The women factory works – and footballers to boot – in The Ladies Football Club. Picture: Johan Persson
GO Firth and multiply the possibilities. In the wake of BAFTA and Olivier Award winner Tim Firth being asked to write the book for the Madness musical Our House and adapting his Calendar Girls film script for the stage version and subsequently the musical with composer Gary Barlow, now he puts the Sheffield into Stefano Massino’s 2019 Italian play Ladies Football Club, adding “The” to become the definitive version.
One accompanied in the city known as the “Home of Football” by foyer panels of information on the history of the women’s game, from Dick, Kerr’s Ladies FC and legendary gay star winger Lily Parr to Hope Powell and beyond.
Parr’s story, incidentally, has been told theatrically in Benjamin Peel’s Not A Game For Girls and Sabrina Mahfouz and Hollie McNish’s Offside, a play about football, feminism and female empowerment: themes in common with Firth’s premiere.
In the amphitheatre of the Sheffield Crucible, a theatrical sporting venue more associated with the multi-coloured ball-manoeuvring skills of snooker’s world championship, Sheffield Theatres’ artistic director Elizabeth Newman teams up with Frantic Assembly counterpart Scott Graham, whose trademark storytelling through movement was so crucial to the National Theatre’s The Curious Incident Of The Dog In The Night-Time.
Jessica Baglow’s goalkeeper Rosalyn leaps into action in The Ladies Football Club. Picture: Johan Persson
Bringing football alive on stage has been expressed in myriad forms, from the game enacted in the heat of Celtic-Rangers sectarianism in avant-garde ballet maverick’s Michael Clark & Company’s punk liaison with Mark E Smith’s The Fall in I Am Curious, Orange, at Sadler’s Wells Theatre in 1988, to the masks and mannequins for the “Dirty Leeds” players in Anders Lustgarten’s Brian Clough psychodrama The Damned United.
More recently, Amanda Whittington turned the spotlight on the early days of women’s football in Mikron Theatre’s four-hander Atalanta Forever in 2021 and James Graham essayed the state-of-the-nation treatise wrapped inside the so-close-but-no-cigar reinvention of England’s football team under thoroughly decent Gareth Southgate, premiered by the National Theatre in 2023 and now being stretched into a four-part BBC One series.
You could argue that theatre’s best evocation of physical combat on the sports field comes in John Godber’s Up’N’Under, wherein Rugby League’s bruising encounters are played out by actors wearing shirts with one team’s colours on the front and the opponent’s strip on the back. So simple, so economical, so effective, so Godber.
Here, in The Ladies Football Club, no football is kicked with a satisfying thud, although we still feel every lunging tackle, every meaty header, as the cut and thrust, the tension and drama, of a game is evoked by Graham through largely balletic movement, sometimes freeze-frame in the manner of Roy Of The Rovers comic strips, sometimes in cartoonish slow motion, other times with sudden circular bursts of energised running.
“Offside, ref!”: The Doyle & Walker Ladies players protest in The Ladies Football Club. Picture: Johan Persson
There are 11 players on the “pitch”, sometimes fewer, depending on factory resources available, but all representing only the one team. Opponents are a ghostly blur, conjured in your imagination, as the Sheffield foundry team go through their motions and emotions.
Just as the opposing teams are absent, so too are the steel city’s men folk, sent to the front in the Great War. The women take over their Doyle & Walker factory labours, making the munitions for all that senseless fighting and bombing.
We see them on the factory floor, with their banter, their sandwiches and their rivalries, and we see them starting up lunchbreak kickabouts, with their banter, their sandwiched tackles and their rivalries, before progressing from playing with prototype explosives for a ball to local pitches and ultimately to famous stadia.
Teamwork is captured in Graham’s ensemble movement; individual stories are played out in Firth’s script, 11 stories in all, one for each player, each with a back story to tell.
Anne Odeke’s Justine celebrating victory in The Ladies Football Club. Picture: Johan Persson
That requires Firth to emphasise one trait or trope to encapsulate a character, a device that is at risk of making them 2D, rather than 3D, but aids the humour in the clashes of personality, beliefs and habits, also brought out in the way each plays the game. The fiery Marxist activist of the team plays, where else, but on the left wing.
Firth and director Newman have to squeeze in too much, but the accumulative effect is to bring the speed and momentum of a match into the storytelling, matched by Joe Ransom’s playful video designs, using projections rather than jumpers for goalposts, as the walls and floor come alive, in tandem with the ‘cabinets’ in Grace Smart’s smart set design, from which the factory work stations are pulled out.
United in defiance in the team line-up are Jessica Baglow’s stoical goalkeeper, Rosalyn; Cara Theobold’s workforce leader, Violet; Leah Brotherhead’s idealist militant, Hayley; Lesley Hart’s minister’s daughter, Berenice; Bettrys Jones’s Olivia, first with the news from the family newsagency, Ellie Leach’s Brianna, Claire Norris’s late-blooming outsider, Melanie; Krupa Pattani’s Cheryl, reluctant player-turned-captain; Cheryl Webb’s Abigail; Chanel Waddock’s Penelope, and, most amusing of all, Anne Odeke’s loud and proud Justine, never short of a salty quip.
How rare and exhilarating it is to see an entirely female cast – and of this number too – as they fight to break out of the strictures of prescribed roles for women.
Playing for more than kicks: Chanel Waddock’s Penelope in The Ladies Football Club. Picture: Johan Persson
When Red Ladder staged The Damned United, artistic director Rod Dixon summed up the play’s attributes thus: “As a story, it has it all – passion, power struggles, tragedy and a classic anti-hero – which lends itself brilliantly to theatre.” In the case of The Ladies Football Club, passion, power struggles and the tragedy of war play out. As for an anti-hero, the Football Association banned women’s football from 1921 to 1971 on the grounds of safety risks (to their anatomy). In a nutshell, the beautiful game was deemed “quite unsuitable for females and ought not to be encouraged.”
And so, women received the red card from both the post-war factory floor and playing pitch. Amanda Whittington wrote Atalanta Forever as her revenge play; Firth concludes The Ladies Football Club with a triumphant coda, celebrating the Lionesses’ victories and welcoming the next generation of young players on stage in full England kit (in a role shared by Evie-Rose Drake, Cristina La Roca, Bonnie Hill and Sophie tanner).
The audience cheers rise all the louder, honouring the wartime past of the foundry’s first flame of players while holding a torch for the future too. Football is indeed coming home…to Sheffield.
Sheffield Theatres in The Ladies Football Club, Crucible Theatre, Sheffield, today, kick-off at 7.15pm. Box office: 0114 249 6000 or sheffieldtheatres.co.uk.
Explosive drama: Claire Norris’s Melanie, centre, discovering the football is a prototype bomb in The Ladies Football Club. Picture: Johan Persson
Ben Arnup: York ceramicist taking part in York Ceramics Fair
THE cream of ceramics, the dancing Gentleman Jack, Harry Enfield’s comedy characters and two cases for Sherlock Holmes make for a cracking week ahead, reckons Charles Hutchinson.
Top of the pots: York Ceramics Fair 2026, York Racecourse, Knavesmire, York, today, 10am to 5pm; tomorrow, 10am to 4pm
EXPLORE work by more than 70 of the UK’s finest makers in a balanced mix of established artists and emerging talent, complemented by inspiring talks and demonstrations, in this Craft Potters Association event run by the makers.
Among those taking part will be Ben Arnup, Hannah Billingham, Cosmin Ciofirdel, Ben Davies, Sharon Griffin, Jaroslav Hrustalenko, Jin Eui Kim, Ruth King, Francis Lloyd-Jones, Emily Stubbs, Asia Szwej-Hawkin, Shirley Vauvelle and Jo Walker. Tickets: yorkceramicsfair.com.
