Paul, Robin and Jonny enjoy being all at sea in Peter Pan’s new adventures in pantoland

Hookline and singer: Paul Hawkyard’s Captain Hook performing his big number In All New Adventures Of Peter Pan at York Theatre Royal. All production pictures: Pamela Raith

AT the heart of York Theatre Royal’s pantomime, All New Adventures Of Peter Pan, is a tearaway triumvirate of madcap maritime mayhem.

Paul Hawkyard’s histrionic Captain Hook and fellow returnee Robin Simpson’s daft dame, Mrs Smee, are joined by Jonny Weldon’s cheeky piratical henchman, Starkey, in the troublemaking trio.

Over the past year, Hawkyard and Simpson have been regular partners on stage. “Peter Pan is our fourth show together in that time,” says Paul.

“We did our first panto together, as Mardy and Manky, the Ugly Sisters in Cinderella this time last year, then two shows in Harrogate Theatre’s rep season, Mike Leigh’s Abigail’s Party and John Godber’s Men Of The World, and now this panto. You [Robin] have probably spent more time with me than you have with your wife this year!”

Ship-shape: Robin Simpson’s Mrs Smee, the dame in All New Adventures Of Peter Pan

Pantomime is a demanding form of theatre, in terms of the intensity of the rehearsal period,  the performance schedule and the boisterous audiences. “It’s that thing of belonging to the theatre for the winter,” says Paul. “You just go home to sleep.”

Robin concurs: “I just roll out of my bed as late as I can, pull on some clothes, shower at the theatre, grab a coffee and then the day starts again,” he says.

Paul and Robin have shared a dressing room as well as the stage since their days with Shakespeare’s Rose Theatre at the Eye of York.  “There was a point where we just looked at each other on stage and we knew we were on the same wavelength,” says Paul.

“You can share a dressing room, but it’s when you’re on stage,  and you catch each other’s eye, and you’re thinking, ‘this is Shakespeare’ and you know you can rely on the other person not to break the magic of the moment too early,” says Robin.

Starkey and stripes: Jonny Weldon in All New Adventures Of Peter Pan

“But we’re also respectful of each other’s space in the dressing room,” says Paul, assessing why their partnership works so well.

“Until you get in front of a crowd, you don’t know if that chemistry will click with them, but then you go, ‘oh, it works’,” says Robin. So well did it work in Cinderella that Paul and Robin were nominated for Best Ugly Sisters in the 2022 British Pantomime Awards.

Familiarity boosts their performances together. “It’s a safety thing, like when going into the clash with Robin’s character in Men Of The World,” says Paul. “You might be nervous beforehand, but that stops and you know it’s down to you to pull that scene together; you know you’ve got someone who has your back, without a competitive edge there.

“It’s like throwing the ball to each other, not taking it off someone, just knowing they will pass it back or say ‘have it back’.”

Nautical naughtiness from Jonny Weldon’s Starkey and Paul Hawkyard’s Captain Hook

Now there is a third player in that game, Jonny Weldon’s Starkey. “It’s two idiots led by an idiot,” says Paul. “Or the Three Stooges,” says Robin.

Jonny, an actor since childhood days in Mary Poppins in the West End and latterly a viral hit on social media with his comedy sketches, was lying on a beach when his panto role as Starkey was set up. “I was trying not to get a tan as I was filming something for TV that annoyingly I can’t talk about as I’m sworn to secrecy,” he says.

“Paul [Hendy, Evolution Productions’ writer for the York pantomime] called me in the spring to ask, ‘would you do the comedy role in York?’. Starkey wasn’t in the book, so Paul has invented this new character for me – and I barely leave the stage!”

He was attuned to Simpson and Hawkyard’s stage chemistry from seeing Cinderella last winter. “I came with my girlfriend, Lucy Carne, who was playing Belle in Beauty And The Beast at the Georgian Theatre Royal in Richmond,” he recalls. “I loved York; the Roman tour; I loved the panto.”

Last winter, Jonny had not one but two pantomime roles. “I was in the panto at St Albans, playing Muddles in Snow White, when it was stopped for asbestos in the building, so now I’m an expert on asbestos and how is stops actors from working,” he recalls.

Love-a-duck: Robin Simpson’s dame in All New Adventures Of Peter Pan

“When I got to Richmond, I thought I’d be having a nice three weeks off, only to be told, ‘the CBeebies presenter in the show at Canterbury has Covid; could you get on the train now?’!

“I got sent the script and a We Transfer recording of the show, where the signal kept cutting out and buffering on the train. I ended up doing a week of shows and was off the book in two days, playing Bobby, Jack’s best mate, in Jack And The Beanstalk, at the Marlowe Theatre.”

Earlier this year, Jonny appeared as Samwell, the Targarian family’s lute-playing minstrel, in the Game Of Thrones spin-off House Of The Dragon. “Just one episode, no sex, no death, just playing the lute,” he says.

This summer he played one of the puppy thieves in 101 Dalmatians at the Regents Park Open Air Theatre in London, and his sketch video success has brought him TV roles as an evil property developer in Christmas On Mistletoe Farm (Netflix) and The People We Hate At The Wedding (Amazon Studios).

Paul Hawkyard’s Captain Hook clashes with Jason Battersby’s Peter Pan

Talking of weddings, Jonny and Lucy will be tying the knot in March. “We’re getting married in Herefordshire. Neither of us is from there – I’m from Hampshire, Lucy from Cheshire – but we just like it,” says Jonny, whose grandad will be his best man at 91.

After six pantomimes and plenty of children’s shows too, Jonny is “not particularly sentimental about Christmas”. “I’m used to spending it with landladies,” he says.

Another comedy video could be on its way while he is in York to add to more than 25 so far. “When I get a new idea, I’ll be filming it in my dressing room and putting it up,” he says.

All New Adventures Of Peter Pan runs at York Theatre Royal until January 2 2023. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Jonny Weldon’s poster pose for his specially created role as Starkey in All New Adventures Of Peter Pan

REVIEW: All New Adventures Of Peter Pan, York Theatre Royal, until January 2 2203 ****

Hook, line and singer: Paul Hawkyard’s Captain Hook in his big nuumber in All New Adventures Of Peter Pan. All pictures: Pamela Raith

York Theatre Royal and Evolution Productions present All New Adventures Of Peter Pan at York Theatre Royal. Box office: 01904 623568 or yorktheatreroyal.co.uk 

THE show title signifies changes afoot and freshness, but York Theatre Royal knows continuity is important too.

