist
BILLED as “a new version of Oliver with a festive twist”, Deborah McAndrew’s adaptation of Charles Dickens’s turbulent tale of courage in adversity was first staged in Yorkshire as Hull Truck Theatre’s Christmas show in 2018.
Yes, ‘Christmas show’, as it comes booted with snippets of Victorian carols, folk tunes and John Biddle compositions. It is not a musical, and definitely not to be confused with Lionel Bart’s Oliver!, instead being a storytelling piece of theatre with music as an Greek chorus-style ensemble commentary and complement to the unfolding drama.
Producer Robert Readman’s set is dominated by a huge bridge, on a diagonal across the stage that divides the audience into a traverse configuration, used traditionally to heighten a sense of combat or conflict.
Helen Spencer’s Fagin in Pick Me Up Theatre’s Oliver Twist
There would be no taking sides here, however, as everyone will be rooting for young Oliver Twist (Logan Willstrop, sharing performances with Frankie Whitford).
Born in a workhouse to a mother who loses her life, Oliver takes a 70-mile journey to London and is sold into an apprenticeship before being recruited by Fagin’s band of pickpockets and thieves as he sinks into London’s grimy underworld in his search for a home, a family and love.
Readman encloses Theatre@41’s black box Studio in wooden frames with a series of cloth “windows”, making the Victorian milieu all the more claustrophobic and imposing – and be warmed, look out for what will emerge through the cloth, even a Punch & Judy show.
The man in black: James Willstrop’s Bill Sikes casts his shadow over Oliver Twist
As ever with McAndrew, she combines well-sketched characterisation with detailed, evocative, fast-moving storytelling.
Hull Truck’s Fagin, my dears, was a woman, played by Flo Wilson. In Pick Me Up’s version, the thief chief is still performed by a woman, the show’s director Helen Spencer, but her Fagin is still referred to as “he”.
Spencer, who has had another splendid year astride the York stage, deepens her mezzo-soprano a tad, takes on a heavier physicality within a rags-and-riches coat and has something of the night about her. Having had to miss the first two performances with a “lost voice” she has certainly found it a terrific lead performance.
Playwright Deborah McAndrew
Jennie Wogan-Wells’s abused Nancy is striving against the odds to make her way in a male-dominated world, her light snuffed out by the brutal darkness around her.
Logan Willstrop’s Oliver is full of expression, resilience and enquiry, while the ever-reliable Tracey Rea and Nick Sephton are amusing company as the besotted Widow Corney and Mr Bumble, albeit that Sephton’s towering Bumble has his darker side too, as he slams his cane against the floor with a thunderous thud.
Neil Foster is on contrasting double duty, as the exploitative Mr Sowerberry and the kindly Mr Brownlow, and likewise Rhian Wells makes her mark as Mrs Sowerberry and Mrs Bedwin.
Matthew Warry, one of York’s best developing young talents, is in typically fine form as the cocky Noah Claypole, while Rich Musk’s cuts the mustard as Dr Grimwig.
Neil Foster’s Mr Brownlow in Pick Me Up Theatre’s Oliver Twist
As with Hull Truck’s production, the Artful Dodger is still called “Jack” but is played here by both a lass, Libby Greenhill, and a lad, Reuben Baines, splitting performances. Your reviewer saw Greenhill: a Chaplinesque figure with comic timing and plenty of pluck.
Young Logan is not the only Willstrop in Pick Me Up’s cast. His father James is a tall, gaunt, black of heart, black of coat, pock-marked Bill Sikes: darker still than his Frederick Frankenstein in Readman’s production of Young Frankenstein in September last year.
Matthew Peter Clare leads the musical forces with typical dash and Spencer directs with drive and focus with excellent use of ensemble as well as individual expression in her principals. All in all, a Dickens of a good show.
Pick Me Up Theatre in Oliver Twist, Theatre@41, Monkgate, York. Performances at 7.30pm, December 27, 28 and 30, plus Saturday and Sunday matinees at 2.30pm. Box office: tickets.41monkgate.co.uk.
Tracey Rea’s Widow Corney and Nick Sephton’s Mr Bumble in Oliver Twist
Lauren Charlton-Mathews: Solo renditions of Stars And The Moon and The Flagmaker, 1775 in Songs For A New World. All pictures: Matthew Kitchen
WHEN Songs For A New World opened at the WPA Theatre in New York, Jason Robert Brown and his director, Daisy Prince, described it as “neither musical play nor revue, but a very theatrical song cycle”.