Heather Lehan, left, and Julie Nunès in rehearsal for Northern Ballet’s Gentleman Jack at Leeds Grand Theatre. Picture: Colleen Mair
Dance premiere of the week: Northern Ballet in Gentleman Jack, Leeds Grand Theatre, today, then March 10 to 14, 7.30pm, plus 2.30pm matinees on March 12 and 14
THIS groundbreaking new ballet marks a trio of ‘firsts’: the first time the story of Anne Lister has been told through ballet, the first large-scale commission for Northern Ballet since 2021 and the first under artistic director Federico Bonelli.
Yorkshirewoman Anne, the “first modern lesbian”, lived, dressed and loved as she desired, not as 19th century society expected of her. Northern Ballet’s interpretation of her life is choreographed by Annabelle Lopez Ochoa. Box office: 0113 243 0808 or leedsheritagetheatres.com.
Candie Payne: Singer-turned-artist taking part in pop-up art fair at RedHouse Gallery, Harrogate. Picture: Chris Morrison
Pop-up art event of the week ART at RedHouse Gallery, Cheltenham Mount, Harrogate, today, 10am to 6pm
REDHOUSE Gallery, in Cheltenham Mount, Harrogate, introduces ART, its inaugural pop-up fair dedicated to contemporary art, prints, archive editions and sculpture, showcasing young and emerging artists from Harrogate and beyond.
Many of the artists will be attending the event. Among those taking part are Schoph, Christopher Kelly, Candie Payne, Thomas James Butler, Florence Blanchard, Alfie Kungu, Gareth Griffiths, David Rusbatch and Siena Barnes.
Harry Enfield: No Chums but a cornucopia of comedy characters on his return to York, where he cut his comedy teeth in his university days
Comedy legend of the week: Harry Enfield And No Chums, Grand Opera House, York, tomorrow, 2.30pm and 7.30pm
FROM the meteoric rise of Thatcherite visionary Loadsamoney to the fury of Kevin the Teenager, satirical comedian and self-styled “stupid idiot” Harry Enfield reflects on 40 years in comedy, bringing favourite characters back to life on stage.
Then comes your chance to ask the former University of York politics student (Derwent College, 1979 to 1982) how comedy works, what makes him most proud and what would he say to those who suggest “You wouldn’t be allowed to do your stuff today, would you?”. Box office: atgtickets.com/york.
Aisling Bea: Tales of travel, home, history, music, lovers and enemies at York Barbican
Big life answers of the week: Aisling Bea, Older Than Jesus, York Barbican, Sunday, 7.30pm
BAFTA and British Comedy Award-winning Irish stand-up, actor and writer Aisling Bea presents tales of travel, home, immigration, history, sex, babies, music, lovers and enemies and will even answer your big life questions.
“It’s not about the destination, babes, it’s about the journey, but also the destinations are very important,” says Kildare-born Bea, creator, writer and star of Channel 4 and Hulu series This Way Up. Older than Jesus? Yes, Bea is 41. Box office: yorkbarbican.co.uk.
Josh Jones: Still trying to earn his cat’s respect on tour at Theatre@41, Monkgate
Wrestling with humour: Josh Jones, I Haven’t Won The Lottery So Here’s Another Tour Show, Theatre@41, Monkgate, York, March 11, 8pm
MANCHESTER comedian Josh Jones follows up Gobsmacked with I Haven’t Won The Lottery So Here’s Another Tour Show as he finds himself knee deep into his 30s, where nothing thrills him more than a Greggs’ Sausage Roll and an M&S food shop.
Living a more sedate life is not without its challenges, however, as he is still trying to earn his cat’s respect. “I’ll be keeping it light: nothing super-political, nothing controversial, and it’s definitely not going to change your life,” he says of a set brimful of history, cats and his love of wrestling. Box office: tickets.41monkgate.co.uk.
Jordan Gray: Asking if the cost of success is worth it at Theatre@41, Monkgate
Gray matter of the week: Jordan Gray, Is That A C*ck In Your Pocket , Or Are You Just Here To Kill Me?, Theatre@41, Monkgate, York, March 12, 8pm
JORDAN Gray, creator of ITV’s Transaction, hits the road with a guitar on her back and some very poorly written death threats in her DMs after she stripped off live on Channel 4, and won a BAFTA in the process, but bigots went ballistic.
Is the cost of success worth it, she asks in her new show. How do you live up to your own sky-high expectations? Join Gray as she explores all this and more in her “rootinest, tootinest, shootinest” hour of musical comedy yet. Box office: tickets.41monkgate.co.uk.
Claire Martin: Joining jazz forces with IG4 at NCEM, York. Picture: Kenny McCracken
Jazz gig of the week: IG4 with Claire Martin, National Centre for Early Music, York, March 12, 7.30pm
VOCALIST Claire Martin joins IG4 pianist and composer Nikki Iles, saxophonist Karen Sharp and rising star bassist Ewan Hastie, 2022 BBC Young Jazz Musician of the Year, to perform Iles’s new arrangements of Tom Waits, Burt Bacharach, Anthony Newley and Joni Mitchell songs, complemented by her stylish reworking of the American songbook, including Cole Porter and Johnny Mandel. Box office: 01904 658338 or ncem.co.uk.
Baron Productions’ cast for Sherlock Holmes: A Scandal In Bohemia and The Speckled Band at St Mary’s Church, Bishophill Junior
Thriller double bill of the week: Baron Productions in Sherlock Holmes: A Scandal In Bohemia and The Speckled Band, St Mary’s Church, Bishophill Junior, York, March 13 and 14, 7.30pm
SHERLOCK Holmes and Dr Watson embark on two of Sir Arthur Conan Doyle’s most captivating cases, presented by York company Baron Productions. London private detective Holmes has always despised love, until the day he pits his wits against mysterious blackmailer Irene Adler, who has a powerful hold over the King of Bohemia, one that could turn Holmes into a changed man if he dares do battle with her.
Then, when a desperate young woman begs Holmes for protection against her cruel stepfather, he and Watson must face a deranged doctor – who can commit horrible murders without entering his victims’ rooms – and a sinister “speckled band”. Box office: ticketsource.co.uk/baron-productions.
Elvis Costello: Revisiting his 1977-1986 back catalogue in Radio Soul! at York Barbican in June. Picture: Ray Di Pietro
Gig announcement of the week: Elvis Costello & The Imposters with Charlie Sexton, Radio Soul!: The Early Songs Of Elvis Costello, York Barbican, June 17
ELVIS Costello will return to York Barbican for the first time since May 2012’s Spectacular Singing Book tour, joined by The Imposters’ Steve Nieve, Pete Thomas and Davey Faragher and Texan guitarist Charlie Sexton.
Costello, 71, will focus on songs drawn from 1977’s My Aim Is True to 1986’s Blood & Chocolate in 1986, complemented by “other surprises”. Tickets: yorkbarbican.co.uk/whats-on/elvis-costello/.
In Focus: Northern Ballet’s world premiere of Gentleman Jack, Q & A with principal dancers Gemma Coutts, Saeka Shirai & Rachael Gillespie
The woman in black: Gemma Coutts’s Anne Lister in Northern Ballet’s Gentleman Jack. Picture: Guy Farrow
Gemma Coutts on playing playing Anne Lister, 19th century icon and Yorkshirewoman, described by some as the “first modern lesbian”
What steps brought you to Northern Ballet?
“I grew up in Thailand, where I attended my first ballet school. At the age of 16, I joined the English National Ballet School and graduated in 2021. After this, I joined Northern Ballet where I am now in my fifth season with the company.”
Were you aware of Anne Lister/Gentleman Jack before being invited to create the ballet? What stuck you most about her story?
“No, I was not aware of Anne Lister or her story prior to the ballet. Having learned more, Anne’s confidence and the social impact of her actions really stood out to me.”
How have you found the process of working with choreographer Annabelle Lopez Ochoa to create the ballet and originate this role?
“I have really enjoyed working with Annabelle. She is a passionate woman who knows what she wants. This means that we work quickly and with purpose, which suits my style and has allowed us to really dive into the roles.”
How would you describe this ballet in three words?
“Challenging. Evocative. Powerful.”
What are you most looking forward to about performing Gentleman Jack?