In the third year of the pantomime partnership with Evolution Productions – with a fourth year already rubber stamped for Jack And The Beanstalk next winter – Juliet Forster remains the director, Paul Hendy, the writer, and Hayley Del Harrison, the choreographer.

Children’s favourite Faye Campbell returns too, alongside the double-the-trouble double act of Paul Hawkyard and Robin Simpson, Cinderella’s award-nominated Ugly Sisters last year and now villainous Captain Hook and dame Mrs Smee respectively.

Ship-shape and bristling fashion: Robin Simpson’s dame, Mrs Smee

Having a CBeebies TV presenter to the fore last year in Andy Day proved a hit, and so science whizz Maddie Moate fronts the poster and flyer campaign this time as a feisty, fearless, even fractious Tinkerbell.

What’s new? The story for a start, still rooted in JM Barrie, but for the next generation. Wendy Darling is now Wendy Sweet (Theatre Royal newcomer Francesca Benton-Stace), mum to single-minded Elizabeth (Campbell), who craves her own flight to Neverland with Peter Pan (Jason Battersby). Elizabeth is more of a feminist, never attracted to Peter in the way Wendy was, but very much a dab hand at the “Lizzie Mother” role to the Lost Boys and Lost Girls.

There’s a new Newfoundland nanny dog in the house too, Nana being replaced by Minton, who leaves a mark on the show in more than one way. Naughty, Minton.

The father of the house, Hawkyard’s Mr Sweet, still turns into Captain Hook; Simpson’s dame makes a rather smaller leap for pantokind from home help Mrs Smee to Hook’s henchperson Mrs Smee. Likewise, Jonny Weldon, actor since childhood and social media comedy-sketch phenomenon since Covid lockdowns, switches from butler Mr Starkey to Hook’s other henchman, Starkey.

Balancing act: The Black Diamonds in acrobatic mode in All New Adventures Of Peter Pan

The double act becomes a mischief-making trio, Hawkyard’s dandy, intemperate Hook still ridiculously vainglorious but the butt of multiple jokes as shock-haired cheeky chappy Weedon and Simpson’s savvy dame conduct a pun fight to the last.

Oh, how writer Paul Hendy loves a pun, no matter how convoluted the set-up, and when it is combined with visual gags in a fish-name routine, reprising the magazine-title routine from 2020’s Travelling Pantomime, the jokes really get their skates on, faster, funnier, fishier.

Act One hits its stride amid the mayhem of Hawkyard, Simpson and Weldon struggling to manoeuvre a boat across the stage, dangerously close to the orchestra pit, reducing fourth occupant Moate’s to fits of laughter on the stern. This scene, already ripe for improvisation, will grow ever more chaotic as the run progresses.

Moate’s beaming Tinkerbell had made her first entry from above, flying high over the stage. Soon Battersby’s Pan, a magical, mysterious yet damaged perennial child, will lead Campbell’s Elizabeth across the London night sky to a duet of Take That’s Rule The World and onwards to Neverland in a gorgeous video projection by Dr Andy.

Drop in. centre: Maddie Moate’s Tinkerbell makes her entry as Faye Campbell’s Elizabeth and Jason Battersby’s Peter Pan look on

Later, in Act Two, Simpson’s Mrs Smee will emerge from on high too to the accompaniment of the James Bond theme, now playing flipper-clad Caroline Bond on a hoist that stubbornly refuses to touch the ground despite Simpson’s increasingly desperate pleas. Comic timing is exquisite here, and again, for all Simpson’s self-sacrificing physical discomfort, this scene is sure to expand.

Hendy and director Juliet Forster love the magic of pantomime as much as the comic mayhem rendered by haughty Hawkyard and co. This applies equally to Helga Wood, Michelle Marden and Stuart Relph’s set design, for London house, island and aboard the Jolly Roger, and to Harrison’s fizzing and fun choreography, and they are never happier than when magic and mirth elide in the Mermaids, beautiful and shimmering at first, but then turning into gossipy fish wives.

Benton-Stace’s scene-stealing Myrtle the Mermaid gives the outstanding vocal performance under Benjamin Dovey’s musical direction, run close by Hawkyard’s riotous Guns N’ Roses number, Neil Morgan guitar solo et al.

Cultural references play their part, from departing Boris Johnson and Matt Hancock to departing Dr Who Jodie Whittaker; Moate is granted a brief science bit about the sun; Campbell’s Elizabeth turns on the girl power and dance captain Emily Taylor drives on her troupe of Lost Boys and Girls with boundless energy.

Jonny Weldon’s Starkey, piratical mischief maker in chief

Big, big cheers go to the show’s speciality act, East African acrobats Teddy, Muba and Mohamed, alias The Black Diamonds, who defy the compact space to pull off dazzling feats of athleticism.

“All New” these adventures may be, but the increasingly tedious Sweet Caroline is an unimaginative choice for the song-sheet singalong. Not so good, so good, alas. Far better is the impact of Duncan Woodruff’s fight direction for Hook’s clashes with magic-powered fairy Tinkerbell, Elizabeth and Pan alike.

Michael J Batchelor and Joey Arthurs’ beautiful but bonkers costumes for Simpson’s dame keep topping the last one, and it is lovely to see the Theatre Royal walkdown scene in full pomp once more in gold, cream and white.

Something of the darkness of Barrie’s original story is lost in pursuit of pantomime frolics, but York Theatre Royal and Evolution unquestionably have found their groove, their own schtick, that appeals to children and adults alike.Simpson’s convivial dame is already confirmed for next year, another sign of continuity in this new age for the Theatre Royal pantomime.

“Lizzie Mother’s” storytelling sit-down: Maddie Moate’s Tinkerbell, left, and the Lost Boys and Girls listen to Faye Campbell’s Elizabeth. Jason Battersby’s Peter Pan prefers to keep watch

Bean there, doing that. York Theatre Royal picks Jack And The Beanstalk for next winter’s panto with Robin Simpson as dame

Votre Dame: Yes, Robin Simpson will be back in Jack And The Beanstalk at York Theatre Royal next winter

GONE is the tradition of waiting until the last night. Instead, York Theatre Royal is announcing next winter’s pantomime today, the day when the 2022-2023 show, the swashbuckling All New Adventures Of Peter Pan, opens.

Keeping you in suspense until the second paragraph, the answer is Jack And The Beanstalk,  full of beans from December 8 2023 to January 7 2024 in a fourth collaboration between the Theatre Royal and Evolution Productions.

