Tim Firth: Book writer and lyricist for Calendar Girls The Musical
TIM Firth has returned to the Stephen Joseph Theatre, where he first cut his playwriting teeth under Alan Ayckbourn’s artistic directorship.
He is opening the Scarborough theatre’s summer season in tandem with composer and friend-since-Frodsham- schooldays Gary Barlow in a ground-breaking revival of their 2015 musical, Calendar Girls The Musical (first called The Girls in its Leeds Grand Theatre premiere).
For the first time, under SJT artistic director Paul Robinson’s directorial hand, the show is being staged in the round and as an actor-musician production.
In a joint statement, Firth and Barlow enthused: “As writers, one of the most exciting things that can happen is when someone comes up with a totally new way of staging something you’ve created.
“When Paul described his vision for a new production of Calendar Girls The Musical, it was instantly clear he was talking about something we’d never seen before, never imagined and to be honest never thought possible.”
Explaining the rationale behind this co-production with Keswick’s Theatre by the Lake, the New Wolsey Theatre in Ipswich and the Octagon Theatre Bolton, Robinson said: “Our new in-the-round staging brings the audience into the heart of the Rylstone Women’s Institute, making this true story of friendship and determination feel more personal and immediate.
“This intimate production will create a unique, shared experience, reminiscent of gathering around a community hall or a close friend’s living room, allowing for a deeper connection to the characters and creating a collective, communal atmosphere that fully immerses everyone in the moving story of these ‘ordinary women’ doing something quite extraordinary.”
Quick refresher course: this show is the one about a group of Yorkshire women, from the Rylstone Women’s Institute, who create a nude calendar to raise money for charity after the death of a husband to a blood cancer.
News spreads fast in their community and none of them expects the emotional and personal repercussions, but gradually the making of the calendar brings each woman unexpectedly into bloom.
Recalling the roots of writing play, film and musical versions of Calendar Girls and now bringing the musical to the SJT, Tim says: “Scarborough I always feel to be my home as a writer. Not only was it the first place to give me a main stage but the plays of Alan Ayckbourn embody so much of what I love about theatre.
Sarah Groarke, left, Karen Holmes and Angela Caesar in a scene from the Stephen Joseph Theatre’s actor-musician production of Calendar Girls The Musical. Picture: Tony Bartholomew
“It was en route to a meeting with him about a new play that I called into a Wharfedale fete and bought a calendar from a WI stall. Now years later, it seems wonderfully fitting to be starting a production of a musical about that story at the Stephen Joseph Theatre.”
Paul Robinson first put the question to Firth two years ago: “Do you think this is possible: doing Calendar Girls in a theatre of this size and design? Up till then, I’d only seen professional productions in bigger venues, and yet the sheer number of amateur productions made me think we could do it in smaller theatres,” says Tim.
“I wanted this show and these songs to be robust enough to stand up to any setting, whether on a small stage with a piano, in a church hall or a theatre – but in the modern world, it’s become difficult to mount a musical on your own, so we needed three other theatre to align with the SJT to do this new production.”
Analysing the popularity of Calendar Girls, Tim says. “It’s a ‘group comedy’, and what people seem to respond to right from the start is the bonding of these women, the unity and the camaraderie, and there’s warmth in the comedy.
“We’re tribal and Calendar Girls is a tribal piece of theatre. It’s a poke in the belly of society that makes people rally round. What makes Calendar Girls work and the whole endeavour work in reality was that it was more about friendship than it was ever about nudity.
“What makes the photo-shoot work in Calendar Girls is what the other ‘girls’ are doing around the ‘girl’ being photographed to make the picture happen because the nudity is like a fan dance.”
For the SJT production, two factors came into play: how many of the cast would be playing instruments on stage at any one time in a scene and how could the teenage children’s roles be re-introduced (after being jettisoned for a touring version). “It was a shame to have lost them as they’re like a palate cleanser and a real change in tone,” says Tim, delighted by their return.
“The rest of it, I have done absolutely nothing with, because I grew up writing for this theatre, and I know that you don’t write for the Round; you let the Round tell the story. I know you can do anything in that set-up, and it’s up to the director and the designer to make it work in the Round, where it’s like a circus.
“That’s why everyone is excited by it as it brings a proximity, immediacy and vibrancy to the story. It’s also why all my plays are prop heavy rather than scenery heavy, as you can’t have any scenery more than two feet high, so it’s all about the floor and putting people together to work on that stage.
“Sometimes, the more ‘production’ you give a musical, the more you move away from its heart. You can do it just with a basket full of props.”
Calendar Girls The Musicalruns at Stephen Joseph Theatre, Scarborough, until July 25. Box office: 01723 370541 or sjt.uk.com.
Christina Meehan’s Annie and Karen Holmes’s Chris in Calendar Girls The Musical. Picture: Tony Bartholomew
IT began as The Girls at Leeds Grand Theatre in 2015, when plenty of the original Calendar Girls attended the press night in trademark black dresses, pinned with sunflowers.
Roll forward 11 years, when some things have changed, some have not. Four members of the Rylstone and District Women’s Institute, who put the fun into fund-raising by making the risqué alternative calendar in 1999, were in attendance on Wednesday. Black dresses, tick. Sunflowers, tick.
Present too was book writer and lyricist Tim Firth, who cut his playwriting teeth under Sir Alan Ayckbourn’s guiding eye at the SJT – and who should be in the audience too but Sir Alan.
Penned by Firth and composer and Take That mainstay Gary Barlow, friends since childhood days in Frodsham, Cheshire, the show has long since changed its name to Calendar Girls The Musical, while celebrity casts have come and gone and a touring version once jettisoned the teenage tearaways, but thankfully they are very much restored here, as is the original down-to-earth, everyday, no-nonsense ‘Yorkshireness’ of it all
SJT artistic director Paul Robinson’s production breaks new ground as the first staging with actor-musicians and the first in a theatre-in-the-round setting, presenting new challenges in how to choreograph the strip comedy of the calendar shoot and how to evoke the other rising hills, the Yorkshire Dales.
Original designer Robert Jones first crafted a theatrical Yorkshire landscape from towering green-fronted furniture that turned into doors and prop cupboards; then later favoured a God’s Own Country verdant backdrop and a regularly opened gate.
In May, York Musical Theatre Company did likewise when using All In One Productions’ photographic scenery of the rolling dales at their most green and pleasant pastured, with a dry stone wall and gate in front. You could almost smell Yorkshire.
SJT costume and designer Helen Coyston eschews walls and landscape imagery, preferring an open-plan design with parquet village-hall flooring, on which props and furniture are moved with haste, whether chairs, benches, or the uncomfortable Skipton General waiting-room sofa that prompts Knapely Women’s Institute wild card Chris (Karen Holmes) to suggest making the outré calendar.
It makes all the more room for the actor-musicians that fill the stage with movement and energy, right from the start in the crowd-pleasing opening number Yorkshire, with company members playing all manner of instruments, from guitar and whistle to the most evocative Yorkshire sound of all: gleaming brass instruments of every shape and sound under the musical directorship of associate director Alex Weatherhill.
An interval chat with sound designer and musical supervisor Simon Slater revealed how carefully those brass players needed to be placed, in order not to overpower the overall sound mix, often being posted in the “voms” (the passageways for stage entries and exits).
The actor-musicianship, especially in the natural amphitheatre of the theatre-in-the-round, brought a heightened intimacy to the already highly emotional or highly humorous songs, where Firth’s sense of pathos and observational comedy dovetail so pleasingly with Barlow’s ear for melody.
The balance of dialogue and song is just right too. After a surfeit of song-heavy shows with workmanlike tunes on reviewing duty in 2026, here is a show where emotion is filtered through conversation, confession and comic collisions, as well as through songs that capture the essence of a situation or character.
None has more potency in Scarborough than Scarborough itself, the beautiful ballad where Christina Meehan’s Annie contemplates life without John ‘Clarkey’ Clarke (Neil Moors), her rock of a husband, brought down by a blood cancer.
Barlow and Firth give plenty of characters their “big number”, from Alicia McKenzie’s Cora, the organ-playing vicar’s daughter, with her Christmas Carol pastiches in Who Wants A Silent Night?, to Chris’s Act One climax, Sunflower; from Pippa Duffy’s former air hostess Celia’s defiant So I’ve Had A Little Work Done to SJT favourite Annie Kirkman’s vodka-swilling Annie’s My Russian Friend And I, topped by her drunken arrival for her camera-flash moment.
Matt Heslop’s photographer Lawrence is even more timid than past iterations, and all the better for that, while Fenella Norman’s former school teacher, Jessie, Sarah Groarke’s stuffed-shirt new WI chair, Marie, Matt Ian Kelly’s trio of supportive husbands, Rod, Colin and Denis, and Angela Caesar and and Rachel Hammond’s tea-and-coffee double act as the Miss Wilsons all play their part to maximum impact.