It becomes even more so in the hands of Black Sheep Theatre Productions’ musical director and producer Matthew Peter Clare and his co-director and co-stage designer, Mikhail Lim, as the York company follows up last week’s collaboration with Wharfemede Productions in another Brown work, The Last Five Years.
The traverse setting for that fractious two-hander makes way for an end-on design that makes full use of the St Margaret’s Church bare side wall, framed with netting and white sheets and a screen for Kelly Ann Bolland’s all-important scenic design.
Adam Price and Natalie Walker
The video footage, full of politicians promising peace, countered by war and destruction, racist hatred and financial meltdowns up to the present-day conflicts, serves as a modern update on the Pathé News reels so evocative of World War times, setting the tone for each song within the show’s themes of hope, faith, love and loss.
Almost two decades have passed since the Off Broadway premiere, and could anyone argue that the world has not worsened in that time? More war. More division in society and wealth. More mendacity in power. More moves to the right wing. More rules, CCTV and form-filling. Too much heat, and not only in the alarming change in climate.
The need for a “new world” – one of hope and love, faith in each other as much as in the One above, and loss of hubris and hunger alike – has never been greater.
Mikhail Lim: Co-director, co-stage designer, co-costume designer and vocalist
As Clare and Lim put it in their programme note: “Our reimagining of Songs For A New World addresses the ever-growing uncertainty and tension found within today’s political climate. The aim is to create a production that resonates deeply with an audience who are prepared to journey through the complexities of today’s societal landscape.”
Job done, courtesy of their emotionally charged direction; Freya McIntosh’s minimalist but moving choreography; the aforementioned designs; the impact of being in a church building, a place, a cradle, of grace, contemplation and the power of silence…
…Then add the palate of colours in Lim and McIntosh’s modern yet timeless costumes, each in two tones, for contrasts, connection and continuity, with an eye for composition reminiscent of a painting.
Katie Brier: Soloist for Just One Step and Surabaya-Santa
Each costume change, conducted en masse, adds to the visual pleasure, while the movement of wooden boxes throughout the performance is conducted with the significance of a chess move.
Crucially too, Clare and Lim have doubled the cast size to eight, making for more singing partnerships in a multi-ethnic, multi-faceted company, where both individual and ensemble can shine, framed so poetically by McIntosh’s measured choreography.
Responding to Clare’s keyboard-led nine piece band, Ayana Beatrice Poblete, Katie Brier, Reggie Challenger, Lauren Charlton-Mathews, Rachel Higgs, Mikhail Lim, Adam Price and Natalie Walker sing righteously, romantically, roundly well.
Ayana Beatrice Poblete and Reggie Challenger
What of Brown’s songs? More melodic, less Sondheim than The Last Five Years, they hit both heart and soul, with The River Won’t Flow, Charlton-Mathews’ Stars And The Moon, Act I finale The Steam Train, Lim’s King Of The World, Challenger and Price’s Flying Home and the Higgs-fronted Final Transition: The New World all sung particularly passionately and persuasively.
Roll on this new world, and yes, let’s make a song and dance about it, like Jason Robert Brown and Black Sheep Theatre Productions have.
Black Sheep Theatre Productions, Songs For A New World, National Centre for Early Music,St Margaret’s Church, Walmgate, York, today at 2.30pm and 7.30pm. Box office: ticketsource.co.uk.
Black Sheep Theatre Productions’ artwork for Songs For A New World
Creative team: Co-director, musical director & producer: Matthew Peter Clare
Co-director: Mikhail Lim Assistant director & choreographer: Freya McIntosh
Cast: Ayana Beatrice Poblete; Katie Brier; Lauren Charlton-Mathews; Reggie Challenger; Rachel Higgs; Mikhail Lim; Adam Price and Natalie Walker.
Band:
Matthew Peter Clare, musical director and keys; Ben Huntley, guitar; Zander Lee, bass; Helen Warry and Elle Weaver, violin; Gregory Bush, viola; Mari MacGregor, violincello; Jude Austin, drums, and Jez Smith, auxiliary percussion.