This “timeless family favourite promises stunning sets, lavish costumes, breath-taking special effects and lots of panto magic”.

Already confirmed for the cast is Robin Simpson, who will be returning to dame duty after The Travelling Panto in 2020, his Ugly Sister double act, Mardy and Manky, with Paul Hawkyard in Cinderella last winter and dame-cum-henchperson, Mrs Smee, opposite Hawkyard’s Captain Hook this season.

Hawkyard and Simpson were such a hit, they were nominated for Best Ugly Sisters in the 2022 British Pantomimes Awards. Further casting will be announced for next winter in 2023.

Panto pandemonium ahoy! Robin Simpson as Mrs Smee in All New Adventures Of Peter Pan

Written by Paul Hendy and directed by Theatre Royal creative director Juliet Forster – the same team behind The Travelling Pantomime and Cinderella – All New Adventures Of Peter Pan will feature Jason Battersby as Peter Pan, CBeebies’ presenter Maddie Moate as Tinkerbell and Faye Campbell as Elizabeth Darling.

Looking ahead, chief executive Tom Bird says: “We’re overjoyed to be working with Evolution again on another spectacular pantomime for 2023. Jack And The Beanstalk is such a well-loved story and we can’t wait to bring our fresh new take on it. 

“We’re also thrilled to have Robin Simpson on board once again. Audiences absolutely loved his Ugly Sister in Cinderella and he’s an absolute joy to have on our stage. People of York, you’re in for a treat!”

Tickets for Jack And The Beanstalk go on general sale from 2pm today, with a ticket price “freeze” in place to ensure charges at the same level as this year, starting at £15.  

Discounts are available for groups and on family tickets, along with a special Early Bird offer for any bookings in January or February. More details can be found on the Theatre Royal website or by visiting the box office in St Leonard’s Place. Box office: 01904 623568 or at yorktheatreroyal.co.uk

Ugly encounter: Robin Simpson and Paul Hawkyard’s sister double act Manky and Mardy in Cinderella at York Theatre Royal

REVIEW: Charles Hutchinson’s verdict on Guy Fawkes, York Theatre Royal, until Saturday ***

The Gunpowder Plotters: Jamie Zubarai’s Kit Wright, left, David Reed’s Guy Fawkes, Robin Simpson’s Robert Catesby, Greg Haiste’s Thomas Percy and Andrew Pollard’s Thomas Winter. Picture: Sam Taylor

Guy Fawkes, Rumours and Rebels season, York Theatre Royal, until Saturday, 7.30pm nightly plus 2pm, Thursday and 2.30pm, Saturday. Box office: 01904 623568 or yorktheatreroyal.co.uk

FOR all the teeth-breaking toffee apples, pumpkin soup, fizzing fireworks and sausages – two forms of bangers, if you will – we take Guy Fawkes very seriously in York, more so than that scoundrel Dick Turpin. Born in this city, Christened at St Michael le Belfrey, no effigy burns on Bonfire Night at his old school, St Peter’s (likewise in Scotton, where Fawkes lived in his teenage years).

Yet just as he was mocked for his affected moniker Guido Fawkes, he is ridiculed for the ultimate incompetence of the Gunpowder Plot that ended with the treasonous traitor’s execution in January 1606, along with the hanging, drawing and quartering of his fellow conspirators. Cue comedic stereotyping of Popish knave Fawkes down the centuries.

Like the bungling incompetents in Guy Ritchie’s 1998 crime thriller Lock, Stock And Two Smoking Barrels, Fawkes’s story lends itself to black comedy, but like Vinnie Jones’s notorious line, “it’s been personal” for York-born writer and actor David Reed.

He first wrote a radio drama of Guy Fawkes for The Penny Dreadfuls, his troupe of purveyors of historical comedy spoofs, aired in 2009 on BBC Radio 4. Director Gemma Fairlie thought it should transfer to the stage, and rather later than first planned, it now forms Reed’s first stage play, billed as “an explosive new comedy”, one that takes the form of interlocking sketches more than a play in full flow, on Carla Goodman’s revolve set (to signify revolution).

Reed and Fairlie decided it should seek to weave together the two faces of theatre – comedy and tragedy – by combining high farce in the manner of Blackadder, Upstart Crow and Monty Python with the pathos of the futility-of-war finale to Blackadder Goes Forth, forever entrenched in the memory, like the poems of Owen and Sassoon. Thirty-six barrels of gunpowder? Seriously serious. One barrel of home brew among them. Comedy! The play seeks a more even balance, but ultimately to the detriment of both, never becoming a tragicomedy.

Lace in brief, witty bursts of metatheatre, referencing Shakespeare’s King Lear, the audience’s changing standards of theatre attire and a nod to Covid naysayers, dismissing the Plague as “a hoax”. Apply Horrible Histories’ flair for debunking history. Toss in a sword fight with The Three Musketeers panache. Crumbs, so much to play with, to squeeze in, so many elements to rub against each other, like sticks to start a fire. More of which later.

A pre-show chat with York actress Florence Poskitt, of musical comedy duo Fladam, and her father revealed he had once written a comedic musical version of Guy Fawkes. So many possibilities, and yes, this Guy Fawkes has music, of the incidental variety in the Jacobean style, by composer and sound designer Eamonn O’Dwyer.

Comic aside: Cassie Vallance’s Martha Percy in her farthingale that requires her to enter sideways. Picture: Sam Taylor

The way it plays out, Reed’s Fawkes treacherous trigger man is the grave one, driven by the detremination to return Roman Catholicism to the throne by blowing up Westminster, haunted by seeing the pregnant Catholic martyr Margaret Clitherow compressed to death in York, struggling with post-traumatic stress disorder from years of fighting in Spain, and now hell-bent on death and destruction back home.

Whereas Rowan Atkinson’s Edmund Blackadder is a cynic, full of putdowns, Reed’s Fawkes is already too damaged to be a clown with a frown. Darkness to the light around him, let others do the historical mockery; he is a man on a mission, and Reed wants us to better understand his motives, to tell his side of the story, to highlight his tragic flaws, rather than merely decry him as a pantomime villain, just as the Richard III Society seeks to paint a fuller picture of another derided son of York, Richard III, to counter the slings and arrows of Shakespeare’s play.