In the teen trio, Will Ireland and Charlie Wright are sharing the role of easily distracted head boy-in-waiting Danny; Robyn Chambers and Annie Dunbar do likewise for the rebellious Jenny and Keane Liley and Jack Pickering will split the ever-joshing Tommo over the performances ahead. Firth writes so astutely of teen behaviour and adult influence, the young’uns so full of cheek, brio and quick retorts.
The climactic calendar shoot is choreographed by intimacy director Stephanie Dattani with imagination, originality, flair, bags of humour, plenty of surprise too, finding new ways to refresh this comedic set piece with vitality, wit and heart.
Honorary Yorkshiremen Barlow and Firth, in tandem with Robinson – a director at his best in comedy – have delivered the best version of Calendar Girls yet, not least thanks to the leading performances of Holmes’s Chris and Meehan’s Chris, Yorkshire women of such spirit and resilience.
Calendar Girls The Musical, Stephen Joseph Theatre, Scarborough, until July 25. Box office: 01723 370541 or sjt.uk.com
Christina Meehan, left, Karen Holmes and Pippa Duffy in rehearsal for Calendar Girls The Musical at Scarborough’s Stephen Joseph Theatre. Picture: Tony Bartholomew
THE York Mystery Plays on waggon wheels, Calendar Girls in the round, early music beyond borders and Jim Hacker’s lust hurrah promise high summer times for Charles Hutchinson.
Make a date with: Calendar Girls The Musical, Stephen Joseph Theatre, Scarborough, until July 25
AS director Paul Robinson reveals: “Our new in-the-round staging of Tim Firth and Gary Barlow’s Calendar Girls brings the audience into the heart of the Rylstone Women’s Institute, making this true story of friendship and determination feel more personal and immediate.
“This intimate production will create a unique, shared experience, reminiscent of gathering around a community hall or a close friend’s living room, allowing for a deeper connection to the characters and creating a collective, communal atmosphere that fully immerses everyone in the moving story of these ‘ordinary women’ doing something quite extraordinary.” Box office: 01723 370541 or sjt.uk.com.
Cathy Sara’s Villeyn and Thomas Frere’s Jongleur in Riding Lights Theatre Company’s Mistero Buffo at Friargate Theatre, York. Picture: John Shepherdson
2026 York Mystery Plays Fringe play of the week: Riding Lights Theatre Company in Mistero Buffo, Friargate Theatre, York, today to Saturday, 7.30pm, plus 2.30pm matinees on Friday and Saturday
TWO wild strangers roll into York for the 2026 York Mystery Plays Fringe to tell tales destined to turn the city upside down. Combining ferocious wit and fearless physical storytelling, Paul Birch’s two-hander production for York’s Riding Lights Theatre Company tears into faith, power, profit and hypocrisy by turning ancient Bible stories into urgent, humorous modern theatre with a clear spiritual heart.
Written by Nobel prize-winning Italian playwright Dario Fo, translated by Ed Emery and performed by Yorkshire actors Thomas Frere and Cathy Sara, this 1969 take on the Mystery Plays will appeal to Fringe theatregoers with a taste for subversive and unapologetic comedy with bite. Box office: www.ridinglights.org.
Kirkgate in floral splendour for summer at York Castle Museum. Picture: Gareth Buddo
Flower power of the week: Summer at York Castle Museum, in bloom until September 6, open Mondays, 11am to 5pm; Tuesdays to Sundays, 10am to 5pm
YORK Castle Museum is capturing the essence of ‘grand days out’ and celebrating iconic summers across two contrasting centuries this summer season. Drawing on the breadth of the museum’s social history collection, Victorian York Galas and the Swinging ’60s are the programme’s key focus with games, crafts and seasonal decorations providing nostalgia and summer fun for visitors.
Further highlights include Last Stop Before Kirkgate, Novo Theatre’s immersive experience replicating a 19th century coaching inn and arrival into York, and Yorkshire artist Pippa Dyrlaga’s paper-cut hot air balloons, telling the story of balloon rides during the galas. Tickets: yorkcastlemuseum.org.uk.
The Choir Of Man: “The best trip to your local you’ll ever have”…at Grand Opera House, York. Picture: The Other Richard
Foot-stomping musical celebration of the week: The Choir Of Man, Grand Opera House, York, today and tomorrow, 7.30pm; Friday, 4pm and 8pm; Saturday, 2.30pm and 7.30pm
SET in the The Jungle pub on stage, The Choir Of Man is billed as “the best trip to your local you’ll ever have” as a cast of nine (extra)ordinary guys combine beautiful harmonies and foot-stomping singalongs with tap dance and soulful storytelling in an uplifting celebration of community and friendship.
The debut UK & Ireland tour cast features Gustav Melbardis as Maestro; Oluwalonimi (Nimi) Owoyemi as Poet; Levi Tyrell Johnson as Hard Man; Ben Mabberley as Joker; Rob Godfrey as Beast; Jack Skelton as Handyman; Joshua Lloyd as Barman; Sam Walter as Romantic and Aaron Pottenger as Bore performing Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns N’ Roses, Avicii and Katy Perry hits. Box office: atgtickets.com/york.
Mezzo-soprano Helen Charlston: Presenting A Gentle Air with tenor Paul Agnew and lutenist Sergio Bucheli on July 9 at 2026 York Early Music Festival
50th anniversary event of the summer: 2026 York Early Music Festival, Beyond Borders, Friday to July 11
THE premier British early music festival marks its 50th anniversary with a celebration of “just how far early music has travelled – beyond the borders of the myriad historic venues of our city to a worldwide audience,” says director Delma Tomlin.
Opening with Monteverdi’s 1610 Vespers, presented by I Fagiolini, and closing with Solomon’s Knot’s rendition of Bruhns’s St Mark Passion, the festival welcomes The Sixteen, B’Rock Orchestra & Vocal Consort, Imago Mundi, mezzo-soprano Helen Charlston and NCEM Platform Artists Anacronia and Contre le temps, among others. Box office: 01904 658338 or ncem.co.uk/yemf.
Tribute show of the week: The Rat Pack, Las Vegas Live!, Kirk Theatre, Pickering, Saturday, 7.30pm
DIRECT from London’s Leicester Square Theatre, The 02 and a Royal Command Performance, David Alacey stars as Frank Sinatra alongside West End favourite Tim Harwood as Dean Martin and former Coronation Street and Hollyoaks star Ashley Campbell as Sammy Davis Jr in the original Rat Pack tribute show, now celebrating its 25th record-breaking year of re-creating their Las Vegas heyday at The Sands. BBC musical director Mac Shone will be at the piano alongside the Buddy Greco All-Stars. Box office: 01751 474833 or kirktheatre.co.uk.
Bodhan Pitel’s Herod in DSpace Ukrainian Theatre and the Guild of Scriveners’ The Massacre of The Innocents in the 2026 York Mystery Plays. Picture: John Saunders
Theatrical event of the week: 2026 York Mystery Plays, streets of York, Sunday, 10.30am to 4.50pm; Sunset in the Shambles Market, tonight, 7.45pm
THE four-yearly staging on the York Mystery Plays on pageant waggons takes place at four locations across the city: free viewing at the Minster Refectory Gardens, Deansgate, (from 10.30am) King’s Square (from 11.10am), St Sampson’s Square (from 11.50am) and ticketed seats at Dean’s Park (from 12.30pm). Ten core plays will be complemented by further extracts to tell the story from The War In Heaven to Doomsday. For full details, go to: yorkmysteryplays.co.uk.
A special midsummer performances of five plays will be held in Shambles Market tonight, introduced by the York Waits musicians before Pageant Master Dr Alan Heaven guides the audience through each play, from the Creation sequence to the interactive show Doomsday. Tickets: ticketsource.com/york-festival-trust.
Clive Francis and Simon Rouse in I’m Sorry, Prime Minister, on tour at Grand Opera House, York. Picture: Michael Wharley
Political drama of the week: I’m Sorry, Prime Minister, Grand Opera House, York, July 7 to 11, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees
JIM Hacker is back, older, but perhaps not wiser, and still utterly baffled by the real world. Hoping for a quiet retirement from government as the master of Hacker College, Oxford, Jim (Simon Rouse) instead finds himself facing the ultimate modern crisis: cancelled by the college committee. Enter Sir Humphrey Appleby (Clive Francis), who has lost none of his love for bureaucracy, Latin phrases and well-timed obstruction.
Can Humphrey and Jim outmanoeuvre the hostile students, the Fellows and reality itself? Or is it finally time to say “I’m Sorry, Prime Minister”? Brimming with wit, nostalgia and more double-speak than a press briefing, the final chapter in the evergreen comedy series is written and directed by Jonathan Lynn,co-directed by Michael Gyngell and presented by The Barn Theatre, Cirencester. Box office: atgtickets.com/york.
Becky Hill: High-energy performance on Knavesmire track
THE York Mystery Plays on waggon wheels, Becky Hill on Knavesmire, Calendar Girls in the round and early music beyond borders promise high summer times for Charles Hutchinson.