On the boulevard of broken dreams: Dan Poppitt’s Tunny, left, Iain Harvey’s Johhny and William Thirlaway’s Will in Bright Light Musical Productions’ York premiere of Green Day’s American Idiot. Picture: Dan Crawfurd-Porter
BRIGHT Light Musical Productions will stage the York premiere of punk rock opera Green Day’s American Idiot at the Joseph Rowntree Theatre from tomorrow to Saturday.
Producer/director Dan Crawfurd-Porter’s high-octane, politically driven production opens on American Independence Day and General Election Day in the United Kingdom, while marking the 20th anniversary of Green Day’s groundbreaking album American Idiot.
Produced by North Yorkshire company Bright Light with support from York company Black Sheep Theatre Productions, the Tony Award-winning show with music by Green Day, lyrics by Billie Joe Armstrong and book by Armstrong and Michael Mayer “promises an electrifying experience that captures the spirit and energy of Green Day’s influential music”.
Boasting a cast of 14 and an eight-piece rock band, Bright Light’s production is propelled by the vision of producer/director Crawfurd-Porter, musical director Matthew Peter Clare and choreographer/assistant director Freya McIntosh.
“This show is a powerful statement about a world that remains unchanged since the original album’s release in 2004,” says Dan. “Its relevance to young people today is as strong as ever, with its commentary on America and politics resonating deeply this year, especially on July 4th.”
Inspired by the Californian band’s chart-topping album, American Idiot tells the story of Johnny the “Jesus of Suburbia” (played by Iain Harvey), and his friends Will (William Thirlaway) and Tunny (Dan Poppitt) as they attempt to break out of their mind-numbing, aimless suburban existence.
Their journey embodies the youthful struggle between passionate rebellion and the search for love, echoing the punk voice of their era. From Boulevard Of Broken Dreams to Holiday, Wake Me Up When September Ends to 21 Guns, American Idiot brings the “soundtrack of a generation” to the stage with the promise of captivating and energising audiences with early 2000s’ nostalgia.
Director Dan Crawfurd-Porter
“Personally, the issues it tackles have affected me profoundly, as they have many others. The aim is to give a voice to those who feel unheard, just as it has given one to me,” says Dan, 25.
“American Idiot is talking about America, but the issues reach across the world – war, drugs, depression and longing for a better world – and they resonate everywhere. Twenty years on, in Britain, those issues are still completely relevant, even if the world is in a different place, but there are still wars going on.
“Obviously, in an ideal world, this musical would no longer be relevant, but the reality is that will keep on being relevant – and Green Day’s songs still resonate too. I was among 50,000 people watching them at Old Trafford [the Lancashire cricket ground) on June 21.
“Those songs speak to anyone who was a teenager or young adult, in the Nineties or 2000s, and they appeal to the teenagers and young adults of today as much as they ever did. ”
Why does American Idiot work so well in its transfer from studio album to stage musical, Dan? “Because it has a defined story,” he says. “It was the producer/director who saw its potential, starting the process of turning the album into a show by having to convince Green Day.
“There’s a brilliant documentary called Broadway Idiot that charts that process, taking the band from the concept to eventually Billy Joe Armstrong starring on Broadway in the lead role.
“The show takes those great songs, where there are only three of them in the band, playing with so much energy, and then adds five more instruments, multiple characters and an ensemble to give those already powerful songs extra oomph.”
Mickey Moran’s St Jimmy, centre, with Tiggy-Jade, Diane Wilkinson, Rebecca Firth, Charlie Clarke, Jack Fry and Josh Woodgate. Picture: Dan Crawfurd-Porter
Assessing those songs’ impact, Dan says: “Green Day’s songs, particularly in this show, are full of life, and with a running time of one hour 45 minutes, non-stop, no interval, it’s almost designed like a rock concert that tells a story, with guitars and strings to the fore.
“There’s a lot of emotion behind it as well as energy, so it’s not just shouting! Like Billy Joe writing Wake Me Up When Saturday Comes after his dad had passed away. Seeing Green Day play last month, you could tell Billy Joe was singing about himself, and the songs were so real because they were written from personal experience.”
Green Day’s American Idiot forms the first York production for Bright Light after making their debut in 2023 in Ripon. “When I founded the company in 2022 with William Thirlaway, at the time we were doing shows with RAOS [Ripon Amateur Operatic Society], and we did our first Bright Light show, Tick, Tick…Boom!, as an independent production at Ripon Arts Hub,” says Dan, who lives at Killinghall, near Harrogate, where he works as head of design and innovation for Clevershot, utilising his video and photography skills in content-led marketing.