Fawkes is the northern late arriviste to a bunch of southern-softie amateurs: revolutionary fops who gather regularly at their local to discuss and plot James I’s overthrow, keener on the snacks and the gossip than getting the job done under stressed-out, coffee bean-chewing ringleader Robert Catesby (a delightfully nuanced, dyspeptic comedic turn from Robin Simpson, continuing his run of superb autumn performances after a trio of roles in Harrogate Theatre’s H2 Rep season).

Broader comedy is to be mined in Greg Haiste’s blustering, preening Thomas Percy, aping Rik Mayall’s Lord Flashheart with chutzpah; Northern Broadsides favourite Andrew Pollard’s more melancholic, thwarted idealistThomas Winter (of discontent), donning a bear’s costume as a forlorn distraction, and Jamie Zubairi’s camp Kit Wright, still in thrall to Fawkes from York schooldays.

Guy Fawkes is two clashing plays within one, matched by the theatricality of Goodman’s costumes, with the gap being bridged by Cassie Vallance’s Martha Percy, Fawkes’s rekindled love from yore, who begins as a riff on Blackadder’s Queenie, but grows to match Fawkes’s political zeal. Their showdown is Reed’s best scene, one that shows the alternative direction that this play could have taken from the start, potentially far more combustible, more dramatic too, for being more troubled, like Fawkes himself.

Ironically, both in Reed’s script and Fairlie’s direction, the comedy is the play’s stronger suit, but as the plot thickens, the gunpowder never catches fire. Or rather, when it briefly does, symbolically it is stamped out.

Maybe the truth is Guy Fawkes could never be a tragic hero, such were his intentions, but when Reed’s Fawkes says at the close “God, I’m weird”, no-one laughs. In an out-and-out comedy, you would, but the line belongs in a wholly darker drama.

Review by Charles Hutchinson

All New Adventures Of Peter Pan brings faces familiar and fresh to York Theatre Royal panto with Evolution Productions

Putting the ‘new’ in All New Adventures Of Peter Pan: York Theatre Royal debutants Jason Battersby (Peter Pan) and Maddie Moate (Tinkerbell) on stage at the pantomime launch. Picture: Anthony Robling

REHEARSALS for All New Adventures Of Peter Pan will start on November 7 but already York Theatre Royal’s cast members have met up to launch the third pantomime collaboration with Evolution Productions.

In attendance for a photo-session and chat over sandwiches and brownies were Paul Hawkyard and Robin Simpson, last year’s award-nominated ugly sister double act Manky and Mardy; Faye Campbell, their fellow returnee from Cinderella, and two faces new to the Theatre Royal panto ranks, CBeebies’ Maddie Moate and Jason Battersby, promoted from Lead Shadow in Wendy And Peter at Leeds Playhouse last Christmas to Peter Pan this winter.

Absent that day was Jonny Weldon, a comedy video-making social media sensation with a “little part” in House Of The Dragon, who will play Starkey.

Hawkyard and Simpson had just finished Harrogate Theatre’s HT Rep season of three plays in three weeks, Simpson appearing in all three, Abigail’s Party, Gaslight and Men Of The World; Hawkyard in the first and last.

Caught on the hook: Paul Hawkyard’s Captain Hook, “the all-time best baddie”. Picture: Anthony Robling

“Robin and I have worked together before, for Shakespeare’s Rose Theatre in York, sharing a dressing room from the day we started. We get on well, we have a laugh, and it’ll be great working with my mate again,” says Paul, who is delighted to be playing Captain Hook.

“As soon as I found out they were doing Peter Pan here, I really wanted the part because he’s one of the all-time best baddies.”

Tall, imposing, but naturally comedic too, Paul is playing around with ideas, probably not entirely seriously. “I’m going to switch the hook from arm to arm, to see if anyone notices!” he says.

Rather more definitely, he adds: “There’ll be lots of comedy opportunities together with Robin.”

Maddie chips in: “I think people just enjoy seeing friendships, partnerships, on stage. People like that familiarity in panto.” Faye concurs: “If we’re having fun, the audience will have fun too.”

“It’s Smee!”: Or, rather, it’s Mrs Smee, the specially created dame’s role for Robin Simpson in All New Adventures Of Peter Pan. Picture: Anthony Robling

Robin may have worked flat out on HT Rep, rehearsing the next play from Wednesday to Saturday in the daytime before performing in the evening, but he has had no time to rest. Already he is hitting his straps in rehearsals at the Central Methodist Church for David Reed’s play Guy Fawkes ahead of its York Theatre Royal premiere from October 28 to November 12.

Come panto-time, he will be playing Mrs Smee, effectively the dame’s role in these All New Adventures, written by Evolution’s Paul Hendy and directed by Theatre Royal creative director Juliet Forster.

Not Mrs Darling, Robin? “As far as I’m aware, I’ll be Mrs Smee, though there’s still time to change that! The character is normally Smee, the pirate, Hook’s mate. Now it will be Mrs Smee and a sidekick, Starkey.”

Like Simpson, Faye Campbell will be completing a hattrick of Theatre Royal-Evolution pantos after her fairy in 2020’s Travelling Panto and title role in 2021’s Cinderella. “I’m playing Emily, who’s Wendy’s daughter, so it’s moved on in time from J M Barrie’s original story. Now it’s Emily who goes on the adventures, after hearing of the story of Peter Pan from her mother,” she says.

Maddie Moate, who follows Andy Day from the CBeebies team into the Theatre Royal panto, says: “For those who love the traditional story of Peter Pan, you will still meet Peter Pan, Hook, the Lost Boys, the crocodile. They won’t be disappointed. It will all be instantly recognisable,” she says.

Welcome back Faye Campbell: Returning to the York Theatre Royal pantomime for a third year, cast as Wendy Darling’s feistier daughter, Emily. Picture: Anthony Robling

“I’ll be playing Tinkerbell, after I played Fairy Phoenix, the good fairy, at Leicester De Montford Hall last year, who was a bit of a nerd, a fairy in training!”

Jason Battersby took a deep dive into JM Barrie’s world when researching his role as Lead Shadow at Leeds Playhouse. “I love the book and the way you can tell it’s written for children but from an intellectual viewpoint,” he says, as he turns his attention to leading the Theatre Royal show as Peter Pan. “It’s almost like it was written by an incredibly clever child.

“As I know from last year, there are so many different ways to tell the story, and it’s one of those stories where you can really bring your own thing to it. All New Adventures Of Peter Pan is completely different from Wendy And Peter. Different theatrical conventions. Different songs. Different characters.