Under starter’s orders: Becky Hill, Summer Music Saturday, York Racecourse, today, first race at 1.20pm
BECKY Hill, two-time BRIT Award winner for Best Dance Act, opens the summer of post-racing concerts at York Racecourse, promising a high-energy performance on the “Glastonbury-style stage” after tomorrow’s seven-race card. For her set list, she can pick from such hits as Gecko; Back & Forth; Wish You Well; Lose Control; Better Off Without You; Heaven On My Mind; Remember; My Heart Goes; Run; Crazy What Love Can Do; History and Disconnect. For race-day tickets, go to: yorkracecourse.co.uk.
Kirkgate at York Castle Museum in full summer bloom with floral displays and new projections. Picture: Gareth Buddo Furmoto Photography
Flower power of the week: Summer at York Castle Museum, in bloom until September 6, open Mondays, 11am to 5pm; Tuesdays to Sundays, 10am to 5pm
YORK Castle Museum is capturing the essence of ‘grand days out’ and celebrating iconic summers across two contrasting centuries this summer season. Drawing on the breadth of the museum’s social history collection, Victorian York Galas and the Swinging ’60s are the programme’s key focus with games, crafts and seasonal decorations providing nostalgia and summer fun for visitors.
Further highlights include Last Stop Before Kirkgate, Novo Theatre’s immersive experience replicating a 19th century coaching inn and arrival into York, and Yorkshire artist Pippa Dyrlaga’s paper-cut hot air balloons, telling the story of balloon rides during the galas. Tickets: yorkcastlemuseum.org.uk.
Richard Ashcroft. Picture: Dean Chalkley
Coastal gigs of the week: TK Maxx presents Scarborough Open Air Theatre, Richard Ashcroft, today; Billy Ocean and Marti Pellow, tomorrow, gates open at 6pm
THE Verve frontman, songwriter and producer Richard Ashcroft, two-time Ivor Novello and triple BRIT Award winner, headlines today’s Scarborough bill, joined by DJ Wayne, original Kasabian frontman Tom Meighan and Yorkshire indie rockers Apollo Junction.
Trinidadian-British soul singer Billy Ocean (real name Leslie Sebastian Charles, by the way) takes top spot tomorrow, airing such hits as Red Light Spells Danger, Love Really Hurts Without You, Caribbean Queen and When The Going Gets Tough, The Tough Get Going. His very special guest is former Wet Wet Wet singer and musicals star Marti Pellow; Katie Owen supports too. Box office: scarbroughopenairtheatre.com.
Christina Meehan’s Annie, left, and Karen Holmes’s Chris in Calendar Girls The Musical at Stephen Joseph Theatre, Scarborough.Picture: Tony Bartholomew
Make a date with: Calendar Girls The Musical, Stephen Joseph Theatre, Scarborough, today until July 25
AS director Paul Robinson reveals: “Our new in-the-round staging of Tim Firth and Gary Barlow’s Calendar Girls brings the audience into the heart of the Rylstone Women’s Institute, making this true story of friendship and determination feel more personal and immediate.
“This intimate production will create a unique, shared experience, reminiscent of gathering around a community hall or a close friend’s living room, allowing for a deeper connection to the characters and creating a collective, communal atmosphere that fully immerses everyone in the moving story of these ‘ordinary women’ doing something quite extraordinary.” Box office: 01723 370541 or sjt.uk.com.
Cathy Sara’s Villeyn and Thomas Frere’s Jongleur in Riding Lights Theatre Company’s Mistero Buffo. Picture: John Shepherdson
2026 York Mystery Plays Fringe play of the week: Riding Lights Theatre Company in Mistero Buffo, Friargate Theatre, York, today, tomorrow, then July 1 to 4, 7.30pm, plus 2.30pm matinees on July 3 & 4
TWO wild strangers roll into York for the 2026 York Mystery Plays Fringe to tell tales destined to turn the city upside down. Combining ferocious wit and fearless physical storytelling, Paul Birch’s two-hander production for York’s Riding Lights Theatre Company tears into faith, power, profit and hypocrisy by turning ancient Bible stories into urgent, humorous modern theatre with a clear spiritual heart.
Written by Nobel prize-winning Italian playwright Dario Fo, translated by Ed Emery and performed by Yorkshire actors Thomas Frere and Cathy Sara, this 1969 take on the Mystery Plays will appeal to Fringe theatregoers with a taste for subversive and unapologetic comedy with bite. Box office: www.ridinglights.org.
Bodhan Pitel’s Herod in DSpace Ukrainian Theatre’s The Massacre of the Innocents. Picture: John Saunders
Theatrical event of the week: 2026 York Mystery Plays, streets of York, tomorrow and July 5, 10.30am to 4.50pm; Sunset in the Shambles Market, June 30 and July 1, 7.45pm
THE four-yearly staging on the York Mystery Plays on pageant waggons takes place at four locations across the city: free viewing at the Minster Refectory Gardens, Deansgate, (from 10.30am) King’s Square (from 11.10am), St Sampson’s Square (from 11.50am) and ticketed seats at Dean’s Park (from 12.30pm). Ten core plays will be complemented by further extracts to tell the story from The War In Heaven to Doomsday. For full details, go to: yorkmysteryplays.co.uk.
Special midsummer performances of five plays will be held in Shambles Market on June 30 and July 1, introduced by the York Waits musicians before Pageant Master Dr Alan Heaven guides the audience through each play, from the Creation sequence to the End of Days in the interactive show Doomsday. These shows begin at 7.45pm and end as the dusk is deepening before 10pm. Tickets: ticketsource.com/york-festival-trust.
The Choir Of Man: “The best trip to your local you’ll ever have” at Grand Opera House, York. Picture: The Other Richard
Foot-stomping musical celebration of the week: The Choir Of Man, Grand Opera House, York, June 30 to July 2, 7.30pm; July 3, 4pm and 8pm; July 4, 2.30pm and 7.30pm
SET in the The Jungle pub on stage, The Choir Of Man is billed as “the best trip to your local you’ll ever have” as a cast of nine (extra)ordinary guys combine beautiful harmonies and foot-stomping singalongs with tap dance and soulful storytelling in an uplifting celebration of community and friendship.
The debut UK & Ireland tour cast features Gustav Melbardisas Maestro; Oluwalonimi (Nimi) Owoyemi as Poet; Levi Tyrell Johnson as Hard Man; Ben Mabberley as Joker; Rob Godfrey as Beast; Jack Skelton as Handyman; Joshua Lloyd as Barman; Sam Walter as Romantic and Aaron Pottenger as Bore performing Queen, Luther Vandross,Sia, Paul Simon, Adele, Guns N’ Roses, AviciiandKaty Perry hits. Box office: atgtickets.com/york.
Solomon’s Knot: Performing at York Early Music Festival on July 10
50th anniversary event of the summer: 2026 York Early Music Festival, Beyond Borders, July 3 to 11
THE premier British early music festival marks its 50th anniversary with a celebration of “just how far early music has travelled – beyond the borders of the myriad historic venues of our city to a worldwide audience,” says director Delma Tomlin.
Opening with Monteverdi’s 1610 Vespers, presented by I Fagiolini, and closing with Solomon’s Knot’s rendition of Bruhns’s St Mark Passion, the festival welcomes The Sixteen, B’Rock Orchestra & Vocal Consort, Imago Mundi, mezzo-soprano Helen Charlston and NCEM Platform Artists Anacronia and Contre le temps, among others. Box office: 01904 658338 or ncem.co.uk/yemf.
In Focus: Ripon Theatre Festival, July 5 to 12
Maybe You Like It in Down To Chance: Playing Ripon Theatre Festival at Ripon Arts Hub on July 11 at 8pm
RIPON Theatre Festival 2026 celebrates five years of culture, colour and community spirit from July 5 to 12 with eight days and nights of performances focused on theatre in all its forms, from storytelling and puppetry to cabaret, Shakespeare and circus.
Top talent from Edinburgh & beyond
THE festival welcomes hit shows from the Edinburgh Fringe at Ripon Arts Hub, including Stephen Smith’s One Man Poe on July 10 at 8pm, fast-paced thriller Down To Chance on July 11 at 8pm The Poetical Life Of Philomena McGuinness on July 12 at 2.30pm.
Quirky & unique
RIPON Theatre Festival makes the most of the city’s venues and open spaces with pop-up events showcasing theatre everywhere. A knitting cabaret from Canada, a one-man show about British pub life, walkabout acts, Pop-up Puppetry and Poetry for Breakfast are among the acts that will appear in friendly cafes, pubs and independent shops. Look out too for a show performed inside a vintage bus.
The Big Weekend for families
SUPPORTED by Arts Council England through the National Lottery for a second year, the Big Weekend of free family entertainment on July 11 and 12 will feature street arts and circus theatre from across the four nations and beyond. Highlights include dance-circus troupe Circo Rumbaba and comedy, cooking and circus with Do What Ya Mamma Told Ya.
Reaching out to all the community
IN the weeks leading up to the festival, activities in care homes, “making and creating” sessions with learning-disabled adults and intergenerational music sessions ensure the event reaches all corners of the community.