“I am looking forward to performing in London as my family are coming to watch all the way from Indonesia. I always enjoy my time in London as I get to see many friends from my English National Ballet School days.”
Saeka Shirai, right, in rehearsal with Gemma Coutts for Northern Ballet’s Gentleman Jack. Picture: Colleen Mair
Saeka Shirai on playing the part of Marianna Lawton, friend and lover of Anne Lister,who breaks Anne’s heart by marrying Charles Lawton.
What steps brought you to Northern Ballet?
“I’m from Osaka, Japan and trained with the Yuki Ballet Studio and Canada’s Royal Winnipeg Ballet School. I danced with Canada’s Royal Winnipeg Ballet for four years and then with Poznan Opera Ballet for two. This is my fourth season with Northern Ballet.
Were you aware of Anne Lister/Gentleman Jack before being invited to create the ballet? What stuck you most about her story?
“I had some awareness of Anne Lister before working on the ballet, and what struck me most was her courage.”
How have you found the process of working with choreographer Annabelle Lopez Ochoa to create the ballet and originate this role?
“It’s been an inspiring and collaborative process. She knows very clearly what she wants, which I found very similar to Anne Lister herself. That clarity made the creative process focused and exciting, especially when originating a new role.”
What are the defining characteristics of your part and how are you embodying those on stage?
“I think Marianna is graceful, elegant and emotionally expressive. On stage, I try to bring her character to life with smooth movements and a mature presence.”
Are you excited to be premiering in Leeds, portraying a real person and story rooted here in Yorkshire?
“Yes, of course we are very excited!”
How would you describe this ballet in three words?
“Brave, bold and confident.”
What are you most looking forward to about performing Gentleman Jack? Do you have a favourite place to visit?
“Wherever we go, the audience is always so warm and welcoming. It really means everything to us. I hope the ballet brings them as much joy as they give us.”
Rachael Gillespie (Ann Walker), right, rehearsing for Northern Ballet’s Gentleman Jack with Gemma Coutts (Anne Lister). Picture: Colleen Mair
Gentleman Jack choreographer Annabelle Lopez Ochoa. Picture: Colleen Mair
Rachael Gillespie on playing Ann Walker, Anne Lister’s long-term partner and eventual wife, who sets Ann on a path to being a different type of woman.
What has been your dance journey?
“I have been dancing with Northern Ballet for 18 years.”
Were you aware of Anne Lister/Gentleman Jack before being invited to create the ballet? What stuck you most about her story?
“Her strength, courage and intelligence really stood out for me. To step out of social expectations to be her true self is so brave and empowering.”
Are you excited to be premiering in Leeds, portraying a real person and story rooted here in Yorkshire?
“It’s always so special for us to tour and share our stories across the UK. We have an incredible amount of loyalty from our audiences, old and new, so it’s so important to keep them involved with our performances.”
How would you describe this ballet in three words?
“Empowering, innovative, enriching.”
In the news: The women factory workers – and footballers to boot – in The Ladies Football Club at the Crucible Theatre, Sheffield. Picture: Johan Persson
REVIEW: The Ladies Football Club, Crucible Theatre, Sheffield, kicking off until March 28 ****
GO Firth and multiply the possibilities. In the wake of BAFTA and Olivier Award winner Tim Firth being asked to write the book for the Madness musical Our House and adapting his Calendar Girls film script for the stage version and subsequently the musical with composer Gary Barlow, now he puts the Sheffield into Stefano Massino’s 2019 Italian play Ladies Football Club, adding “The” to become the definitive version.
One accompanied in the city known as the “Home of Football” by foyer panels of information on the history of the women’s game, from Dick, Kerr’s Ladies FC and legendary gay star winger Lily Parr to Hope Powell and beyond.
Parr’s story, incidentally, has been told theatrically in Benjamin Peel’s Not A Game For Girls and Sabrina Mahfouz and Hollie McNish’s Offside, a play about football, feminism and female empowerment: themes in common with Firth’s premiere.
In the amphitheatre of the Sheffield Crucible, a theatrical sporting venue more associated with the multi-coloured ball-manoeuvring skills of snooker’s world championship, Sheffield Theatres’ artistic director Elizabeth Newman teams up with Frantic Assembly counterpart Scott Graham, whose trademark storytelling through movement was so crucial to the National Theatre’s The Curious Incident Of The Dog In The Night-Time.
What a screamer: Chanel Waddock’s Penelope in The Ladies Football Club. Picture: Johan Persson
Bringing football alive on stage has been expressed in myriad forms, from the game enacted in the heat of Celtic-Rangers sectarianism in avant-garde ballet maverick’s Michael Clark & Company’s punk liaison with Mark E Smith’s The Fall in I Am Curious, Orange, at Sadler’s Wells Theatre in 1988, to the masks and mannequins for the “Dirty Leeds” players in Anders Lustgarten’s Brian Clough psychodrama The Damned United.
More recently, Amanda Whittington turned the spotlight on the early days of women’s football in Mikron Theatre’s four-hander Atalanta Forever in 2021 and James Graham essayed the state-of-the-nation treatise wrapped inside the so-close-but-no-cigar reinvention of England’s football team under thoroughly decent Gareth Southgate, premiered by the National Theatre in 2023 and now being stretched into a four-part BBC One series.
You could argue that theatre’s best evocation of physical combat on the sports field comes in John Godber’s Up’N’Under, wherein Rugby League’s bruising encounters are played out by actors wearing shirts with one team’s colours on the front and the opponent’s strip on the back. So simple, so economical, so effective, so Godber.
Here, in The Ladies Football Club, no football is kicked with a satisfying thud, although we still feel every lunging tackle, every meaty header, as the cut and thrust, the tension and drama, of a game is evoked by Graham through largely balletic movement, sometimes freeze-frame in the manner of Roy Of The Rovers comic strips, sometimes in cartoonish slow motion, other times with sudden circular bursts of energised running.
Ellie Leach’s Brianna in a scene from The Ladies Football Club. Picture: Johan Persson
There are 11 players on the “pitch”, sometimes fewer, depending on factory resources available, but all representing only the one team. Opponents are a ghostly blur, conjured in your imagination, as the Sheffield foundry team go through their motions and emotions.
Just as the opposing teams are absent, so too are the steel city’s men folk, sent to the front in the Great War. The women take over their Doyle & Walker factory labours, making the munitions for all that senseless fighting and bombing.
We see them on the factory floor, with their banter, their sandwiches and their rivalries, and we see them starting up lunchbreak kickabouts, with their banter, their sandwiched tackles and their rivalries, before progressing from playing with prototype explosives for a ball to local pitches and ultimately to famous stadia.
Teamwork is captured in Graham’s ensemble movement; individual stories are played out in Firth’s script, 11 stories in all, one for each player, each with a back story to tell.
Krupa Pattani’s Cheryl, left, Ellie Leach’s Brianna, Anne Odeke’s Justine and Bettrys Jones’s Olivia in discussion in The Ladies Football Club. Picture: Johan Persson
That requires Firth to emphasise one trait or trope to encapsulate a character, a device that is at risk of making them 2D, rather than 3D, but aids the humour in the clashes of personality, beliefs and habits, also brought out in the way each plays the game. The fiery Marxist activist of the team plays, where else, but on the left wing.
Firth and director Newman have to squeeze in too much, but the accumulative effect is to bring the speed and momentum of a match into the storytelling, matched by Joe Ransom’s playful video designs, using projections rather than jumpers for goalposts, as the walls and floor come alive, in tandem with the ‘cabinets’ in Grace Smart’s smart set design, from which the factory work stations are pulled out.
United in defiance in the team line-up are Jessica Baglow’s stoical goalkeeper, Rosalyn; Cara Theobold’s workforce leader, Violet; Leah Brotherhead’s idealist militant, Hayley; Lesley Hart’s minister’s daughter, Berenice; Bettrys Jones’s Olivia, first with the news from the family newsagency, Ellie Leach’s Brianna, Claire Norris’s late-blooming outsider, Melanie; Krupa Pattani’s Cheryl, reluctant player-turned-captain; Cheryl Webb’s Abigail; Chanel Waddock’s Penelope, and, most amusing of all, Anne Odeke’s loud and proud Justine, never short of a salty quip.