“There’s a line in the book that says Peter Pan takes children who die to Neverland, so there are darker elements to him, but he’s never a character who’s set in stone. There are suggestions in the book, so you can play him dark, or you can play him for his childish, playful qualities, but, yes, he has some demons.

“Sometimes, some of those darker elements are not the ones you want to put in, and certainly I don’t want to play sad Peter Pan. That would be the wrong choice.”

All New Adventures Of Peter Pan will run at York Theatre Royal from December 2 to January 2 2023. Box office: 01904 623568 or yorktheatreroyal.co.uk.

REVIEW: On the buses in John Godber’s Men Of The World, Harrogate Theatre ****

Paul Hawkyard, left, Robin Simpson and Janine Mellor as “the Beverley Sisters” in Men Of The World at Harrogate Theatre

HT Rep in Men Of The World, Harrogate Theatre/Phil & Ben Productions, at Harrogate Theatre tonight, 7.30pm; tomorrow, 2.30pm and 7.30pm. Box office: 01423 502116 or harrogatetheatre.co.uk

WEEK three of HT Rep’s season of Three Plays, Three Weeks, One Cast marks the 20th anniversary of John Godber’s melancholic comedy road trip.

Mirroring the old repertory days of a company of actors taking on myriad roles in quick succession, Men Of The World takes that opportunity even further by having Paul Hawkyard, Robin Simpson and Janine Mellor play not only northern coach drivers Stick, Larry and Frankie but also everyone who hops on board.

Godber has them preparing for a mystery trip to Scarborough (ah, the mystery of Scarborough) , but this turns out to be trip down memory lane, in the nostalgic tradition of Godber’s Happy Jack and September In The Rain.

He has always liked to take people out of their comfort zone, to make them travel for new experiences, be they Bet and Al heading to the French capital in April In Paris, the skiing novices in On The Piste or ex-miner Don and teacher Carol on a quarrelsome tandem trip to Europe in Scary Bikers.

Last journey for Robin Simpson’s coach driver Larry…or not?

The difference here is that these are two men and one woman of the world are world-weary: Stick, Larry and Frankie have been there, done that, discarded the T-shirt. Their routes home and abroad are so familiar, the quirks of their passengers likewise, so much so, they have given them nicknames.

Yet Godber’s tone is one of compassion, wonder, whimsy and celebration as they recount the memorable trips that add up to “the small, often overlooked moments of magic in our lives”.

Director Amie Burns Walker and designer Geoff Gilder have given Men Of The World a somewhat abstract, even surrealist air, reminiscent of a circus or cabaret tent with striped tarpaulin, to either side of a white-lined road that climbs to the blue yonder. Bags of luggage and a step ladder complete the scene. Don’t take it too literally: this is theatre; this is performance; they are storytellers with a cabaret flourish.

Indeed, Hawkyard, Simpson and Mellor are so relaxed, so attuned to performing on the hoof in pantomime, that when they fluff the opening, they break theatre’s fourth wall, laugh about it and start again, spinning off and back on their carousel, forever carrying luggage.

Such is their comic craft that they can be on both sides of the story, looking in and taking part, and yet still they shock you on occasion: when Simpson’s heavy-smoking Larry, on the cusp of retirement, blows his big moment in clumsily chatting up Mellor’s Frankie after six years of working together, and later when veteran Larry and cocky Stick have their flare-up, recalling Lucky Eric and Judd’s showdown in Bouncers. For all the comedy, these two shuddering moments bring out the very best in the trio.

Paul Hawkyard’s contemptuous coach driver Stick

No matter where they go, Stick, Larry and Frankie and their passengers are forever English, northern, Yorkshire, their character not so much altered by their experiences but reaffirmed by them instead.

To go with the eye for the absurd, there is a bleakness to Men Of The World too, the shadow of approaching death, the third-age travels being accompanied by bellyaches and pains. That’s why the frustrated, even contemptuous Stick prefers taking young’uns to the Costa del Sol, whereas steady-away Larry is a romantic at heart, with his love of Mario Lanzo and affection for ordinary folk taking trips out of the ordinary in later life to rekindle something inside.

Frankie is the stoical, unflappable, wise one, not at a crossroads, unlike Larry, but going wherever life’s road may take her.

Godber’s way of catching characters just so, to make them recognisable yet more than caricatures, is brought to life in Simpson, Hawkyard and Mellor’s realisation of the passengers, from the Beverley Sisters (from Beverley) to the Marx Brothers (a funnier, gloomier Last Of The Summer Wine trio) and double acts Arsenic & Old Lace to Mack & Mabel. A flat cap, a scarf, a mannerism, is all it takes to evoke each character, like a sketch artist.

Godber, by the way, loved this production so much – “they really caught the decaying humanity,” he said – that he will be back, bringing his dad to a performance. No better recommendation required.

Bellyaches and pains: Robin Simpson, Janine Mellor and Paul Hawkyard as Yorkshire’s grouchy Marx Brothers, as played by coach drivers Larry, Frankie and Stick

REVIEW: Charles Hutchinson’s verdict on Abigail’s Party at Harrogate Theatre ****

Elvis is in the building: Beverly (Katy Dean) reaches for a Presley platter as the party atmosphere turns ever more awkward in Abigail’s Party. Paul Hawkyard’s Tony, left, and Robin Simpson’s Laurence keep their distance. Faye Seerawinghe’s Angela, seated, left, and Janine Mellor’s Sue, await with trepidation. All pictures: Ant Robling, Robling Photography

Abigail’s Party, HT Rep, Harrogate Theatre/Phil & Ben Productions, at Harrogate Theatre, 7.30pm tonight and tomorrow; 2.30pm, 7.30pm, Saturday. Box office: 01423 502116 or harrogatetheatre.co.uk

HARROGATE Theatre’s HT Rep 2022 season of Three Plays, Three Weeks, One Cast opens with Mike Leigh’s caustic comedy Abigail’s Party, written in 1977, the year of The Queen’s Silver Jubilee and now revived in the year of her Platinum Jubilee.

Director Marcus Romer, Harrogate Theatre’s associate producer, had planned to have the Sex Pistols’ 1977 anthem God Save The Queen seeping through the walls from Abigail’s punk and booze-fuelled party next door, but the events of last Thursday afternoon saw a respectful change to Anarchy In The UK.