This includes a schools’ programme featuring Opera North’s Little Listeners and the madcap Rubbish Shakespeare Company.
Supporting new writing & regional talent
ESTABLISHED regional artists, such as Victoria Firth and Kathryn Hanke, from Huddersfield, in Batty! at Ripon Arts Hub on July 9 at 8pm, feature alongside up-and-coming artists such as Constance Peel, from Boston Spa, performing the new play Service Please at The Water Rat on July 6 at 6.30pm.
Providing a platform for locally-inspired works-in-progress, the festival offers audiences the first chance to experience York’s Out Of Character Theatre Company in Outcast’s exploration of life in medieval Ripon and Imogen Wood’s work-in-progress, Jord, whose starting point is the petrifying powers of Mother Shipton in a union of live music, poetry and storytelling that challenges the fascination and obsession with women staying young and delaying ageing.
Summer season finale
RIPON Theatre Festival stretches beyond July 12 for a post-festival open-air Shakespeare finale at Ripon Raceourse on July 24, when The Duke’s Theatre Company presents Romeo & Juliet at 7pm (preceded by North Yorkshire Council-supported performances at Prince of Wales Terrace, Scarborough, on July 22 and Valley Gardens, Harrogate, on July 23). Box office: thedukestheatrecompany.co.uk.
Festival director Katie Scott says: “Ripon Theatre Festival is celebrating a five-year milestone birthday and we are proud of all that we have achieved so far.
“Community led, but showcasing some of the best professional touring work alongside an inclusive and lively outdoor and family programme, the festival is hugely valued for its variety and originality. We can’t wait to share our 2026 offering and bring the joy of live performance to an even wider audience.”
For the full programme and tickets, go to: ripontheatrefestival.org.
Amber Topaz in Red, Ripon Arts Hub, July 8, 7.30pm
Amber Topaz in Red
YORKSHIRE-BORN international cabaret and burlesque siren Amber Topaz celebrates redheaded musical theatre stars of stage and screen in her classy, sassy, fabulous musical revue Red.
Her delicious cocktail of Old Hollywood glamour and West End and Broadway classics is “full to the brim with iconic show-stopping numbers, honouring these formidable flame-haired trailblazers that have shaped musical theatre herstory”.
From the golden era of Hollywood to the bright lights of Las Vegas, Red embodyies legendary artists such as Rita Hayworth, Bette Midler, Bernadette Peters, Shirley MacLaine, Gwen Verdon and many more.
As a teenager, Amber left her Yorkshire roots to move to London and enter the world of cabaret and burlesque, since when she has travelled widely with her combination of frivolous and thought-provoking cabaret.
Fladam, Astro Norma, Ripon Library, July 11, 10.30am and 12 noon
Fladam’s Florence Poskitt & Adam Sowter in Astro Norma
YORK duo Fladam, Florence Poskitt and Adam Sowter, present their out-of-this-world musical comedy Astro Norma at Ripon Library, where they invite audiences aged three to ten to blast off on a madcap 45-minute quest to find Grandpa’s lost star, but beware, the sneaky Silencer is hot on her trail , ready to silence the tunes.
Packed with awesome aliens, rib tickling robots and interplanetary puppets, this joyful space odyssey will have young theatregoers reaching for the stars.
ONLINE sensation, comedian and author Daniel Foxx will bring his new stand-up show, How Lovely, to Pocklington Arts Centre on October 31.
Best known for his viral comedy sketches, Foxx has amassed millions of views across social media. His on-screen appearances span BBC One, BBC Three, ITV and Comedy Central and he has appeared live as tour support for Josh Widdicombe, Rosie Jones and Judi Love.
In How Lovely, Foxx reflects on how he was was determined to handle his Big Break-up with the grace of Julia Roberts, but didn’t, as he navigates the realities of dating in your 30s, a rising Le Creuset obsession and the pursuit of the perfect 12-step skincare routine, all while trying hard to emanate love and light.
Foxx’s debut show, Villain, toured internationally, including a sell-out run at New York’s SoHo Playhouse and London’s legendary Clapham Grand. He co-hosts the podcast Welcome To Hell with fellow comic Dane Buckley and is the author of the hit book Bedtime Stories For Privileged Children. His latest tour show will look to build on that momentum.
Foxx’s appearance adds to a packed 2026 comedy programme at Pocklington Arts Centre, where upcoming shows include Andy Parsons’ Please #@!$ To Mars on May 22 (8pm); Rich Hall’s Chin Music, June 10 (8pm), Hal Cruttenden’s Can Dish It Out But Can’t Take It, June 12 and 13 (7.30pm); Neil Delamere in Reinventing The Neil, July 30 (7.30pm) and PAC Comedy Club, featuring Rob Deering, Eleanor Tiernan, Oliver Bowler and Tom Wrigglesworth, October 1 (8pm).
Daniel Foxx: “Determined to handle his Big Break-up with the grace of Julia Roberts”
Further dates for the diary are: Ignacio Lopez in Nada, October 3 (8pm); Simon Evans in Staring At The Sun, October 21 (7.30pm); Tez Ilyas’s Tez Things I Hate About You, October 23 (8pm) and Brian Bilston’s How To Lay An Egg With A Horse Inside, November 14, 7.30pm.
Pocklington Arts Centre’s Comedy Festival will take place on May 30, opening with Seeta Wrightson’s work-in-progress Fringe Preview of Middling at 1pm, followed by Out Of The Box at 2pm and Brennan Reece’s work-in-progress Fringe Preview of New Jokes at 2.45pm.
Marcel Lucont will present Les Enfants Terribles – A Game Show For Awful Children at 4pm. Then come Tom Neenan’s work-in-progress Fringe Preview at 4.30pm; Sarah Roberts’ work-in-progress Fringe Preview at 6.15pm and the Mixed Bill finale at 8pm, bringing together Lou Wall, Marcel Lucont, Tal Davies, Pravanya Pillay and Raj Poojara, hosted by Kiri Pritchard-McLean.
James Bye, left, Shvorne Marks, Natalie Casey and Grant Kilburn in Danny Robins’ 2:22 A Ghost Story, on tour at Grand Opera House, York
THE clock is ticking to see a ghostly thriller, a madcap murder mystery, a poetic book launch and an unjust trial as Charles Hutchinson sets his arts alarm.
Supernatural thriller of the week: 2:22 A Ghost Story, Grand Opera House, York, March 30 to April 4, 7.30pm and 2.30pm Wednesday and Saturday matinees
“THERE’S something in our house. I hear it every night. At the same time,” says Jenny, who believes her new home is haunted, but her husband Sam is having none of it. Whereupon they argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening and is moving closer. Only by staying up until 2:22 will they know the answer.
James Bye, Shvorne Marks, Natalie Casey and Grant Kilburn perform Uncanny and The Battersea Poltergeist podcaster Danny Robins’s supernatural thriller, the Best New Play winner at the 2022 WhatsOnStage Awards, on its return to York. As secrets emerge and ghosts may or may not appear, dare you discover the truth? Box office: atgtickets.com/york.
What We Could Have, by Sarah Williams, from the Other Viewpoints exhibition at Pyramid Gallery
Meet The Makers event of the week: Other Viewpoints, Lesley Williams, Sarah Williams, Peter Heaton and Adele Howitt, Pyramid Gallery, Stonegate, York, today, 11.30am to 2.30pm
YORKSHIRE artists Lesley Williams, Sarah Williams and Peter Heaton and ceramicist Adele Howitt have teamed up for Other Viewpoints, on show until May 9. Today, they will be on hand to discuss their work.
Lesley, from York, makes semi-abstract oil paintings based on rural landscape and gardens; Sarah, also from York, employs colours, textural marks and shapes in blending abstract and figurative elements; Peter, from North Yorkshire, is exhibiting landscape fine art prints, and Hornsea maker Adele’s ceramics are marked by notions of the living landscape, abstraction, pollen grains and natural pattern.
Main Street Sound: In harmony with Harmonia at the NCEM
Choral concert of the week: Choirs In Harmony, Main Street Sound & Harmonia, National Centre for Early Music, York, today, 7.30pm
CHOIRS In Harmony brings together two Yorkshire vocal groups for an evening of rich, expressive choral music. York’s only ladies’ barbershop chorus, Main Street Sound, and Malton contemporary, folk, jazz, and musical theatre ladies’ choir Harmonia join forces to showcase a vibrant mix of contemporary arrangements, close harmony and uplifting ensemble singing. Expect moments of intimacy, bursts of energy and the joy of voices uniting in a space made for resonance. Box office: 01904 658338 or ncem.co.uk.
Giddy up: Country queen Twinnie rides into The Crescent tonight
Recommended but sold out already: Twinnie, The Crescent, York, tonight, 7.30pm
BORN in York and now established as the UK’s leading country-pop trailblazer on the American circuit after her West End musical theatre days and TV soap career as Porsche McQueen in Hollyoaks and ruthless boxing promoter Jade Garrick in Emmerdale, Twinnie-Lee Moore returns home on her Dirt Road Disco Tour.