Charley Webb’s Abigail on the munitions factory floor in The Ladies Football Club. Picture: Credit: Johan Persson
When Red Ladder staged The Damned United, artistic director Rod Dixon summed up the play’s attributes thus: “As a story, it has it all – passion, power struggles, tragedy and a classic anti-hero – which lends itself brilliantly to theatre.” In the case of The Ladies Football Club, passion, power struggles and the tragedy of war play out. As for an anti-hero, the Football Association banned women’s football from 1921 to 1971 on the grounds of safety risks (to their anatomy). In a nutshell, the beautiful game was deemed “quite unsuitable for females and ought not to be encouraged.”
And so, women received the red card from both the post-war factory floor and playing pitch. Amanda Whittington wrote Atalanta Forever as her revenge play; Firth concludes The Ladies Football Club with a triumphant coda, celebrating the Lionesses’ victories and welcoming the next generation of young players on stage in full England kit (in a role shared by Evie-Rose Drake, Cristina La Roca, Bonnie Hill and Sophie tanner).
The audience cheers rise all the louder, honouring the wartime past of the foundry’s first flame of players while holding a torch for the future too. Football is indeed coming home…to Sheffield.
Sheffield Theatres in The Ladies Football Club, Crucible Theatre, Sheffield, until March 28. Box office: 0114 249 6000 or sheffieldtheatres.co.uk.
The full squad -including the swings on the wings – for The Football Ladies Club
Laurie Brett’s Annie, left, Maureen Nolan’s Ruth, Honeysuckle Weeks’s Cora, Helen Pearson’s Celia, Lyn Paul’s Jessie and Samantha Seager’s Chris in a village hall scene in Calendar Girls The Musical. Picture: Jack Merriman
CALENDAR Girls The Musical had its belated York premiere in the reet Yorkshire hands of York Stage in April 2022 at the Grand Opera House.
Now its sunflower power radiates from a bunch of music, stage and television stars in Jonathan O’Boyle’s touring production, playing York with four changes of cast since its November run at Leeds Grand Theatre.
It was in this Leeds theatre that Take That head boy Gary Barlow and playwright and screenwriter Tim Firth – fellow sons of the Wirral and friends since teenage days – premiered their very Yorkshire yet universally appealing musical in 2015 under the title of The Girls.
Now toured by Bill Kenwright Ltd, O’Boyle’s 2023-204 production is a stripped-back version of the nude calendar story of a fund-raising group of North Yorkshire Women’s Institution villagers. Stripped back in that the three teenage children’s roles have been removed, although reference is still made to one.
The reasoning: Firth wanted to put the maximum focus on the women in the story, and given the presence of familiar faces (and voices) in the cast, from EastEnders’ Laurie Brett and Foyle’s War’s Honeysuckle Weeks to the New Seekers’ Lyn Paul and Maureen Nolan, that makes sense.
Composer Gary Barlow
You surely know the story, as told previously in the 2003 film, scripted by Firth, and the stage play, but Barlow and Firth’s musical is even better, wittier too, the format suiting what is already an opera-scaled, tragicomic human drama of ordinary women at the centre of an extraordinary story.
When much-loved National Park wall builder and sunflower grower John ‘Clarkey’ Clarke (John R Campbell) dies from leukaemia, his wife Annie (Brett) teams up with Knapely Women’s Institute rebel Chris (Samantha Seager, from Coronation Street), her friend for 40 years, to raise funds to buy a new sofa for the relatives’ room at Skipton General.
They vow to defy the new but old-stick WI chair Marie (Liz Carney) by posing with fellow members for the nudie calendar in John’s memory, honouring his unbreakable call to be inventive and not to follow the well-beaten track.
The curtain, adorned with a giant sunflower, rises to a scene-setting ensemble anthem, Yorkshire, that resonates all the more in the county’s capital before Brett’s Annie sings the first part of a narrative song in three sections interwoven with further songs and scenes.
Each section tells John’s back story, accompanied by vignettes at home, in the village hall, at the hospital, that capture his humour, his spirit, his character, while charting the devastating path of his blood cancer and the creeping dread of what is to be lost.
Namely, the minutiae of marriage. Why we connect. Love, familiarity, companionship, routine, shared memories, the stuff of the show’s best song, Scarborough, and its Act Two sequel, Kilimanjaro, sung so powerfully by Brett.
Maureen Nolan’s Ruth, nursing her “Russian friend”, the vodka bottle, in Calendar Girls The Musical. Picture: Jack Merriman
To the wit and wisdom of Alan Ayckbourn, Victoria Wood and Willy Russell’s dramas, add Firth, a master of observant humour, northern nous and pathos, writ large here in both his dialogue and lyrics, accompanied by multi-faceted tunes from ballad king and pop puck Barlow, whose keyboard-led compositions so suit the vogue for story-telling, highly emotional musical theatre.
One by one, we meet Brett’s grieving but resilient Annie; Seager’s agitated, brazen Chris; Weeks’s piano-playing Cora, the vicar’s no-nonsense daughter; Helen Pearson’s reupholstered, flashy Celia, the golf-loving former air hostess; Paul’s Jessie, wise-owl ex-teacher and knitting enthusiast, and Nolan’s reserved Ruth.
Each is a given a character-revealing, story-telling solo number, each met with abundant applause from Wednesday’s enthusiastic matinee crowd. Weeks’s Hallelujah Silent Night is a Christmas blast; Pearson’s confessional So I’ve Had A Little Work Done is both cheeky and defiant; Paul’s What Age Expects is all-knowing, and Carney’s Spring Fete is assertively strict, her Mrs Rebellious, scornful. Bloody-minded ‘Yorkshireness’ is everywhere.
In her interview, Maureen Nolan talked of her role as being about “quality over quantity”, and no song is better delivered than My Russian Friend And I, as Nolan’s Ruth reveals how vodka is more present in her life than her philandering husband.
Firth’s writing is matched by the chemistry of Brett’s Annie and Campbell’s Clarkey, whose parting has the audience reaching for tissues. Equally as affecting is the bond of Annie and Chris, as the strains and stresses of friendship play out under the utmost duress.
Sunflowers all round: The Calendar Girls, in trademark black, in the celebratory finale. Picture: Jack Merriman
Calendar Girls is about more than the Girls, even if the men’s roles have been reduced to Campbell’s Clarkey and professional debutant Andrew Tuton’s Rod, the photographer with the idea for the now notorious calendar.
Firth’s best decision is to mirror The Full Monty in making that photoshoot the climax, each month’s calendar girl strip-off greeted with a yet bigger cheer or whoop.
O’Boyle’s direction is equally strong on individual characterisation and teamwork, complemented by Jos Houben’s movement direction on an open-plan set radically different from the 2015 premiere, where Robert Jones built Yorkshire as a green and pleasant Jerusalem with hills made from furniture that turned into doors and prop cupboards too.
Gary McCann favours a more conventional design ideal for touring: a village hall with a kitchen to one side and a Yorkshire Dales skyline beyond the doors and windows, the structure taller to the front, the floor an open expanse to accommodate a piano, a sofa, hospital signage, a meeting of the WI national federation, or a home, whatever each scene demands.
Hurry, hurry, make room on your kitchen calendar to see this Yorkshire story of tears and cheers, grief and loss, spirit and renewal, humour and humanity, cakes and buns, songs and sunflowers.
Performances: 7.30pm, tonight and tomorrow; 2.30pm and 7.30pm, Saturday. Box office: atgtickets.com/york
“It’s such a touching story, especially for my family, where cancer has played such a part – and still is,” says Calendar Girls The Musical actress Maureen Nolan. Picture: Jack Merriman
CALENDAR Girls The Musical has a bucketload of poignancy for Maureen Nolan.