Romer has form for Abigail’s Party, having steered York Theatre Royal’s 2005 repertory production. Now the spirit of rep theatre is being repeated in a third such autumn season at Harrogate, the cast piggy-backing from one play to the next, rehearsing Abigail’s Party for a week, and now rehearsing Patrick Hamilton’s Gaslight by day and staging Leigh’s suburban comedy of awkward social-climbing manners by night.

Husband-and-wife strife in Abigail’s Party: Robin Simpson’s Laurence and Katy Dean’s Beverly having a difference of opinion…again

The same process will follow next week, when Paul Hawkyard, Robin Simpson and Janine Mellor will knock John Godber’s Men Of The World into shape in the daytime rehearsal room under Amy Burns Walker’s direction before Harrogate-born Faye Weerasinghe, Simpson, Harrogate pantomime regular Katy Dean, Mellor and Ian Kirkby form co-producer Ben Roddy’s cast each night for Gaslight.

In rep tradition, there is a familiarity to the cast, not only Dean, but also Mellor from the 2019 HT Rep season’s On The Piste and Deathtrap and her dual roles as Dandini and a Snugly Sister in last winter’s Cinderella, while rising star Weerasinghe played the lead in Full English at Harrogate Theatre in June.

York audiences, meanwhile, will need no introduction to Hawkyard and Simpson, whether from Shakespeare’s Rose Theatre or their Mardy and Manky double act in Cinderella at the Theatre Royal last winter. Captain Hook and Mrs Darling await them in All New Adventures Of Peter Pan this winter.

Now put them all together in surely one of the most destructive yet indestructible of English comedies. Your reviewer is yet to see a duff production and Romer’s return to Leigh is another winner.

The quiet and the constant noise: Janine Mellor’s Sue and Katy Dean’s Beverly

It is Katy Dean’s turn to behave appallingly in the Alison Stedman-patented lead role of gauche Beverly, dark haired this time rather than bottle-blonde but still over-dressed for cheese and pineapple-stick nibbles in her fuchsia party dress.

Embroiled in a stultifying game of one-upmanship with dyspeptic, workaholic property-agent husband Laurence (Simpson), their latest playground for point-scoring is a soiree for their new neighbours, taciturn ex-professional footballer Tony (Hawkyard) and nervous nurse Angela (Weerasinghe) in their oh-so Seventies’ North London living room.

Joining them with reluctance written all over her face is Sue (Mellor), banished from her 15-year-old daughter’s party, fretful that it will get out of hand. as it inevitably does.

Leigh depicts a Britain heading towards the acquisitive Thatcherite era of material greed. Already the status-symbol fibre-optic lamps, drinks cabinet and brown sofas are in place in Geoff Gilder’s design.

Faye Weerasinghe’s Angela, left, and Katy Dean’s Beverly, standing, attend to Janine Mellor’s Sue after one too many top-ups

Tensions rise, tempers flare, the polite veneer gradually erodes under the influence as Dean’s monstrous Beverly has her sport at the hands of her guests and mocked husband amid the surfeit of gin top-ups and chain-smoked “little cigarettes”, with her recourse to Donna Summer, Demis Roussos and Elvis records failing to break the awkwardness.

For all her restless noise and surface swagger, the tactless and tasteless Beverly is lonely behind the perma-cigarette haze, frustrated by the absence of bedroom action, empty too, for all her superficial possessions and on-trend kitchen gadgets.  Full of aspiration yet desperation.

Simpson’s Laurence is sullen and sunken in Beverly’s loud, crushing shadow, stewing at his shallow wife’s dismissal of his tentative, self-improving interest in art.

New to your reviewer, wide-eyed Weerasinghe is outstanding as the effusive, chatterbox nurse Angela, talking ever looser as the gin kicks in, then dancing as out of time as a stopped clock.

Paul Hawkyard’s taciturn Tony on the turn

Hawkyard, meanwhile, maximises minimum words as the humourless Tony, whose imposing demeanour goes from monosyllabic indifference to not-funny wound-up menace to sudden snapping point.

Mellor’s Sue is Leigh’s quiet voice of excruciating middle-class discomfort, stuck in the middle yet desperate to be elsewhere, having to put up with Beverly’s insensitive inquisition about her marriage breakdown and Angela’s well-meant over-fussing.

Very 1977 and yet full of English characteristics that have not changed, and probably never will, Leigh’s writing is as sharp as a punk safety pin, his contempt unconfined for values so anathema to him, his humour merciless and deeply wounding.

Romer squeezes Leigh’s sour lemon to the max, knowing just how far to go for the juiciest bitter comedy when Beverly keeps going too far. One hell of a party, one hell of a play, one hell of a knockout production.

Here’s Jonny! Weldon joins York Theatre Royal pantomime adventure after landing hush-hush House Of The Dragon role

Jonny Weldon: York Theatre Royal pantomime debut as Starkey in All New Adventures Of Peter Pan

“SOCIAL media sensation” Jonny Weldon is the latest addition to York Theatre Royal’s pantomime cast for All New Adventures Of Peter Pan.

Although he would if he could, he can’t say too much about his character other than his name – Starkey – because writer Paul Hendy is working on the script.

“I know Paul quite well and have worked with him before,” says Jonny. “I don’t doubt we’ll sit down soon and work out the character.”

He can reveal little about his imminent television role too. “It’s very frustrating. I’m not allowed to tweet about it,” explains the actor and sketch humorist, whose videos went viral on Twitter.

He does confirm he will be appearing in the highly anticipated Game Of Thrones spin-off House Of The Dragon, but the series is being kept a closely guarded secret in the run-up to the first episode premiering on August 22 on Sky.

Jonny has “a little part” in the series but that is all he is saying. Even his character is a mystery, although rumoured to be called Samwell.

This summer, he can be found playing one half of Cruella de Ville’s comic henchman double act Casper and Jasper in a musical version of 101 Dalmatians at Regents Park Open Air Theatre in London.

July’s record-temperature heatwave took its toll on performers acting outdoors under the sun. “It was far too hot!” says Jonny. “We were doing shows with heat spaces for ice packs and dressers throwing cold water over us to cool us down.”

Jonny Weldon: Actor, sketch humorist and pantomime star

Nevertheless, doing the show has been “interesting but fun”. “I’ve never worked before at Regents Park, which is just down the road from where I live. It’s nice to work near where you live. It’s a big family show and that kind of theatre is great to do,” he says.

Jonny, who has 16 years in the business to his name, owes his entry into performing to his parents. Not that he had a stereotypical pushy stage mother. “I was a terrible show-off and my mum decided to see if she could harness my need to show off,” he recalls. “She took me to a big national audition – and I got the part.”