“Tick, Tick…Boom! was the show Jonathan Larson wrote before Rent, and after seeing the film version on Netflix, it seemed like a good choice for us to do, with a cast of four doing eight shows, where we could learn how to put on a show, working with Black Sheep’s experienced Matthew Peter Clare as our musical director.”
Explaining the choice of the Joseph Rowntree Theatre for Bright Light’s York debut, Dan says: “Matthew was my introduction to York, playing Whizzer in his production of Falsettos and appearing in the Joseph Rowntree Theatre Company’s Musicals In The Multiverse, when he was the MD, both at the Rowntree theatre.
“It was a move up from a black-box theatre in Ripon to doing shows in York, where I found there were many companies already, but I thought ‘why not add another one’?! Having performed Falsettos and ‘Multiverse’ there, the Rowntree theatre seemed like a very accessible space for a company new to York.
“It’s an achievable theatre to perform in, and I immediately realised on contacting them that they’re a really helpful theatre – helping with all aspects of putting on a show.”
Giving it the finger: Charlie Clarke, left, Ellie Carrier, Chloe Pearson, Tiggy-Jade and Rebecca Firth in Green Day’s American Idiot.Picture: Dan Crawfurd-Porter
The JoRo is a suitable size too, says Dan. “It’s big, and a show like this needs a big set, with a scaffold design. We needed room for 14 people on that set, to go with all the resources the theatre offers.”
Looking ahead, “it seems like Bright Light are going to transition to York and potentially stay there, but we haven’t decided yet,” says Dan.
Watch this space. In the meantime, “join us for a memorable and high-energy performance that promises to be both a tribute to a seminal album and a resonant voice for today’s issues,” advises Dan.
“It will be interesting to see who comes, but I expect a passionate audience, who will probably already know the show or at least the album, so it could be quite a specific group that forms a large part of the audience. There’ll be Green Day fans but there’ll also be a crossover with musical fans.”
Bright Light Musical Productions present Green Day’s American Idiot, Joseph Rowntree Theatre, York, tomorrow (4/7/2024) to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Who’s in the cast?
IAIN Harvey as Johnny; Dan Poppitt as Tunny; William Thirlaway as Will; Mickey Moran as St Jimmy; Chloe Pearson as Whatsername; Ellie Carrier as Heather; Rebecca Firth as Extraordinary Girl/Dance Captain and Richard Bayton as Favourite Son/ensemble. Jack Fry, Kailum Farmery, Tiggy-Jade, Charlie Clarke, Josh Woodgate and Diane Wilkinson will be on ensemble duty.
Rehaearsals began on March 15 and have since been held on Friday nights and Sundays each week. “The casting didn’t come without its challenges,” says Dan. “I had to pull in Richard Bayton as a replacement. I’d worked with him at the National Centre for Early Music in Black Sheep’s Cages Or Wings? and you could see what he could do with a specific role for him in this show. He’s been an exceptional addition to the cast.”
Richard Bayton, as Favourite Son, with Charlie Clarke (red), Ellie Carrier (silver), Tiggy-Jade (blue) and Rebecca Firth (gold). Picture: Dan Crawfurd-Porter
Adam Price’s George and Natalie Walker’s Dot in Pick Me Up Theatre’s Sunday In The Park With George. Picture: Kevin Greenhill
FRENCH post-Impressionist painter Georges Seurat obsessed over every little last detail, making a point of everything.
The same applies to Robert Readman’s production of one of his favourite musical works, Stephen Sondheim and playwright-director James Lapine’s Sunday In The Park With George, a 1984 collaboration inspired by Seurat’s pointillist painting, Sunday Afternoon On The Island Of La Grande Jatte.
Two years in the making, that 1884-1886 work forms the wraparound artwork for Pick Me Up Theatre’s programme. Unfold it, and you find Sondheim’s lyrics to Finishing The Hat, the most significant song in capturing the artistic temperament and drive of Seurat and Sondheim alike.