As ever, the collection buckets will be out, raising funds for Blood Cancer UK from tomorrow to Saturday when the Gary Barlow and Tim Firth musical plays the Grand Opera House, York.
“It’s such a touching story, especially for my family, where cancer has played such a part – and still is,” says Maureen, who will be playing Ruth in Jonathan O’Boyle’s touring production.
Sister Bernie, who appeared in the play version of Calendar Girls, died of breast cancer in 2013; eldest sister Anne, diagnosed with breast cancer for the second time in April 2020, is in remission; younger sister Linda last year announced her cancer had spread to her brain.
“That didn’t make it more difficult for me to do the show,” says Maureen, who made her name as part of The Nolans, the Anglo-Irish family of singing sisters from Blackpool. “Calendar Girls is almost empowering, cathartic. People come up constantly afterwards with these very sad stories but they’re still smiling on the way out.”
Quick refresher course: Calendar Girls, the film, the play, now the musical, was inspired by the true story of Rylstone Women’s Institute members raising £5 million (and counting) for blood cancer research.
Maureen Nolan, as Mrs Johnstone, with Sean Jones as her son Mickey Johnstone, in Blood Brothers at the Grand Opera House, York in 2013
The story goes: Following the death to leukaemia of Annie’s much-loved husband, the ordinary women of a small Yorkshire Women’s Institute are prompted to do something extraordinary, whereupon they set about creating a nude calendar to raise money for charity.
However, upturning preconceptions is a dangerous business and none of the women are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.
Explaining those audience smiles, Maureen says: “I think it’s because Annie, who loses her husband, does get over it, raising £5 million for this amazing charity. Life has to go on. People are weeping in the audience, but the reality is that cancer is a a massive part of life but is getting more curable. Like my sister Linda, who has had cancer since 2005 in different forms but is still enjoying life.”
Maureen, whose Grand Opera House appearances included Mrs Johnston in Willy Russell’s musical Blood Brothers in October 13, is joined on the 2024 leg of the Calendar Girls tour by stars of music, stage and television: Laurie Brett as Annie; Liz Carney as Marie; Helen Pearson as Celia; Samantha Seager as Chris; Lyn Paul as Jessie and Honeysuckle Weeks as Cora.
“I first got involved at the end of the summer last year, when they said, ‘would you have a chat with Tim [Firth] and the director, Jonathan [O’Boyle]?’. He’s a young man, 40 this year, who had to work with all these women, seven women of differing ages, menopausal and older, and I can’t imagine anyone handling it better. He never lost his cool,” she says of her rehearsal experience.
The cast had to work on a condensed version of Barlow and Firth’s original version of the musical, premiered at Leeds Grand Theatre in November-December 2015 under the title of The Girls (returning there on the 2023-2024 tour’s first leg last November) .
Maureen Nolan as Ruth, holding her “Russian friend”, in Calendar Girls The Musical. Picture: Jack Merriman
“They don’t have the children in the show now, with Tim wanting to concentrate on the women, not the back story, with new songs as well, so we were a little under-rehearsed when we opened after only three weeks,” says Maureen, who had seen only the film and an amateur production of the before taking on the role of Ruth.
“I had nothing to go on, having not seen the original musical, so I play Ruth like Mavis [Thelma Barlow’s Mavis Riley] from Coronation Street! Others think she’s a bit OCD-ish, but it turns out she’s had a mentally abusive relationship [with a philandering husband] and she’s hiding a drink problem.
“At first I didn’t think Ruth was in it much, but it’s about quality not quantity, and at my age [she will turn 70 on June 14] I get the chance to stand in the dressing room making tea – and Ruth has some great comedy lines.”
Maureen enthuses: “Along with Blood Brothers, it’s the best show I’ve ever done. We were laughing and crying throughout rehearsals: the writing is genius by Tim and Gary; like Willy Russell’s shows, you can’t go wrong.
“Between Tim’s words and Gary’s music, the songs are beautiful and uplifting, and the music really adds to the show. I’ve been in things that I wish I hadn’t been in, but I am so proud of this musical.”
Sunflower power: The principal cast for Calendar Girls The Musical, including Maureen Nolan, right. Picture: Jack Merriman
Not least because of Ruth’s song, the tragicomic My Russian Friend And I, that ‘friend’ being the vodka bottle. “It’s a funny scene but then tragic: what people like her go through and yet keep hidden.”
Ruth ostensibly quaffs a drink to quell her fears of undressing, until the darker truth is revealed, but how did Maureen come to terms with the need to strip for the calendar photoshoot each show? “It was really funny because for about two weeks of rehearsals we didn’t really talk about it, and it became the elephant in the room!” she recalls.
“Then the director said there would be a meeting to talk about the photography scene – taking clothes off on stage was something I couldn’t imagine at my age! – but we talked about how much we would show, what we could wear, and then it’s one of those moments where you think, ‘oh, just get them off!’.
“It was all done so beautifully by our director, where we were really treated with respect. Every night, the tech team has to leave stage left.”
Back on the road, with four new cast members, after a winter break when she found time to appear as the Wicked Queen Cruella in Snow White in Cannock for a week, Maureen says: “I love, love, love going to York. It’s so beautiful.”
Calendar Girls The Musical, Grand Opera House, York, tomorrow (February 6) to Saturday, 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.
Did you know? Maureen Nolan’s real name is Marie Antoinette Nolan; Mo for short
The Calendar Girls The Musical cast, appearing at the Grand Opera House, York, from next Tuesday to Saturday. Picture: Jack Merriman
LOOK out for York and North Yorkshire East Women’s Institute Federation members at February 6 to 10’s performances of Calendar Girls The Musical at the Grand Opera House, York.
Celebrating the storyline of a cancer charity fund-raising group of ordinary women from a small Yorkshire Women’s Institute, they will have leaflets and information on hand in the public areas of the Cumberland Street theatre, giving audience members the chance to ask about the groups.
Janice Whiteford, WI advisor for the North Yorkshire East Federation, says: “I think it’s marvellous that we’re able to highlight all the groups available in the area during the week at the Grand Opera House. There are lots of WI groups in the York and North Yorkshire East areas and we’d love to chat about the fun we have and encourage new people to join.”
Inspired by the true North Yorkshire story of the Calendar Girls at Rylstone Women’s Institute, who raised £5 million (and counting) for blood cancer research, the musical features songs by Take That’s Gary Barlow and a reimagined book by playwright Tim Firth.
What happens? Following the death to leukaemia of a much-loved husband, a group of ordinary women in a small Yorkshire Women’s Institute are prompted to do an extraordinary thing, whereupon they set about creating a nude calendar to raise money for charity.
However, upturning preconceptions is a dangerous business and none of thewomen are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.
Who’s in the cast? Find out below. Picture: Jack Merriman
Calendar Girls The Musical brings together a touring cast of music, stage and television stars. Baring all in 2024 are Laurie Brett (EastEnders) as Annie; Liz Carney(The Full Monty, The Mousetrap) as Marie; Helen Pearson(Hollyoaks) as Celia; Samantha Seager (Coronation Street) as Chris; Maureen Nolan (The Nolans, Blood Brothers) as Ruth; Lyn Paul (The New Seekers, Blood Brothers) as Jessie and Honeysuckle Weeks (Foyle’s War) as Cora.
They are joined by Colin R Campbell as John, Andrew Tutonas Rod, alongsideJayne Ashley, Lucas August and Victoria Hayin the ensemble.
The tour is supporting Blood Cancer UK, the charity dedicated to funding research into all blood cancers, including leukaemia, lymphoma and myeloma, as well as offering information and support to blood cancer patients.
Every performance continues to add to the millions already raised for Blood Cancer UK and prove that there is no such thing as an ordinary woman. During next week’s run, collections will take place at the Grand Opera House to increase awareness and raise additional funds.
Calendar Girls The Musical, Grand Opera House, York, February 6 to 10, 7.30pm nightly plus 2.30pm Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.