At the age of 11, Jonny had landed the role of Michael Banks, one of the children under the care of a flying nanny in the stage musical version of Mary Poppins.

Another West End musical role followed: Gavroche, the boy who dies on the barricade in Les Miserables. Next stop was the National Theatre for Jeanine Tesori and Tony Kushner’s musical, Caroline, Or Change. Soon a place at the prestigious Sylvia Young Theatre School, in Marble Arch, was his.

His local paper wrote a story championing his acting success with the headline Well Done, Weldon! “I loved doing Mary Poppins. I found school boring and it meant I didn’t have to go into school,” Jonny says.

“At that point, I didn’t really have a real understanding of what I was doing. It was just play and fun. I got to die on the barricade [in Les Miserables] – what kid doesn’t like a gory death?

“At no point have I found what I’m doing strange or lost my enthusiasm for performing. I’ve always enjoyed it. There are ups and downs but I’ve never found myself wanting to do anything else.”

Jonny has done theatre aplenty but the past two years have seen him branch out into television with roles in Stephen Merchant’s BBC One series The Outlaws, Channel 4’s Stath Lets Flats and now House Of The Dragon.

Jonny Weldon in the latest poster for York Theatre Royal’s All New Adventures Of Peter Pan

Along the way, he has become, more by accident than design, a “social media sensation”, on account of a succession of viral videos on Twitter. “As with every actor, I was bored and fed up in the lockdowns and decided to create my own sketches about the uphill battle of the life of an actor,” says Jonny.

“I didn’t do much on social before but decided to put it on Twitter. 100,000 people watched and shared and laughed.

“This week I put one out about the Edinburgh Fringe. There are always things like that – an actor has an audition, an actor gets cut from a TV programme or an actor tries to socialise.

“I started to film ones on Zoom with celebrities coming in to play themselves. The likes of Russell Tovey, Tracy-Ann Oberman, the cast of Ted Lasso. It’s just been a very fun and unexpected thing.”

Jonny will carry on making videos but, given that he is busy with work, he will do it “as and when I want to”. Long term, he hopes to work on “something bigger than just social media”, explaining: “I want to try and create my own stuff and a vehicle for myself in television. I write relentlessly and am constantly trying to make bigger work for myself and having meetings about that.”

After 101 Dalmatians concludes, he will film a TV show, and once more he has to be hush-hush over what lies in store. “I’ll probably be in trouble if I say anything as I don’t think the show is going out until next year,” he reasons.

Come November, Jonny will start rehearsals for creative director Juliet Forster’s third York Theatre Royal pantomime, All New Adventures Of Peter Pan, joining the already confirmed Maddie Moate, from CBeebies, and three returnees Faye Campbell, Robin Simpson and Paul Hawkyard. The actor playing Peter Pan will be announced next.

Playing Starkey will be Jonny’s latest panto credit after such roles as Will Scarlett in Robin Hood, Jack in Jack And The Beanstalk and Muddles in Snow White twice. Add to that a week in Canterbury in the comic role after an asbestos-related problem forced his show at St Albans Arena to close mid-season. But that’s another story.

Jonny Weldon will star in All New Adventures Of Peter Pan at York Theatre Royal from December 2 to January 2 2023. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Follow Jonny on Twitter:  @jonnyyweldon

After turning Ugly in Cinderella, Robin Simpson and Paul Hawkyard’s double act reunites for Theatre Royal panto Peter Pan

Paul Hawkyard as the “the tall, dark and incredibly handsome Captain Hook” – as he puts it – in York Theatre Royal’s Peter Pan

AND then there were three. Not only the already confirmed Faye Campbell will be returning to the York Theatre Royal pantomime but so too will Robin Simpson and Paul Hawkyard, the award-nominated Ugly Sisters double act from Cinderella.

Completing his hattrick of Theatre Royal pantos after 2020’s The Travelling Pantomime and 2021-2022’s Cinders, Simpson will play Mrs Smee – effectively the dame role – while Hawkyard will take to the dark side as the villainous Captain Hook.

Calls aplenty had grown for Simpson and Hawkyard’s pantomime chemistry to be sparked up anew in the third Theatre Royal and Evolution Productions collaboration, particularly after their riotous sisterly double act as Manky and Mardy in Cinderella was nominated  for Best Ugly Sisters in the 2022 UK Pantomime Association’s Pantomime Awards.   

Mrs Smee: A new panto role for dame Robin Simpson in All New Adventures Of Peter Pan at York Theatre Royal

Glory be, they will be reunited in creative director Juliet Forster’s production of All New Adventures Of Peter Pan, performing once more alongside Campbell, last winter’s Cinderella.

Hawkyard, who previously showed York his Bottom in Shakespeare’s Rose Theatre’s A Midsummer Night’s Dream at the Eye of York in 2018, is chuffed to have hooked the role of Hook. “Robin and I kept getting mobbed last year in York, so we’ve had to change our identity this year. Manky and Mardy are back in the wardrobe, and the hook is being sharpened and polished as we speak,” he said.

“I’m so looking forward to playing one of the most famous and evil villains ever – the tall, dark and incredibly handsome Captain Hook, the original pirate king.”

Robin Simpson’s Manky, left, and Paul Hawkyard’s Mardy in their Ugly Sisters double act in Cinderella last winter

Simpson added: “I’m delighted to be returning to York Theatre Royal for my third pantomime there. I’m also very excited to be back on stage with Paul Hawkyard. He’s a very funny guy and I’m so glad that my ‘sister’ from last year is able to return. Can’t wait.”

Simpson first gave York his Dame in The Travelling Pantomime, touring to community venues in multiple York wards for socially distanced performance in December 2020, before turning Ugly in Cinderella.

He and Hawkyard previously worked together in both A Midsummer Night’s Dream and Macbeth in Shakespeare’s Rose Theatre’s first year in York.

Making an ass of himself: Paul Hawkyard’s Bottom in Shakespeare’s Rose Theatre’s A Midsummer Night’s Dream in York in July 2018

In late-March, book in hand at first, he stepped into the melancholic role of Jacques at very short notice in Northern Broadsides’ York Theatre Royal run of As You Like It, later filling in for Covid-enforced cast absences in further dates on the tour.

Previously he toured the country with the Halifax company as Benedict in Much Ado About Nothing. Hawkyard, meanwhile, has been filming the new series of Channel 5’s All Creatures Great And Small, set in Yorkshire.