Noted for her fearless honesty and storytelling truths, she blends Nashville-inspired country roots with pop hooks and her own gypsy-influenced flair in songs of empowerment, vulnerability, and unapologetic individuality. She made her Grand Ole Opry debut in November 2023 as the first British Romani Traveller to perform in the circle and featured on Rob Brydon’s Honky Tonk Road Trip documentary series on BBC Two last year.
Lucy Keirl in rehearsal for the Stephen Joseph Theatre’s madcap musical mystery Murder For Two. Picture: Tony Bartholomew
Whodunit of the week: Murder For Two, Stephen Joseph Theatre, Scarborough, today to April 18, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees
JOE Kinosian and Kellen Blair’s fast-paced musical whodunit is a madcap murder mystery with a twist, performed by two actors, Tom Babbage and Lucy Keirl, who play 13 characters between them, plus the piano, as they put the laughter into manslaughter.
When famous novelist Arthur Whitney is found dead at his birthday party, it is time to call in the detectives, but they are out of town. Enter Officer Marcus Moscowicz, a neighbourhood cop who dreams of climbing the ranks. Here is his chance to prove his super sleuthing skills and solve the crime before the real detective arrives. Box office: 01723 370541 or sjt.uk.com.
Stu Freestone: Launching first poetry collection at The Crescent
Book launch of the week: York Literature Festival and Say Owt present Stu Freestone, The Lights That Blur Between, The Crescent, York, March 30, 7pm to 10pm
YORK performance poet, Say Owt gobby collective associate artist and Cheese Trader cheesemonger Stu Freestone launches his debut poetry collection, The Lights That Blur Between, with two sets, one comedic, the other accompanied by guitarist Simone Focarelli, accordionist Ben Crosthwaite and drummer Joe Douglas. In support will be Grantham singer-songwriter Adam Leeson and York political satirist and performance poet Sarah Armitage.
Freestone’s poems explore the nostalgia of adolescence, relationships, loss and processing, as well as humorous themes of condiment addiction, festival trips gone wrong, cheesemonger battle raps and the perils of “after-work’ drinking in his honest portrayal of life experiences. Box office: thecrescentyork.com.
Dan Poppitt, Charlie Clarke, front, and Georgina Burt in rehearsal for Black Sheep Theatre Productions’ Parade
The other American musical of the week: Black Sheep Theatre Productions in Parade, Joseph Rowntree Theatre, York, April 1 to 4, 7.30pm plus 2.30pm Saturday matinee
PRESENTED by York company Black Sheep Theatre Productions under the direction of Matthew Peter Clare, Jason Robert Brown and Alfred Uhry’s stirring Tony Award-winning musical explores love and hope against the odds, set against a backdrop of political injustice and rising racial tension.
Leo Frank, a Brooklyn-raised Jew, is put on trial for murder in Marietta, Georgia, but when the world seems against you, receiving a fair trial might prove impossible. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Alison Moyet: Re-visiting Yazoo’s two synth-pop albums after more than 40 years at York Barbican. Picture: Naomi Davison
Gig announcement of the week: Alison Moyet, Songs Of Yazoo, the minutes and Other Tour, York Barbican, November 18
BASILDON soul, blues and pop singer-songwriter Alison Moyet will play York in one of ten new additions to her autumn tour, when she will focus on songs from Yazoo’s 1982-1983 catalogue, recorded with Vince Clarke, and a selection from her solo electronica albums, 2013’s the minutesand 2017’s Other, both co-written with producer Guy Sigsworth.
“Many years touring the same pool of songs and I am keen for a palate refresher,” says Moyet, 64. “Specifying which years I will be fishing from too, I think, is a grand way to serve pot luck for specific tastes. No bones.” Box office: yorkbarbican.co.uk.
Dale Vaughan, front, with Monica Frost and Matthew Warry, in a scene from Pick Me Up Theatre’s Next To Normal. Picture: Joanna Hird
A DYSFUNCTIONAL American family musical, a spirited band of newsboys, a madcap murder mystery and a bakery burlesque night confirm variety is the spice of Charles Hutchinson’s arts life.
American musical of the week: Pick Me Up Theatre in Next To Normal, Theatre@41, Monkgate, York, tonight to April 4, 7.30pm except Sunday and Monday; 2.30pm matinees, Saturday, Sunday and April 4
ANDREW Isherwood directs York company Pick Me Up Theatre in Brian Yorkey and Tom Kitt’s Tony Award-winning musical exploration of family and illness, loss and grief as a suburban American household copes with crisis and mental illness.
Dad is an architect; Mom rushes to pack lunches and pour cereal; their daughter and son are bright, wise-cracking teens but their lives are anything but normal, because Mom has been battling manic depression for 16 years.Next To Normal presents their story with love, sympathy and heart. Box office: tickets.41monkgate.co.uk.
Freida Nipples: Baps & Buns on board a baguette at Rise@Bluebird Bakery
Cabaret of the week: Freida Nipples presents Baps & Buns Burlesque, Rise@Bluebird Bakery, Acomb, York, Friday, 8pm, doors 7pm
YORK’S queen of burlesque, Freida Nipples, swaps teas for tease as she turns the bakery cafe into a cabaret joint for a night of fun, frolics and freedom of expression in all shapes and sizes.
On the fabulously zesty menu will be Donna Divine, Ezme Pump, Callum Robshaw and Freida herself, hosted by Harvey Rose. Box office: bluebirdbakery.co.uk/rise.
Tribute show of the week: The Supermodels, Kirk Theatre, Pickering, Saturday, 7.30pm
BACK by popular demand, The Supermodels return to Pickering with hits aplenty from the 1970s, 1980s and 1990s, from The Who to Led Zeppelin, Abba to A-ha Abba, ELO to Queen, Erasure to Oasis. The show is “guaranteed to put a smile on your face”, but book promptly because a sell-out is predicted. Box office: 01751 474833 or kirktheatre.co.uk.
The Snake Davis Trio: Jazz, soul, tales and banter at Helmsley Arts Centre
Jazz gig of the week: The Snake Davis Trio, Helmsley Arts Centre, Saturday, 7.30pm
SAXOPHONIST to the stars Snake Davis teams up with his best buddies, trumpet player Johnny Thirkell and guitarist Mark Creswell, for a night of gorgeously mellow musicianship infused with jazz, soul and pop. Expect beautiful tunes, fascinating tales and bags of banter. Box office: 01439 771700 or helmsleyarts.co.uk.
Lucy Keirl in rehearsal for Murder For Two at the Stephen Joseph Theatre, Scarborough. Picture: Tony Bartholomew
Whodunit of the week: Murder For Two, Stephen Joseph Theatre, Scarborough, Saturday to April 18
JOE Kinosian and Kellen Blair’s fast-paced musical whodunit is a madcap murder mystery with a twist, performed by two actors, Tom Babbage and Lucy Keirl , who play 13 characters between them, plus the piano, as they put the laughter into manslaughter.
When famous novelist Arthur Whitney is found dead at his birthday party, it is time to call in the detectives, but they are out of town. Enter Officer Marcus Moscowicz, a neighbourhood cop who dreams of climbing the ranks. Here is his chance to prove his super sleuthing skills and solve the crime before the real detective arrives. Box office: 01723 370541 or sjt.uk.com.
The clock is ticking: James Bye, left, Shvorne Marks, Natalie Casey and Grant Kilburn in 2:22 A Ghost Story, on tour at the Grand Opera House, York
Supernatural thriller of the week: 2:22 A Ghost Story, Grand Opera House, York, March 30 to April 4, 7.30pm and 2.30pm Wednesday and Saturday matinees
“THERE’S something in our house. I hear it every night. At the same time,” says Jenny, who believes her new home is haunted, but her husband Sam is having none of it. Whereupon they argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening and is moving closer. Only by staying up until 2:22 will they know the answer.
James Bye, Shvorne Marks, Natalie Casey and Grant Kilburn perform Uncanny and The Battersea Poltergeist podcaster Danny Robins’s supernatural thriller, the Best New Play winner at the 2022 WhatsOnStage Awards, on its return to York. As secrets emerge and ghosts may or may not appear, dare you discover the truth? Box office: atgtickets.com/york.
Black Sheep Theatre Productions on Parade in the rehearsal room for next week’s musical at the JoRo
The other American musical of the week: Black Sheep Theatre Productions in Parade, Joseph Rowntree Theatre, York, April 1 to 4, 7.30pm plus 2.30pm Saturday matinee
PRESENTED by York company Black Sheep Theatre Productions under the direction of Matthew Peter Clare, Jason Robert Brown and Alfred Uhry’s stirring Tony Award-winning musical explores love and hope against the odds, set against a backdrop of political injustice and rising racial tension.