Calendar Girls: the (front and) back story
THE real-life Calendar Girls launched a global phenomenon: a million copycat calendars, a record-breaking film, a stage play and Gary Barlow and Tim Firth’s musical, premiered at Leeds Grand Theatre in November-December 2015 under the original title of The Girls. The show coined the term “craughing”: the act of crying and laughing at the same time.
Josh Benson: Sunday party to mark ten years of children’s parties
ALL-ROUND York entertainer Josh Benson performed his first children’s magic show in a kitchen in Fulford.
Now, after a decade of doing other children’s parties, Josh has decided he should have his own bash as a tenth anniversary present to himself.
On Sunday afternoon, this ever-perky purveyor of daft comedy chaos – “daft is cleverer than stupid,” he says – presents Just Josh’s 10th Birthday Party! at the Joseph Rowntree Theatre, York.
“It’s a big stage, much bigger than a church hall, community centre or school room that I usually do these shows in. I needed to upsize for this one,” he says.
Expect Josh’s usual comedy magic, juggling, “balloonology”, dancing and games, plus some extra-special surprises in a show for “anyone from four to 104”.
“It’s the perfect Sunday afternoon treat for the whole family. Yes, even Dad!It is Father’s Day after all!” he says.
“I’m having a huge Just Josh sign made for the stage – by Spectrum Signs in Elvington – as it’s my tenth year of these shows and I can have a sign if I want to! It’s six foot high with lettering that I’m painting blue and red as per my logo.”
Newly confirmed to play Muddles in Darlington Hippodrome’s 2022-23 pantomime, Snow White And The Seven Dwarfs after three seasons at Halifax’s Victoria Theatre, Josh is equally happy doing magic tricks to children or playing the silly billy to a panto crowd each winter.
Add to that list performing on the P&O Britannia cruise ship, as he was earlier this spring, when his act would be followed by Basil Brush, and being the Corntroller in charge of the summer entertainment at York Maze, at Elvington, Britain’s largest maze attraction.
“That’s why I need a triple-ended candle, not just one that burns at both ends,” says Josh. “As Corntroller since 2019, I write the shows, sing the theme tune, manage the shows and co-host them, and I’m a control freak, so like to be able to do everything.
Josh Benson signs up for York Theatre Royal’s Travelling Pantomime in 2020
“I’m overseeing five shows this summer: The Crazy Maze, a big corny game show; Cornula One, which has replaced the pig racing, using converted [should that be cornverted?] shop mobility scooters.
“Then there’s Cobzilla, the dinosaur meet-and-greet experience; Crowmania, the pantomime on wheels that had a big overhaul in 2021, and the Cornival, which is the closest to one of my kids’ parties, being a party more than a show.”
Josh, who will celebrate ten years at “Farmer Tom” Pearcy’s York Maze next year, is in charge of a team of 15 entertainers, with Maia Stroud, Kit Stroud, Sam Wharton and Fiona Baistow among the York names in the Crowmania cast. Charlotte Wood and Annie Donaghy play their part in the stage team too when available.
“The closest comparison to the Crowmania Ride is Disney’s Jungle Cruise. Imagine that with a much more sarcastic, very self-aware writer, lots of one-liners and way more corn and crow-based gags,” he says.
“The 25-minute ride is on a 110-seat trailer, pulled by a tractor, with 25 rides a day, so around 2,500 people can go on it on any one day if we’re full.”
After presenting seven years of children’s parties, “I knew we needed something like that at York Maze, so we introduced the Cornival, with an enormous foam cannon – which I can promise you won’t come out at the Joseph Rowntree show as there’s no grass there!
“But Sunday’s show will feature some of the York Maze characters, like Kernel Kernel, Sweetie Corn, his girlfriend, Russell Crow and Maizey, a pantomime cow with corn cobs around her neck.”
Josh still has first magic show business card, printed in June 2013. “I remember doing shows at Stockton on the Forest Village Hall, Rawcliffe Pavilion and a smaller one in Copmanthorpe for friends of my mum’s,” he says.
“I was 15, a kids’ entertainer who was a child myself and couldn’t drive, so my mum had to drive me to shows with my briefcases of tricks for full-on magic shows. But then I’m still a big kid, as we all know!” A big kid, who now drives a little grey van, as it happens.
Josh Benson, right, with fellow actors Ben Hunter and May Jackson, writer Tim Firth and composer Gary Barlow, promoting the 2015 premiere of The Girls at Leeds Grand Theatre. Picture: Matt Crockett
Reflecting on ten years of children’s parties, Josh says: “The thing that I really want to get across is that doing these shows is what’s been massively important to me, providing me with a constant that a lot of performers don’t have.
“There are people who want me to move away from it, which I don’t understand. I’ll go from playing to 1,500 at the panto to playing to 30 children in a village hall on a day off, but work is work.
“I’m very lucky that I’ve built up a reputation where kids really want me to do their parties; they’re adamant that it has to be Josh! That’s so beautiful and lovely, and I don’t feel like an expensive babysitter but an entertainer.
“You’re being booked for your skill set rather than kids just being shoved on to a bouncy castle. Bouncy castles are my Kryptonite! You don’t need to do anything. Just book me and I’ll do it all, no bouncy castle, because how can I compete with an amazing bouncy castle that frankly I’d prefer to be on?! Mind you, bouncy castles have gone up in price, but that’s inflation for you!”
Josh had started his professional theatre career with York Theatre Royal, aged ten, in the 2007 Berwick Kaler pantomime Sinbad The Sailor, later appearing there as John Darling in Peter Pan, and going on to play Little Ernie in the award-winning BBC Morecambe & Wise biopic Eric & Ernie.
He was chosen for the cheeky-chappie role of Yorkshire schoolboy Tommo in Gary Barlow and Tim Firth’s The Girls, the Calendar Girls musical, appearing from 2015 to 2017 in the world premiere at Leeds Grand Theatre and The Lowry, Salford, and the subsequent West End run at the Phoenix Theatre, London.
He did four seasons of The Good Old Days at Leeds City Varieties Music Hall, taking his magic act down to London for the Players Music Hall at Charing Cross Theatre and Cockney Sing-Along at Brick Lane Music Hall before launching his one-man cabaret act It‘s Not The Joshua Benson Show/Josh Of All Trades.
“Especially when I was living in London, actors were doing kids’ parties because they had to, for the money, but I do them because I haven’t fallen out of love with them,” he says.
“It’s part of what I do: kids’ parties; the cruise ships; the York Maze summer season and Hallowscream; the panto comic, which I started doing as Buttons in Cinderella at the Pomegranate Theatre in Chesterfield in 2018, and the Brick Lane Music Hall adult pantomime in London, mixing panto with Carry On humour, from January to March each year.
“Those shows take a huge amount of thought, written by David Phipps-Davis, a renowned panto dame. The next one will be my third year, Peter Pan And His Loose Boys. Last time it was Goldilocks And The Bare Bears and before that, Robin Hood And His Camp Followers.
Just Josh and WonderPhil: Josh Benson and Phil Grainger’s magical double act at the 2019 Great Yorkshire Fringe in York
“They’re panto for adults, which is cleverer, I think. Not dropping the C-bomb but full of clever lines. With these pantomimes, you have adults that are prepared to be kids for the next couple of hours, where I can be naughtier but with the same energy levels as at a family pantomime.”
Josh bills himself as the “Josh of All Trades, Master of None”, having never trained conventionally in anything, but he has skills aplenty that add up to being “Just Josh” joshing around.
“I may have been doing kids’ parties for ten years but annoyingly I didn’t come up with the ‘Just Josh’ name until I did a double act show with WonderPhil [Easingwold magician, actor, soul singer, guitarist, event organiser and polymath Phil Grainger]. When we first made a show for the Great Yorkshire Fringe in York in 2019 – called Making A Magic Show – we wrote it the night before from 10pm to 4pm, then did the first performance!” he recalls.
Sunday’s audience can expect an appearance by Phil Grainger on Zoom and should look out for the Halifax pantomime drummer, Robert Jane, too. “There’s nothing better than pantomime percussion and no-one better at reading my unpredictability than Robert,” says Josh.