Campbell starred in The Travelling Pantomime tour as The Hero and Dick Whittington, then took on the title role in Cinderella last winter. Come December, she will be Elizabeth Darling in All New Adventures Of Peter Pan, scripted by Evolution Productions’ co-founder, Paul Hendy.

Faye Campbell: Returning for her third York Theatre Royal pantomime

Joining Campbell, Simpson and Hawkyard will be CBeebies’ favourite Maddie Moate, the first name out of the panto hat, who will be flying into the Theatre Royal to play mischievous fairy Tinkerbell in the family-friendly pantomime adventure.

Creative director Juliet Forster said: “We are absolutely delighted to welcome back Robin, Paul and Faye for this year’s pantomime. They were all hugely popular with our audiences in Cinderella last year and we can’t wait for them to return to our stage in these fabulous new roles.”

Further casting will be revealed in coming months, first up the imminent announcement of who will be Peter Pan.

All New Adventures Of Peter Pan will run from December 2 2022 to January 2 2023. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

REVIEW: Charles Hutchinson’s verdict on Northern Broadsides’ As You Like It ***

Joe Morrow’s drag queen Touchstone in Northern Broadsides’ As You Like It

Northern Broadsides in As You Like It, York Theatre Royal, 2.30pm and 7.30pm tomorrow, and on tour. Box office: 01904 623568 or at yorktheatreroyal.co.uk

COVID had kept Northern Broadsides away from York since 2019, rudely curtailing Quality Street’s travels before the Theatre Royal run in 2020.

York’s wait to see a Laurie Sansom production following his appointment as artistic director in 2019 finally ended on Wednesday, with the sight of Sansom himself on stage.

Always a nervous moment: a director standing on the boards. Would he be delivering last-minute bad news? Thankfully not, instead expressing his delight at Broadsides being back in York, before announcing a couple of Covid-enforced substitutions after last week’s positive tests scuppered the Stephen Joseph Theatre run.

Jo Patmore would be stepping up from Amiens and William duties to stand in for Isobel Coward as devoted cousin Celia. Robin Simpson, his Ugly Sisters double act with Paul Hawkyard still fresh in the mind from the Theatre Royal’s Cinderella pantomime, would play the melancholic Jacques, a still grave but more bookish figure with safety-net book in hand after filling in at short notice for Adam Kashmiry.

Ironically, Simpson almost missed out on his week under the lights, Sansom revealing that he had damaged his knee ahead of the first night and would take to the stage with a pronounced limp and a stick. Limp, yes, stick, no, as it turned out; the book being his more important crutch.

As You Like It was dismissed as a mere crowd-pleaser by George Bernard Shaw, a gibe that suggests it is an inferior work, made for laughs rather than weightier impact. In truth, aside from Jacques’ “All the world’s a stage” soliloquy, it has always been nothing more than an As You Only Quite Like It play, one that demands graft as much as craft from its cast.

What Laurie Sansom has done, however, is to make it a play for today, newly resonating with our pandemic-shadowed times in its celebration of (our return to) the joys of live performance; the right to work out who you are and who you want to be, and the heightened appreciation of the transformative power of the natural world. In a nutshell, what better time to go wild in the country in a tale of mistaken identities and changing attitudes.

From Sansom’s impromptu stage announcement onwards, his production is marked by informality, with a flexibility to the delivery of Shakespeare’s text to rival the gender fluidity.

Although the play’s initial tone is determined by the rigidity of Duke Frederick’s macho court, the mood is set by Joe Morrow’s drag-queen Touchstone, given freedom to roam, to improvise, as he would in his other lives as cabaret turn Joe Morose and Café de Paris master of ceremonies.

EM Williams’s Rosalind climbs a hatstand in Northern Broadsides’ As You Like It

Sansom modernises the wrestling clash, bringing it into the WWF age with American- accented entries, Bailey Brook’s Charles becoming Chainsaw Charles and Shaban Dar’s Orlando adding ‘Dynamite’ to his moniker.

Morrow’s Broadsides debut is an utter joy, born for the centre stage, quick on the quips and asides, his voice a delicious tease throughout, playing the wise fool.

Elsewhere, this production revolves around an EM and an E.M.: namely non-binary actor EM Williams’s Rosalind, banished from the court, and duly taking the guise of a boy once in the Forest of Arden, and E.M. Parry, a designer who specialises in work that “centres Queer bodies and narratives”.

Parry delivers fabulous costumes, with a flourish reminiscent of Lez Brotherston, while the forest takes the form of hatstands, both a fashion statement and a bravura way to represent the wooded natural world and our roles as mere players going through the costume changes of life.

Williams’s Rosalind is teased in Morrow’s banter for being so serious, and indeed Williams’s performance is intense, earnest, yet lithely energetic and liberated too, before turning into Puck for the epilogue.

Reuben Johnson’s Oliver, Dar’s Orlando, Ali Gadema’s Duke Frederick and Patmore’s Celia keep the story moving; Simpson’s Jacques steps in with his glum commentary, breaking down the fourth wall once to acknowledge coming in too soon for his next line.

Morrow makes light of being the conductor for so much of the comedy, albeit aided by Brook’s Silvius and Gemma Dobson’s Phoebe. An out-of-the-blue cameo by three cast members as misbehaving sheep draws the biggest laughter, nudging towards pantomime in a scene orchestrated by Morrow seemingly on the hoof.

Tellingly, it is not the only moment where Morrow’s own wit is funnier to modern ears than Shakespeare’s script, although he is equally adept at spinning the Bard’s words like plates.

Robert Bentall’s music is industrial and harsh for the court, beautifully pastoral for the forest, adding to the contrast. Ultimately, Sansom’s As You Like It is more successful as a visual delight and as a piece of political theatre in tune with cultural and social issues in its diverse casting and sensibilities than as a comedy, Morrow aside. That makes it a better play for today. Job done.

Further Yorkshire performances will follow at Leeds Playhouse, May 17 to 21; The Viaduct Theatre, Halifax, June 9 to 18; CAST, Doncaster, June 21 to 25, and Harrogate Theatre, June 28 to July 2. Box office: Leeds, 0113 213 7700 or leedsplayhouse.org.uk; Halifax, 01422 849 227 or theviaducttheatre.co.uk; Doncaster, 01302 303959 or castindoncaster.com; Harrogate, 01423 502116 or harrogatetheatre.co.uk.