Leo Frank, a Brooklyn-raised Jew, is put on trial for murder, but when the world seems against you, receiving a fair trial might prove impossible. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Beth Steel’s Sandy and Jonathan Stockill’s Danny in Ryedale Youth Theatre’s production of Grease The Musical
You’re the one that they want:Ryedale Youth Theatre in Grease The Musical, Milton Rooms, Malton, April 1 to 4, 7.15pm plus 2pm Thursday and Saturday matinees
EACH Easter, Ryedale Youth Theatre welcomes up to 70 young people to participate in a theatre production. This time the show will be Grease, featuring book, music and lyrics by Jim Jacobs and Warren Casey and songs from the 1978 film by arrangement with Robert Stigwood.
Ryedale Youth Theatre heads back to the summer of 1959 at Rydell High to follow the epic love story of Danny and Sandy. Here come the T-Birds and Pink Ladies, hot rods and timeless songs, such as Summer Nights, We Go Together and Greased Lightning. Box office: yourboxoffice.co.uk.
In Focus:Be Amazing Arts in Disney’s Newsies Jr, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee
Be Amazing Arts’ cast for Disney’s Newsies Jr, this week’s production at the Joseph Rowntree Theatre, York
YORK audiences are invited to seize the day this week as Malton company Be Amazing Arts brings the high-energy, crowd-pleasing musical Disney’s Newsies Jr to the Joseph Rowntree Theatre.
This spectacular youth production features a cast of 60 young performers from the Ryedale and York area, aged seven to 18, who will share the unforgettable music, dynamic choreography and inspiring story after months of dedicated rehearsals.
Written by Harvey Fierstein (book), Alan Menken (book) and Jack Feldman (lyrics), Disney’s Newsies The Musical was adapted from the 1992 film, premiering at the Paper Mill Playhouse, Milburn, New Jersey, before hitting Broadway in 2012.
Packed with moving numbers, bold dance routines and a powerful message of courage and unity, Newsies Jr follows a spirited band of newsboys as they fight for what is right against New York City’s powerful newspaper publishers.
In the news: Be Amazing Arts cast members rehearsing for Disney’s Newsies Jr
Promising to be an uplifting theatrical experience for audiences of all ages, the production will showcases not only the performers’ talent but also their commitment, teamwork and passion for live theatre.
Be Amazing Arts specialises in providing young people with the opportunity to work in a professional theatre environment while developing industry skills both on and off the stage. From performance and technical theatre to teamwork and discipline, participants gain invaluable experience that builds confidence and creativity in a supportive yet professional setting.
Creative director Roxanna Klimaszewska says: “Our cast has worked incredibly hard to bring this show to life. Their energy, dedication and enthusiasm have been inspiring. We cannot wait for the people of York to see what these amazing young performers have achieved.
“Be Amazing Arts strives to inspire the next generation, keeping at the heart of everything they do, making work with, for or by young creatives.”
Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Window of opportunity: Alice Pryor’s Nella Racksole, Thomas Cotran’s Prince Aribert of Posen, centre, and Bill Champion’s Theodore Racksole. Picture: Andrew Billington
CONRAD Nelson. Deborah McAndrew. Bill Champion. All are names familiar to Yorkshire theatre audiences past and present, but what of Arnold Bennett?
He is as much a part of the Potteries as Nelson and McAndrew’s Stoke-on-Trent company Claybody Theatre, but for all his 34 novels, 13 plays, seven volumes of short stories, several self-help books, screenplays and stories for more than 100 newspapers and periodicals, he may be best known for the Omelette Arnold Bennett, the creamy one with gruyere cheese, smoked fish and béchamel sauce, invented in his name by chef Jean Baptiste Virlogeux while he was staying at The Savoy in 1929 to write his 1930 book Imperial Palace.
Bennett loved The Savoy – his second home – and hotel culture at large, a love expressed in his 1902 “rollicking comedy thriller” The Grand Babylon Hotel (based on The Savoy, apparently).
Alice Pryor’s Nella Racksole and Thomas Cotran’s Prince Aribert of Posen take to the water in The Grand Babylon Hotel. Picture: Andrew Billington
Thrice turned into a film, in 1914, 1916 and1920 (in Germany), now it is transformed into a theatrical whirl of a murder mystery drama in the spruce yet madcap style of Patrick Barlow’s reinvention of The 39 Steps, replete with fabulously attired, flamboyant characters, dextrous movement and dance-step interludes, sleight-of-hand role shifts and equally fast costume, accent and location changes on a rising tide of physical comedy and mentally adroit twists and turns.
Co-artistic director Nelson’s touring cast for McAndrew’s wizard, whizzing Jazz Age stage adaptation adds Stephen Joseph Theatre favourite Bill Champion to four players from last autumn’s premiere at the New Vic.
Champion, cigar seemingly forever betwixt his lips, is playing American railroad billionaire Theodore Racksole, whose demanding daughter, Nella (Alice Pryor), wants filleted steak and Bass beer for her birthday treat.
Michael Hugo’s Ticket Collector in The Grand Babylon Hotel. Picture: Andrew Billington
However, as supercilious maitre d’hotel Jules (Michael Hugo) explains, they are not on Italian chef Rocco’s menu at London’s exclusive Grand Babylon Hotel.
Whereupon Theodore buys the chef, the kitchen, the hotel, lock, stock and barrel of unexpected problems. Big mistake? When Reginald Dimmock (Thomas Cotran) keels over, murder is followed by the kidnapping of Nella.
McAndrew stirs myriad characters into the melting pot, even inventing one, German Nanny Heidi (one of four roles for Shelley Atkinson, including fierce hotel worker Miss Spencer, who may really be Baroness Zerlinski).
Shelley Atkinson’s Nanny Heidi in The Grand Babylon Hotel. Picture: Andrew Billington
Thomas Cotran, who you have seen in Mikron Theatre shows, flits between three roles, the unfortunate Dimmock, the heel-clicking German Prince Aribert of Posen and knife-wielding, moustachioed Italian head chef Rocco, having particular fun with the latter.
They are joined in McAndrew’s trio of “clowns” by Michael Hugo, once a fixture in Northern Broadsides productions, and still as elastic and electric in his comic tomfoolery, stealing scene after scene like acts of daylight “rubbery”.
He plays a sextet of roles, each with a different accent, rhythm of speech, manner of movement, whether the alarming Jules, the dastardly Tom Jackson, the Cockney detective Marshall, the Porter or the hypochondriac Prince Eugen of Posen.
Most amusing of all is his growling French ticket collector, fag in mouth, playing tricks on the audience members when asking them to hold a boarding rope. In Tom Jackson mode, aboard a boat, he even asks “beefy John” from the front row to take over the wheel. You won’t see a comic tour de force to rival Hugo on a Yorkshire stage this year, whether leaping into a basket or being thrown around like a rag doll when Prince Eugen is assumed to be dead.
Lis Evans’s costumes are a playful delight, while her open-plan set design can be adapted for differing venues, letting the cast do the heavy lifting in conveying locations, such as when Champion’s Theodore mimes his journey of discovery through the hotel’s unseen interior, banging his head three times on thin air!
Champion and Pryor play it straight while still playing off the crazed comic energy of Atkinson, Cotran and especially Hugo as Nelson’s direction judges the pacing perfectly, each scene surpassing the last.
James Atherton’s compositions, Daniella Beattie’s lighting and floor projections, Damian Coldwell’s sound design and Beverley Norris-Edmunds’ movement direction and choreography all play their part in making The Grand Babylon Hotel so swish and stylish, topped off by Nick Haverson’s physical comedy direction.
Nelson’s cast uses the assets of the SJT’s in-the-round structure to the max, from Champion delivering monologues from the stairways to the three entry points being in constant use. No doubt, the show will adapt to Harrogate Theatre’s classical proscenium arch next month with equal elan.
Wherever you choose to go to see Champion, Atkinson, Cotran, Pryor and Hugo in particular, book now.
Claybody Theatre in The Grand Babylon Hotel, Stephen Joseph Theatre, until Saturday, 7.30pm plus 2.30pm Saturday matinee; Harrogate Theatre, April 1 to 4, 7.30pm and 2pm Saturday matinee. Box office: Scarborough,01723 370541 or sjt.uk.com; Harrogate, 01423 502116 or harrogatetheatre.co.uk.
Claybody Theatre’s poster for The Grand Babylon Hotel
Leeds abstract surrealist Nicolas Dixon, front, spotted at the launch of the debut RARE v WET exhibition with WET proprietors James Wall and Ella Williams and RARE Collective organiser Sharon McDonagh
A SURREALIST wine bar exhibition, a comedy thriller in an hotel and Australian children’s games stir Charles Hutchinson’s interest.
Exhibition of the week: Nicolas Dixon, RARE v WET, at WET, Micklegate, York, until April 22
YORK artist and event organiser Sharon McDonagh and DJ/artist Sola launch their RARE v WET series of solo exhibitions in aid of York charity SASH (Safe and Sound Homes) at WET, James Wall and Ella Williams’ indie wine bar and restaurant, with Nicolas Dixon first up.