Director-designer Readman has given Sunday In The Park With George a traverse setting within the black-box John Cooper Studio. At either end is a blank canvas for projections of such Seurat works as 1884’s Bathers At Asnières, an oil painting of a suburban, placid Parisian riverside on a monumental scale soon to be matched by Sunday Afternoon On The Island Of Grand Jatte.
Libby Greenhill’s Louise, left, Sanna Jeppsson’s Yvonne and Natalie Walker’s Dot in Sunday In The Park With George. Picture: Kevin Greenhill
Work-in-progress drawings by Kevin Greenhill (also the production’s photographer) depict Seurat’s sketches and character studies as Adam Price’s George (Seurat) is consumed by his craft of painting: a craft that brought him no monetary reward in a life curtailed by a fatal illness at 31, not one painting having sold before his death.
This is an exquisite directorial touch by Readman, happily and visibly restored to full throttle after “unforeseen circumstances” forced him to call off last autumn’s Halloween double bill of Young Frankenstein and The Worst Witch at the Grand Opera House.
In between the two canvas bookends runs another strip of blank canvas, a walkway or catwalk to be peopled by all the figures in Seurat’s painting coming to life in the imagination of Lapine and Sondheim (much like Johannes Vermeer’s Girl With A Pearl Earring doing likewise in Tracy Chevalier’s historical fiction novel), as if the writers had eavesdropped on conversations in the park.
Host Readman has his audience seated to either side of the stage at circular tables topped with paper “tablecloths” decorated with dots. We feel like we are in the park too.
Adam Price’s George and Natalie Walker’s Marie in the American Act Two of Pick Me Up Theatre’s Sunday In The Park With George. Picture: Kevin Greenhill
Dots are everywhere. Even Seurat’s long-suffering mistress/lover/muse is called Dot, a made-up name, it would seem, but typical of the wit at work in this fictionalised account of the months leading up to the completion of Seurat’s painting.
In a canny piece of casting, Readman has brought together real-life husband and wife Adam Price and Natalie Walker as his leads. They have performed as a duo and sang together in Pick Me Up’s Dad’s Army but this is the first time they have taken roles together in a musical, and their natural chemistry shines through their performance as the damaged central couple.
Dot wants Seurat to express his love, especially once she is pregnant, but he is drawn only to the canvas, to shining his light on Parisian life, putting her only in the spotlight in the painting.
They sing beautifully, Walker especially in the ballads, Price in expressing his artistic modus operandi, his dot-dot-dot technique being matched at one point by the staccato notes emanating from musical director Matthew Peter Clare’s keyboard.
Pick Me Up Theatre’s cast representing figures in Seurat’s pointillist painting Sunday Afternoon On The Island Of La Grande Jatte. Picture: Kevin Greenhill
As Seurat alienates the French bourgeoisie, snubs his fellow artists and neglects his lover, we meet all manner of Parisian folk in the park: an Old lady (Beryl Nairn), who turns out to be his oft-exasperated mother; his cigar-smoking agent Jules (James Willstrop), who behind his back shows no enthusiasm for his work; Yvonne (Sanna Jeppsson), who is even more snobbishly dismissive; and Craig Kirby and Rhian Wells’s befuddled American couple, Mr and Mrs.
Look out too for Mark Simmonds’s haughty, Germanic Franz; Ryan Richardson’s surly Boatman; Neil Foster’s self-righteous Soldier and Alexandra Mather (a late replacement for the indisposed Emma Louise Dickinson) and Nicola Holliday as a pair of anything but angelic Celestes. Tracey Rea’s Frieda, Michael Tattersall’s Louis, Libby Greenhill’s Louise and Logan Willstrop’s Boy cut a dash too.
After the interval, the musical takes a turn for the more personal for Sondheim in a parallel modern story where Price’s Seurat becomes George, a ‘chromolume’ American artist as underappreciated and fractious as Seurat was in his lifetime as Sondheim “explores the reverberations of Seurat’s actions over the next 100 years”.
At the time, Sondheim was increasingly dischuffed by the reaction to his musicals, just as Woody Allen had a fan say “I especially like your early, funny ones” to Allen’s character, film director Sandy Bates, in 1980’s Stardust Memories when weary of critics giving that verdict on his later works.
Nicola Holliday’s Celeste and Neil Foster’s Soldier. Picture: Kevin Greenhill
This is a somewhat overwrought piece of point-scoring by Sondheim amid all the pointillism of Seurat, but archly amusing all the same, adding to the enjoyment of a superb performance by leads and supporting players alike, responding to Readman’s relish for the musical.