“Frankly he makes me funnier, with his Swanee whistles and an actual slap stick, and he makes the sound of falling down better with a drum roll. Knocking my knees together is funnier with a cowbell accompaniment than without. I think the term ‘punctuating the movements’ is really key to comedy and pantomime, and I learnt a lot about that at Halifax.”
Reflecting on cramming so much into 25 years, Josh says: “I wouldn’t say ‘no’ to doing another West End musical, but the perception that I want to be famous? No. not really. I just want to be good and keep it real.
“I got a little bit of a taste of fame when I was doing The Girls, when I definitely wanted to be a star, the next Bradley Walsh, but I realised that once you get there, it’s the hardest thing to stay normal in showbiz.
“I’m happy to be me in this life, where it’s real. Theatre is my first love and always will be, but I’m just lucky that I can do everything, the kids’ parties, the York Maze, the big family pantomimes at Christmas. I like to tread that line.
“My dad [Josh’s sometime partner in cabaret and former Rowntree Players’ panto dame Barry Benson] drummed into me that while it’s nice to be important, it’s more important to be nice. It’s simple advice, but he’s right.”
Josh Benson: Just Josh’s 10th Birthday Party!, Joseph Rowntree Theatre, York, Sunday, 4pm. Box office: 01904 501935 or josephrowntreetheatre.co.uk
TAKE That legend, singer, songwriter, composer, producer, talent show judge and author Gary Barlow will present his theatrical one-man show A Different Stage at the Grand Opera House, York, on June 10 and 11 .
“Now I’ve done shows where it has just been me and a keyboard,” says Barlow, “I’ve done shows where I sit and talk to people. I’ve done shows where I’ve performed as part of a group.
“But this one, well, it’s like all of those, but none of them. When I walk out this time, well, it’s going to be a very different stage altogether.”
Tickets for the York shows, part of an itinerary of 24 dates in seven cities, go on sale on Friday at 9.30am at atgtickets.com/York or on 0844 871 7615.
Telling his life story, in his words, in a “dramatised theatre setting”, A Different Stage premiered at The Brindley, in Runcorn, Cheshire, in February, since when Barlow has played to sell-out audiences in Salford, Liverpool and Edinburgh and has announced his West End debut at London’s Duke of York’s Theatre from August 30 to September 25.
Created by Barlow and his long-time friend, fellow son of the Wirral and collaborator Tim Firth, A Different Stage finds Barlow narrating the journey of his life alongside the music from his discography in a 32-year career spanning Take That, solo projects and his musicals Finding Neverland and Calendar Girls The Musical.
The show’s publicity describes A Different Stage as “a project unlike anything he’s ever done before, where Gary will take the audience behind the curtain, with nothing off limits in this special performance”.
Gary Barlow: On the road to the Grand Opera House, York, with his autobiographical one-man show A Different Stage in June
As part of Take That, Barlow has won eight BRIT Awards and sold over 45 million records, and among his stellar collaborations he has co-written and produced songs for Dame Shirley Bassey, Sir Elton John and Robbie Williams.
Since turning his attention to the world of theatre, he has composed the score for Finding Neverland, worked alongside Tim Firth on Calendar Girls The Musical and collaborating with his Take That bandmates and Firth on The Band’, a record-breaking stage musical now being adapted into a feature film.
Coming next will be Barlow’s autobiography, also entitled A Different Stage. Published by Penguin Books on September 1, it “documents the people, places, music and cultural phenomena that have had an impact on him both as a musician and a human being” in a warm-hearted, humorous and unexpectedly intimate memoir.
“Sometimes you are forced to take stock and wonder what your life’s all been about, and where it is going,” says Barlow. “Ever since I was a boy, I’ve thought that music makes things better. A Different Stage is my love letter to music, a celebration of the songs and sounds that have inspired me and meant something in my life.’
From the working men’s club where it all began through to the stadium tours, the book’s story of Barlow’s life, told through music, is complemented by photography from his one-man show and previously unseen personal photos and notebooks.
“I just wanted to share my personal journey through the last five decades – the highs and lows, the ups and downs. So, in A Different Stage, this is me opening the curtains and sharing moments nobody has heard or seen before,” says Barlow.
This week, York Stage’s York premiere of Barlow and Firth’s Calendar Girls The Musical is running at the Grand Opera House with performances at 7.30pm tonight and tomorrow, 4pm and 8pm on Saturday and 2.30pm and 7.30pm on Saturday. Tickets are still available.
York Stage’s poster for the York premiere of Calendar Girls The Musical, at the Grand Opera House, York, until Saturday
Rosy Rowley’s Cora, centre, preparing to face her camera moment with Jo Theaker’s Annie and Julieann Smith’s Chris in York Stage’s Calendar Girls The Musical. All picture: Charlie Kirkpatrick
Calendar Girls, The Musical, York Stage, Grand Opera House, York, until Saturday. Performances: 7.30pm, tonight to Thursday and Saturday; 4pm and 8pm, Friday; 2.30pm, Saturday. Box office: 0844 871 7615 or atgtickets.com/York
HAVE you been struggling to buy sunflowers in York since Friday?
The reason is simple: these sunworshippers have taken up residence at the Grand Opera House, spreading all over a teenage party dress and a gloriously OTT sofa in director-producer Nik Briggs’ scenic and costume design too.
Even in the dark of the orchestra pit, a sunflower can be spotted radiating nocturnal sunshine from musical director Jessica Douglas’s stand.
Touching moment: Jo Theaker’s Annie and Mick Liversidge’s John with their sunflower seeds
Calendar Girls The Musical began life as The Girls when premiered by sons of the Wirral Gary Barlow and Tim Firth at Leeds Grand Theatre in December 2015. Now the Yorkshire sunflower power has been restored for the York premiere by Briggs’s company.
If you missed the Leeds debut, jump at the chance to remedy that error! If you loved the film or the stage play, Barlow and Firth’s musical is even better, the format suiting what is already an opera-scaled human drama of ordinary women at the centre of an extraordinary story.
What’s more, as Briggs says: “Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story. It could work anywhere, but it’s just a bit more special done here as it’s a proper Yorkshire tale.”
You surely know that story, the tragicomic one where gentle gent, National Park wall builder and sunflower grower John Clarke (Mick Liversidge) – spoiler alert – dies from leukaemia .
Julieann Smith’s Chris singing Sunflower in Calendar Girls The Musical
Whereupon his wife, Annie (Jo Theaker), teams up with Knapely Women’s Institute rebel Chris (Julieann Smith) to defy the new but old-school WI chair Marie (Maggie Smales) by posing with fellow members for a fund-raising nude calendar in John’s memory – and in his spirit of being inventive and not following the well-beaten track.
Firth and Barlow open with two big hitters, firstly the scene-setting ensemble anthem Yorkshire, then the character-establishing introduction to The Girls, the diverse members of the WI, in Mrs Conventional.
So, we meet not only Theaker’s grieving but resilient Annie and Smith’s agitated/aggrieved Celia, but also Rosy Rowley’s Cora, the vicar’s no-nonsense daughter; Tracey Rea’s reupholstered, flashy Celia, the former airhostess; Sandy Nicholson’s perma-knitting Jessie, the wise-owl ex-teacher, and Juliet Waters’ reserved dark horse Ruth.
One of the joys of ballad-king Barlow and witty-worded lyricist Firth’s musical structure is how every one of the Girls has a knock-out, character-revealing, storytelling solo number, each drawing cheers and bursts of clapping, especially Rowley’s rousing, big-band blast of Who Wants A Silent Night?, Smith’s assertive Flowers, Rea’s exuberantly humorous So I’ve Had A Little Work Done and Waters’ vodka-guzzling My Russian Friend And I.
Uplifting: Tracey Rea’s Celia revels in So I’ve Had A Little Work Done
Theaker, so consistently excellent in York Stage lead roles, plucks the heartstrings in the stand-out ballad Scarborough and later hits the emotional heights again in Kilimanjaro. Her chemistry with Liversidge is utterly lovely, touching too, making Clarkey’s loss all the harder to take. Likewise, Theaker and the feisty Smith capture the strains and stresses of friendship under the utmost duress.