Leeds abstract surrealist Dixon’s murals and artworks have become landmarks in Leeds, including at Kirkgate Market, Trinity Shopping Centre and the University of Leeds, as well as Leeds United tributes to the 1972 FA Cup Winners at Elland Road and the iconic Bielsa the Redeemer in Wortley. On show is a mixture of new and older work, both prints and originals.
In the shadows: Michael Hugo in Claybody Theatre’s The Grand Babylon Hotel. Picture: Andrew Billington
Thriller of the week: Claybody Theatre in The Grand Babylon Hotel, Stephen Joseph Theatre, Scarborough, tonight to Saturday, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees; Harrogate Theatre, April 1 to 4, 7.30pm plus 2pm Saturday matinee
CONRAD Nelson directs an ensemble cast of multiple flamboyant characters in a rollicking comedy thriller of rapid-fire character changes, sharp humour and theatrical fun, presented in association with the New Vic Theatre.
In Deborah McAndrew’s adaptation of Arnold Bennett’s novel, Nella Racksole discovers steak and beer are not on the menu for her birthday treat at the exclusive Grand Babylon Hotel, prompting her American millionaire father to buy the chef, the kitchen, the entire hotel. Cue kidnapping and murder. Have Theodore and Nella bitten off more than they can chew? Box office: Scarborough, 01723 370541 or sjt.uk.com; Harrogate, 01423 502116 or harrogatetheatre.co.uk.
Bluey’s Big Play: Australian bean bags, games and cleverness at Grand Opera House, York
Children’s show of the week: Windmill Theatre Co in Bluey’s Big Play, Grand Opera House, York, 10am, tomorrow and Friday; 10am, 1pm and 4pm, Saturday and Sunday
COMBINING puppets and original voices from Ludo Studios’ Emmy Award-winning Australian children’s television series, including Dave McCormack and Melanie Zanetti as Dad and Mum, this theatrical adaptation is based on an original story by Bluey creator Joe Brumm, featuring music by series composer Joff Bush. When Dad wants a bean bag time-out, Bluey and Bingo have other plans as they pull out all the games and cleverness at their disposal. Box office: atgtickets.com/york.
The Brand New Heavies: Acid Jazz joy, funk, love and fancy clothes at York Barbican
York gig of the week: The Brand New Heavies, York Barbican, tomorrow, doors 7pm
EALING Acid Jazz pioneers The Brand New Heavies – Simon Bartholomew, vocals and guitar, Andrew Levy, bass and keyboards, and Angela Ricci, vocals – mark their 35th anniversary with a 12-date tour that takes in York Barbican as their only Yorkshire destination. Expect joy, funk, love and fancy clothes. Galliano support. Box office: yorkbarbican.co.uk.
Lizzie Lawton’s Jack Worthing, front, and Jorja Cartwright’s Algernon Moncrieff in Rowntree Players’ The Importance Of Being Earnest
Comedy classic of the week: Rowntree Players in The Importance Of Being Earnest, Joseph Rowntree Theatre, York, tomorrow to Saturday, 7.30pm plus 2pm Saturday matinee
ROWNTREE Players bring Oscar Wilde’s 1895 farcical comedy of manners to the York stage in the original four-act version reconstructed by Vyvyan Holland, under the direction of Hannah Shaw.
Lizzie Lawton’s Jack Worthing and Jorja Cartwright’s Algernon Moncrieff lead double lives under the false name of “Ernest” to escape social obligations, leading to romantic entanglements and comedic misunderstandings, played out by a cast featuring Jeanette Hambridge’s Lady Bracknell, Bethan Olliver’s Gwendolen Fairfax, Katie Shaw’s Cecily Cardew, Wayne Osguthorpe’s Reverend Canon Chasuble, Rebecca Thomson’s Miss Prism and Max Palmer’s Lane/Merriman. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Jessica Fostekew: “The silliest of comedy for the scariest of days”in Iconic Breath at Pocklington Arts Centre
Comedy gig of the week: Jessica Fostekew: Iconic Breath, Pocklington Arts Centre, Friday, 8pm
ICONIC Breath, Jessica Fostekew’s most rousing and uplifting show yet, provides the silliest of comedy for the scariest of days as The Guilty Feminist, Hoovering and Contender Ready podcaster discusses tolerance and temperance.
“I can feel myself becoming an emotional wildebeest right when my world (and the whole world, thanks) demands cool, collected, ultra detached, saint-like kindness and understanding,” says Fostekew, who has hosted two series of Sturdy Girl Club on BBC Radio 4. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
This won’t hurt: Andrew Margerison, Rebecca Vaughan and Gavin Robertson in General Medical Emergency Ward 10
Hospital drama homage of the week: Dyad Productions and Company Gavin Robertson in General Medical Emergency Ward 10, Theatre@41, Monkgate, York, Friday, 7.30pm
UNITING for the first time, Dyad Productions and Company Gavin Robertson’s Rebecca Vaughan, Andrew Margerison and the aforementioned Gavin Robertson knit every cliché-ridden doctors-and-nurses TV and film drama into a pacy comedy mash-up spoof that promises to leave you in stitches.
On Dr Ann Fleming’s first day at St David’s, her unfortunately-named mentor, Dr Death, is determined to show her who’s boss. As medical emergencies overload the hapless staff, Dr Fleming must juggle a complicated budding love affair with a kidney and a nosey hospital boss. Not literally, of course. Box office: tickets.41monkgate.co.uk.
The Budapest Café Orchestra: Fronted by Christian Garrick at Helmsley Arts Centre
Snappiest attire of the week: Christian Garrick & The Budapest Café Orchestra, National Centre for Early Music, York, Friday, 7.30pm, sold out; Helmsley Arts Centre, Saturday, 7.30pm
CHRISTIAN Garrick (violin, darbuka), Murray Grainger (accordion), Kelly Cantlon (double bass) and Adrian Zolotuhin (guitar, saz, balalaika, domra) team up in this refreshingly unconventional and snappily attired boutique orchestra. Playing gypsy and folk-flavoured music in a unique and surprising way, The Budapest Café Orchestra combine Balkan and Russian traditional music with artful distillations of Romantic masterworks and soaring Gaelic folk anthems.
Established by British composer Garrick in 2009, BCO have 16 albums to their name, marked by an “astonishing soundscape and aural alchemy” characteristic of larger ensembles, evoking Tzigane fiddle maestros, Budapest café life and gypsy campfires. Box office: 01439 771700 or helmsleyarts.co.uk.
Hope & Social: Unforgettable spectacle, energetic songs and chaotic moments at Milton Rooms, Malton
Ryedale gig of the week: Hope & Social, Milton Rooms, Malton, Saturday, 8pm
LEEDS band Hope & Social’s eight musicians pour their heart and soul into creating exuberant, high-energy tunes in gigs full of pure joy, infectious enthusiasm, unforgettable spectacle and chaotic moments.
Each performance by “Yorkshire’s own E-Street Band” is spiced up with Northern wit and self-deprecating humour as a powerhouse three-piece horn section and intricate five-part harmonies contribute to a massive sound that spans genres, drawing influence from soul, indie, folk, disco and art rock. Box office: 01653 696240 or themiltonrooms.com.
Crosscut Saw’s Alex Eden : Leading his blues band at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents Crosscut Saw, Milton Rooms, Malton, March 26, 8pm
YORKSHIRE blues trio Crosscut Saw’s Alex Eden (lead singer, guitarist and harmonica player), Richard Ferdinando (drums) and Richard Green (bass) draw inspiration from Magic Sam, RL Burnside, Taj Mahal and Dr John in performances marked by raw energy and unpredictability.
They hold a monthly residency at the Duck & Drake in Leeds, have played the Great British Blues Festival and Tenby Blues Festival, collaborated with TJ Norton, Paddy Wells and The Haggis Horns and worked as a backing band for Jake Walker and King Rollo. Box office: 01653 696240 or themiltonrooms.com.
Alice Pryor, back row, left, Bill Champion, Shelley Atkinson, Thomas Cotran, front row, left, and Michael Hugo in Claybody Theatre’s The Grand Babylon Hotel. Picture: Andrew Billington
CLAYBODY Theatre are heading to Scarborough and Harrogate with Deborah McAndrew’s stage adaptation of Arnold Bennett’s 1902 rollicking comedy thriller The Grand Babylon Hotel.
The Stoke-on-Trent company’s co-artistic director Conrad Nelson directs Shelley Atkinson, Thomas Cotran, Michael Hugo, Alice Pryor and Bill Champion in Bennett’s tale of Nella Racksole discovering steak and beer are not on the Grand Babylon Hotel menu for her birthday treat, whereupon her American Railroad millionaire father obligingly buys the chef, the kitchen, the hotel.
However, Theodore Racksole soon finds more on his plate than a juicy steak, with kidnapping and murder for starters. Have Theodore and Nella bitten off more than they can chew?