Will Nicholson and Adam Coggin’s lighting and sound is top notch, and Matthew Peter Clare’s palpably energetic musical direction brings out the best in his seven-piece band.
Readman’s design skills are always a strong suit, but particularly so here, full of playfulness and artistry, such as in the cut-outs of dogs from Seurat’s painting, later matched by black-and-white full-size cut-outs of George part two in his suit, tie and pumps in the American gallery.
Do please spend Wednesday, Thursday, Friday or Saturday in the park with George. You’d be dotty to miss out.
Pick Me Up Theatre in Sunday In The Park With George, Theatre@41, Monkgate, York; 7.30pm plus 2.30pm Saturday matinee. Box office: tickets.41monkgate.co.uk.
Georges Seurat’s Sunday Afternoon On The Island Of La Grande Jatte in the Pick Me Up Theatre show poster
Ed Atkin, winner of last year’s Yorkshire’s Got Talent competition, who will perform at Sunday’s showcase
YORKSHIRE’S Got Talent – Live! is NOT a contest, more a celebration of the best of the White Rose’s young dance, comedy and music performers, at the Joseph Rowntree Theatre, York, on Sunday.
“This weekend’s show isn’t actually a competition,” explains Nathan Lodge. “The competition happened in 2020 throughout lockdown and concluded last September last year with Edward (Ed) Atkin as the overall winner.
“During the online contest, the group on Facebook reached more than 4,000 followers and the final public vote for the winner had 1,378 votes.”
The competition was brought to life by York theatre student Hannah Wakelam, who wanted to raise money for the JoRo, where she first cut her performing teeth.
Nathan Lodge: One of the judges for last year’s contest, who will sing at Sunday’s show
“There were three judges throughout the process,” says Nathan, a West End regular and cruise-ship vocal captain, from York. “Alongside me were Amelia Urukako, owner of Upstage Academy in Ripon, and Laura Pick, from Wakefield, who’s playing Elphaba in Wicked in the West End, all of us hailing from Yorkshire.”
The overall winner was decided by a combination of the judges, a public vote and a panel of theatre industry experts: Rachel Tucker, Kerry Ellis, Natalie Paris, Matthew Croke, Nicolas McClean and Paul Taylor-Mills.
“We promised the contestants who made the top 13 – the top ten plus three judges’ wildcards – that they could do a live show, so a year later, with a couple of date changes thanks to Covid!, we’re fulfilling our promise!”
2020 contestant Sam Rippon: In Sunday’s line-up for Yorkshire’s Got Talent – Live
Yorkshire’s Got Talent – Live features eight of the top ten acts from the competition: winner Ed Atkin, fellow finalists Fladam (Florence Poskitt and Adam Sowter) and Jordan Wright, plus contestants Sam Rippon, Daisy Winbolt-Robertson, Harvey Stevens, Florence Taylor and Richard Bayton.
“The evening will feature an eclectic mix of musical theatre, opera, comedy and dance, and we promise a thoroughly entertaining show, bursting with joie de vivre, from these stars of the future,” says Nathan.
The event will be hosted by Jordan Langford, from Scarborough, who will sing too. He had a career in musical theatre before becoming a theatre creative and is soon to study for an MA in contemporary directing practice at Rose Bruford College, London.
Hannah Wakelam: York theatre student set up last year’s Yorkshire’s Got Talent contest to raise funds for the Joseph Rowntree Theatre
“Sadly, Laura Pick has a Sunday matinee schedule now in Wicked, post-Covid reopening, so she’s unable to perform with us but wishes she could,” says Nathan. “We’ll miss her!
“I’ll be performing in the evening, including singing a duet with winner Ed Atkin, who was my wildcard act to join the top ten of the competition. Just before the pandemic, I was the vocal captain performing on board M/S Color Fantasy.”
The band will be led by musical director Matthew Peter Clare on an evening when everyone will be giving their services for free. “Nobody is getting paid,” says Nathan. “Instead, all the profits from Sunday’s fundraiser will go to the Joseph Rowntree Theatre to add to the total raised by the competition last year.”
Tickets for the 7pm show are on sale on 01904 501935 or at josephrowntreetheatre.co.uk.