Calendar Girls is not just about the Girls, but the men too, from Chris’s level-headed husband Rod (Andy Stone) to humorous cameos for the ever-reliable Craig Kirby (Denis) and Graham Smith (Colin), and Finn East’s how-about-we-do-it-this-way photographer, Lawrence, sensitively venturing into new territory as much as his subjects.
Not only does Firth’s script strike the right balance of northern humour, pathos, sadness and bloody-minded defiance, but also he places the stripping-off photoshoot as the climax (mirroring The Full Monty) and brings three teenage children to the fore, both as outlets for awkward, growing-pains humour and to expose their parents in a different light.
Danny Western is lovably cheeky as deluded, cocky workshy Tommo; Izzie Norwood affirms why Mountview Academy of Theatre awaits her in September with an assured, eye-catching York Stage debut as Jenny, the WI chair’s daughter, expelled from her posh school, with her wild, rebellious outsider streak still untamed.
Izzie Norwood’s Jenny leads Sam Roberts’s Danny astray
No wonder Sam Roberts’s clean-cut, gilded path to being head boy takes a wayward turn as too-cool-for-school Jenny initiates his discovery of alcohol. Roberts’s understated performance contrasts joyfully with Western’s ebullience as the young lads eggs each other on.
Briggs’s lucid, fast-moving direction places equal stress on the potency of the dialogue and the emotional heft of the songs, while his stage design combines dry-stone walls and Dales greenery with open-plan interiors for WI meetings, homes and the hospital, thereby evoking the vast expanse of Yorkshire yet suited to intimate conversation too.
Jessica Douglas’s keyboard-led musical forces do Barlow’s compositions proud, with Robert Fisher’s guitar, Georgia Johnson’s double bass, Graeme Osborn’s trumpet and Anna Marshall’s trombone all given room to flourish.
A quick mention for Louie Theaker, who stepped in for the temporarily indisposed Danny Western for Friday’s first performance, rehearsing his part from 5pm to 6pm as he called on his experience of learning TV script re-writes pronto for his regular role as Jake in CBBC’s children’s drama series James Johnson.
Audiences have not been as big as expected, but what folly it would be to miss York Stage in sunflower full bloom in a Yorkshire story of tears and cheers, grief and loss, spirit and renewal, humour and humanity, ace songs and cracking performances.
Sunflower show: The finale to York Stage’s Calendar Girls The Musical
“We’re going to need considerably bigger buns”: York Stage’s promotional picture for Bun
THE true story of the Calendar Girls from Rylstone Women’s Institute has transferred from print to stage to screen.
Best of all is its latest conversion to a musical by composer Gary Barlow and writer and lyricist Tim Firth, two sons of a Wirral village who met as teenagers before Take That and Neville’s Island respectively shaped their career paths.
Premiered at Leeds Grand Theatre in December 2015 under the title of The Girls, the show returns to Yorkshire from tomorrow (22/4/2022) for its York premiere, now restored to the Calendar Girls moniker that leaves no room for confusion.
Calendar Girls: The Musical will be staged by York Stage under the direction of company founder, producer and artistic director Nik Briggs. “I don’t honestly remember when we applied, but it must be over a year we’ve had the performing rights, I think,” he says.
Jo Theaker and Mick Liversidge in rehearsal for York Stage’s Calendar Girls The Musical. Picture: Charlie Kirkpatrick
“It’s a very popular show, so companies across the country have been scheduling productions. It’s such a beautiful story that’s based on real life, so it’s a joy to explore and work on.”
That story, should you have been hiding behind sunflowers all these years, revolves around the death of a much-loved husband prompting members of a Yorkshire dales village Women’s Institute “to do things a little differently”, stripping off decoratively for their annual fundraising calendar, blissfully unaware their daring behaviour would trigger such an impact locally, nationally, even internationally.
“The story of the ‘Calendar Girls’ has always inspired me,” says Nik. “Being the only boy on my mum’s side of the family, I’ve grown up surrounded by strong women and have always enjoyed being in the rehearsal room with actresses, creating work that celebrates them and puts their stories front centre.”
For Calendar Girls, he is doing so with a cast fronted by Jo Theaker (as Annie); Julieann Smith (Chris); Rosy Rowley (Cora); Tracey Rea (Celia), Sandy Nicholson (Jessie) and Juliet Waters (Ruth), alongside Mick Liversidge (John) and Andy Stone (Rod).
Here come the Girls: York Stage’s ‘Calendar Girls’ pose for a snap in the rehearsal room as Rosy Rowley points the phone camera. Picture: Charlie Kirkpatrick
Nik did not make it to the Leeds Grand premiere. “I actually missed it in Leeds and the West End, so I’ve not seen it before,” he says. “I was especially gutted to miss it as the original cast included York Stage’s very own Josh Benson, but work and travel commitments just kept getting in the way when it was on! That’s the one bad thing about working in theatre; you miss a lot of shows!”
Nevertheless, Nik’s York Stage work since 2014 has given York debuts to West End and Broadway hits aplenty, and he is delighted to be adding Calendar Girls to that list. “Gary Barlow and Tim Firth have created a stunning score,” he says.
“It’s filled with pop ballads as you’d expect, but they’ve also created rousing Yorkshire anthems and jazzy big band show pieces too. Their ability to tell a story through song is really beautiful. They keep things simple and allow the emotion and acting to speak volumes.
“They’ve made a show with storytelling at its heart: there’s no big choreography or special effects, just an extraordinary story about a group of ordinary women that goes from heart-warming to heart-wrenching in an instant.”
“Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story,” says York Stage producer and director Nik Briggs
Calendar Girls wholly suits the musical format, Nik asserts. “It’s famously said, in musical theatre, ‘when it’s not enough to say it, you sing it’! The loss of a loved one creates some of the biggest emotions in a person, so it’s an ideal story to tell through the medium of musical theatre.
“The story is timeless too. Loss, grief and what huge life experiences like that can do to a person never changes, so audiences of all generations can relate to it.”
Nik, who is joined in the production team by musical director Jessica Douglas, has designed the set too. “It’s really evocative of Yorkshire and allows the production to move quickly and with pace, as intended,” he says.
The obligatory sunflowers will be omnipresent, but does Nik like this over-the-top flower? “I do. Who can say they don’t smile when they see one?! There must be close to 500 in this production, so it’s a good job I like them,” he says.
“The colour scheme of the marketing and the sunflowers connection to the story unintentionally now also evokes strong emotions, with the awful conflict we’re seeing in Ukraine, as the colours and flower are both national symbols of the country.”
Sandy Nicholson, left, Tracey Rea and Jo Theaker rehearsing Calendar Girls The Musical. Picture: Charlie Kirkpatrick
Staging a Yorkshire story on home soil definitely has an impact on its telling, posits Nik. “Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story. It could work anywhere, but it’s just a bit more special done here as it’s a proper Yorkshire tale,” he says.
“As a native Geordie, who has now lived ‘down south’ here in Yorkshire for nearly half of my life, I still find myself blown away by the beauty of the region. Whether I’m out in the Yorkshire countryside with the green hills and dry-stone walls, in the middle of a quaint village with babbling streams and chocolate-box houses, or in the beautiful towns and cities with their impressive, intricate architecture, I can’t help but be awestruck by the charm that surrounds me.”
Coming next for York Stage will be their York Theatre Royal debut in Little Shop Of Horrors from July 14 to 23, followed by Kinky Boots at the Grand Opera House from September 16 to 24.
“We’ll end the year with our annual youth show at the Joseph Rowntree Theatre,” says Nik. “This year it’ll be Bring It On by Lin Manuel Miranda, so that’ll be very popular with the teens who all love Encanto and Hamilton!”
York Stage in Calendar Girls: The Musical, Grand Opera House, York, April 22 to 30. Box office: 0844 871 7615 or at atgtickets.com/York.