Conrad left the artistic director’s role at Northern Broadsides in 2018, the same year that Deborah wrote her last play for the Halifax company. The couple headed off to the Potteries, establishing Claybody Theatre and forging links with the New Vic Theatre in Newcastle-under-Lyme, their partners for The Grand Babylon Hotel, whose tour arrives at the Stephen Joseph Theatre, Scarborough, tomorrow. Harrogate Theatre awaits from April 1 to 4.
Here director Conrad and writer Deborah discuss comedy styles, touring, Bennett’s stories and the need for silliness in 2026.
What inspired you to take your work on the road?
Conrad: “It’s a first for Claybody, but not for us as artists. It’s been an ambition for the company for some time, and of course we have a history of touring with previous companies.But also, we were heavily encouraged by fellow artists, artistic directors, theatres and other supporters who will often travel to Stoke-on-Trent to see us.”
Deborah: “When you’re adapting a piece, the material often invites a certain type of treatment. I always knew that this novel would respond best to a small cast, multi-rolling, narrative storytelling, hat swapping, comic playing…in the style of [Patrick Barlow’s] The 39 Steps. Therefore, it’s portable. One of the first things I said was: ‘I think this could tour’.”
Playwright Deborah McAndrew
How did this tour take shape, Deborah?
“We approached the New Vic and said, ‘Do you fancy making this show with us?’ and they said ‘yes’. So we did the show there in the autumn, and we acquired funding from Arts Council England for a short tour, with the plan being to run it at The Dipping House in Stoke and then take it on the road to Hull, Scarborough, Colchester and Harrogate.”
Why tour this 1902 Arnold Bennett story in Deborah’s adaption now?
Conrad: “It’s a great introduction for people who haven’t been to the theatre before or haven’t been for a while; it’s a popular piece of well-crafted, high-quality theatre, which will speak to pretty much anyone, and that’s what theatres are wanting and needing right now to fill their auditorium.”
Deborah: “It’s something that can be absolutely billed as a comedy. People want to be entertained, they want light relief, and it’s the job of those of us who work in the arts to bring relief, distraction and enjoyment. As well as to enlighten, expose and discuss.
“The scales too often weigh heavily on the worthy side of the work, and actually, we must remember the value of the arts in lifting people’s hearts, bringing them together with other human beings to have an experience which makes them more fortified to go out and tackle their lives and the world outside – which at the moment is full of uncertainty, anxiety, violence and concern.
“Going out there with a comedy is right for the times, right for the audience and absolutely right for what we need to do with Claybody right now.”
Stephen Joseph Theatre favourite Bill Champion in the role of Theodore Racksole. Picture: Andrew Billington
To those new to Claybody Theatre’s work, how would you describe the style of this show?
Conrad: “It’s billed as a ‘rollicking comedy thriller’, and we’d invite audiences to come with an open heart, an open mind, and just be ready to be entertained. Within the rollicking comedy, there is real quality; it’s accessible and it’s fun.
“It’s driven by the thing that audiences love most; creativity with actors. We’re making this work with a lot of love, and it’s for the audience, not for ourselves. That’s critical in the way that we make work; how is it going to be received? How is it going to charm, affect, cheer? Without the audience, we are nowhere.”
Deborah: “The characters are warm and likeable, even the dastardly villain is somebody you want to be in the room with. There’s a lovely warmth and charm about these actors that we’re working with as well. They’re people who you want to spend an evening with and have a laugh with.”
Which character did you enjoy writing most and why, Deborah?
“Well, I like funny voices! That’s probably the actor in me. Nanny Heidi is not in the book – I would say, her, because she’s brilliantly performed by Shelley Atkinson, who knows how to do that size of characterisation. And the very ridiculous Frenchman who’s on the boats, which was written by me, and Conrad and Mike Hugo just run with it.”
How would you describe Claybody Theatre’s connection with the audience, Conrad?
“The audience are the whole reason to exist, from the start of the writing into rehearsals, it is a participatory event, and it’s grounded in that. We keep that connection at the forefront of everything we do.
“Deborah had the idea that this show should be an actor–driven piece that would be ideal to tour. All the cast have a fantastic synergy with the audience, establishing that wonderful connection that makes people want to see them again. They are magical performers; it’s not every actor’s gift to be a communicator, but our cast are just really good at delivering the text. It’s a bit of a romp but done with such high quality.”
Thomas Cotran and Alice Pryor in The Grand Babylon Hotel. Picture: Andrew Billington
What draws you to Arnold Bennett’s writing, Deborah, having done Anna Of The Five Towns for the New Vic before the pandemic and The Card in 2022?
“He has brilliant female characters, I really love his women, they feel very real. He writes about characters that I want to spend time with.
“They’re a bit more caricatured in The Grand Babylon Hotel, because it’s a pot-boiler; he wrote it for pure entertainment in serial form. But when you get into his more literary works, like Anna Of The Five Towns, or The Old Wives Tale, you get these complex and interesting characters, particularly female characters.
“His stories respond very well to being transferred to the stage with all these great characters, and when we’re looking for stories to do with Claybody that are related to the Potteries, his work stands out.
“But also when we’ve been asked by our friends at Hull [Truck Theatre], Harrogate and Scarborough, ‘did we have anything we could take there’, it’s expensive to tour, but I thought Bennett’s storytelling would respond to a small cast.”
On tour, how does each theatre space shape the way you tell the story, Conrad?
“Well, the space does really tell the story. You come in, and you play the space that you’ve got. You look at the merits of the space and then play it.
“In the conversion to thrust, in-the-round in Scarborough, and then a traditional proscenium arch space like Harrogate, it doesn’t matter where you see it from, the stage has to feel deep, otherwise you get very flat performances.
Michael Hugo’s Ticket Collector in The Grand Babylon Hotel. Picture: Andrew Billington
“So you respond to the size and intimacy of space, and that’s also to do with the actors’ experience. When the actors come in on the morning, they have to convert their performance extremely quickly. It’s exciting, it gives it a bit of frisson!
“If you come and see it on the first night, you’ll get that lovely energy of actors figuring out what it sounds like. Because you can open your mouth in a different space and it sounds completely different; that’s part of the director’s job to make sure that you’re telling the actor truthfully how it plays.”
Why is it important to create shows that celebrate silliness these days?
Conrad: “I think that’s partly to do with what audiences respond to. You can do a really well crafted, difficult piece of theatre, and then somebody puts on a hat and does a f*rt gag and it gets the biggest response of the evening.
“So we like a bit of bonkers, a bit of eccentricity, you just have to look around on any high street and you will see it in spades. People are anything but dull and characterless. And given the right motivation, we all love a bit of nuts.”
Deborah: “Comedy has always been used as a tool of anarchy. We use comedy to undermine some of the power that people have; it’s being used as a weapon across the world right now, isn’t it? Comedy helps us get through dark times.
“The Grand Babylon Hotel is silly and easy to go with, and hopefully people who might be feeling a bit down, or don’t feel like coming out the theatre, will actually be glad they did. They might get their tank topped up a bit in terms of resilience because I think that’s what comedy can do for us.”
Shelley Atkinson’s Nanny Heidi: the character that Deborah McAndrew most enjoyed writing in her script for The Grand Babylon Hotel. Picture: Andrew Billington
How does the cast share out the parts in The Grand Babylon Hotel, Deborah?
“We have the two American central characters, Theodore and Nella, then three multi-rolling clowns playing everybody else, including the gang of villains. It feels very modern. Bennett was writing at the turn of the [20th] century, so it’s late-Victorian, but feels Edwardian, and we’ve lifted it to ten years later than that.
“Only two characters are American. They’re staying at the Grand Babylon Hotel in London, modelled on The Savoy – Bennett loved that hotel , and of course The Savoy has its famous Arnold Bennett Omelette [created for the novelist in 1929 with its combination of smoked haddock, Gruyère cheese and béchamel sauce].
“The characters are mostly English but there’s also a fake Russian, a Belgian too. I’ve had lots of fun with French, German and Italian characters where I’ve added the actual language, but done in a way that the audience will be able to understand.”
How would you sum up the reaction to the show so far?
Deborah: “What really tells you how they feel is the comments on our Facebook pages, where the response has been chock-full of people saying they’ve been laughing all the way through. Ninety-nine per cent have said they’ve really loved it, and felt they really needed a play like this time when the world is so full of anxieties. This show affirms our humanity, our connectedness, as we laugh together.
“We’re very proud of this show, taking great pleasure in listening to the audience, feeling the warmth in the room.”
Conrad: “That’s the key. As much as attention to detail is important in our work, we are making the show for our audience, not for ourselves. That’s why we still make theatre: that connection between the artist and the audience.”
Claybody Theatre, The Grand Babylon Hotel, Stephen Joseph Theatre, Scarborough, March 18 to 21,7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees; Harrogate Theatre, April 1 to 4, 7.30pm plus 2pm Saturday matinee. Box office: Scarborough, 01723 370541 or sjt.uk.com; Harrogate, 01423 502116 or harrogatetheatre.co.uk.
In the shadows: Michael Hugo in The Grand Babylon Hotel. Picture: Andrew Billington
