George Ure is so happy to be directing panto in ‘favourite city’ of York as Beauty And The Beast plays Grand Opera House

George Ure: Director of Beauty And The Beast at the Grand Opera House, York

GEORGE Ure has returned to a York rehearsal room for the first time since 2012 to direct the Grand Opera House pantomime Beauty And The Beast.

“I was last here to play Tom, one of the pilots in The Guinea Pig Club, the play by Susan Watkins, the wife of neurosurgeon Professor Sid Watkins, about the Second World War pilots who became the “guinea pig club” for pioneering plastic surgeon Archibald McIndoe,” says the Scotsman, recalling artistic director Damian Cruden’s premiere at York Theatre Royal in October that year.

The Guinea Pig Club, by the way, was set up as an exclusive club for Battle of Britain pilots with extensive burns injuries who had been operated on by Sir Archibald. “We all stayed in touch with the Guinea Pig Club and got invited to their Christmas party,” recalls George.

“Fiona [Fiona Dolman, who played Sister O’Donnell] stayed the best of friends with one or two of the families.”

Born In Airdrie, 13 miles from Glasgow, George moved south in 2005 to study at Mountview [Academy of Theatre Arts].  “I’ve been based in London for nearly 20 years now, but York is my favourite place in the UK outside of Scotland, it really is,” he says of a city that has drawn him here for the joy of a “romantic weekend with my other half”.

“I love this city; it is a bit of me now, so when UK Productions asked me to do this pantomime, they didn’t have to ask me twice. I was contacted in the summertime by Anthony Williams, the executive pantomime director, who manages all 11 of their pantomimes. 

Phil Atkinson’s villainous Hugo Pompidou performing his mash-up of Work Of Art and Da Ya Think I’m Sexy? in Beauty And The Beast. Picture: Charlie Kirkpatrick

“We were reconnecting after not seeing each other for many years. He asked me what I was up to and I said I was looking for a show to direct. We discussed my ideas and I’ve been on the project since August.”

George brings directorial experience aplenty to staging Beauty And The Beast. “I’ve been working in drama schools for a long time: I’ve just finished a ten-year run at Urdang Academy, and I’m now working with one of my graduates, Hattie Dibb, who’s in the ensemble here after playing my leading lady in her leaving musical, Anne Pornick in Kipps.”

George has performed in panto on several occasions. “I played Peter Pan twice, once at Milton Keynes Theatre, then at New Wimbledon Theatre in 2015 [with Marcus Brigstocks as Captain Hook and Verne Troyer as Lofty the Pirate], and then I did Jack And The Beanstalk, back in Scotland at Perth Theatre, where I was Angus.” Angus, who is he? “Jack’s brother, the ‘dafty’. It was a brilliant show!”

George was raised on Scottish pantomimes. “I used to go to the King’s Theatre, Glasgow, where Gerard Kelly played the ‘Silly Billy’ role for 20 years. Stanley Baxter was a legend there too, and Elaine C Smith is still doing the show there after so many years [playing Mrs Smee in Peter Pan this winter],” he says.

“My aunt’s brother, Edward O’Toole, was the stage manager there for more than 20 years and he used to get us in to watch the preview, and my dad did a bit of shift work there at Christmas.”

George loves panto. “It’s such a cliché to say it’s a child’s first experience of theatre, but it’s true, and panto doesn’t have to be naff! I believe that if you can find the balance of humour and heart, it has the power to speak to everyone. At some point in the show it will touch everyone – and it has to have really good storytelling too.”

Directing a commercial pantomime is a flat-out experience, ‘hothousing’ a show in less than a fortnight. “I started on the Monday and ran the full show by Saturday morning; the next Monday was the tech day with a producer’s run, followed by notes, and then we flew over to the theatre to work towards opening on Saturday that week [December 7],” says George.

Jennifer Caldwell’s Belle and Samuel Wyn-Morris’s Beast in a pas de deux in Beauty And The Beast. Picture: Charlie Kirkpatrick

“I’m a meticulous planner. Working in a drama school, you get used to tight schedules, so I had to plan ahead with a wish list for every department, and I’m happy to say that we were ahead of the game after the first week of rehearsals.”

George first met up with choreographer Alex Codd and musical director Arlene McNaught in September. “We talked through everyone’s music choices. I’m a collaborator; I don’t think there should be a dictator; I’m a team person as you can only succeed like that – though fundamentally I did have some strong feelings on what the music should be as I didn’t want it to be just chart hits.

“Beauty And The Beast is all about the plot, and the music should match that, and not just become an excuse to change lyrics of a pop hit to make it work.

“We’ve gone for pop music from many decades, from Carole King to Taylor Swift’s Shake It Off in a mash-up with Chappell Roan’s Hot To Go!; Lovin’ Spoonful’s Do You Believe In Magic for Fairy Bon Bon to Meat Loaf’s I’d Do Anything For Love (But I won’t Do That), plus songs from Wicked and  Les Miserables.

“We also have Work Of Art from Everybody’s Talking About Jamie mashed up with Rod Stewart’s Da Ya Think I’m Sexy? for the baddie, Phil Atkinson’s Hugo Pompidou, who’s really like an anti-baddie because he’s so funny.

“The music was really important to me because it has to serve the plot and you have to have the balance right, and thankfully the producers were very welcoming of all my nonsense!”

Beauty And The Beast runs at Grand Opera House, York, until January 5 2025. Box office: atgtickets.com/york.

REVIEW: Beauty And The Beast, Grand Opera House, York, until January 5 ***1/2

Magical performance: Dani Harmer’s Fairy Bon Bon in Beauty And The Beast at the Grand Opera House, York. Picture: Charlie Kirkpatrick

SUDDENLY there are more similarities between the Grand Opera House and York Theatre Royal shows than at any time in more than three decades of reviewing York’s professional pantomimes. They even share their closing date.

Dowager dame Berwick Kaler is performing at neither theatre after hanging up his boots (except on The Archers!); both theatres have a sustained relationship with a commercial partner, Martin Dodd and UK Productions for a third year at the GOH, writer-producer Paul Hendy and Evolution Productions for a fifth season at the Theatre Royal.

Both writers, Jon Monie for Beauty And The Beast and Hendy for Aladdin, are Great British Pantomime Award winners. Both theatres have confirmed their return next year for the already announced Cinderella and Sleeping Beauty.

In the frame: Phil Atkinson’s Hugo Pompidou giving it large in Beauty And The Beast. Picture: Charlie Kirkpatrick

Once upon a time, the Grand Opera House was considered to be the pantomime for younger audiences, the Theatre Royal playing to devotees of Dame Berwick’s unique panto brio and banter with David Leonard, Martin Barrass and Suzy Cooper. Now, both shows put children’s entertainment to the fore.

Just as Evolution heralded a new broom at the Theatre Royal in 2020-2021, now UK Productions are bringing a new face to the Grand Opera House show, or more to the point, new faces, faces with abundant West End and TV credits. They have bonded in the hothouse of less than a fortnight’s rehearsals with ebullient, ultra-efficient Scottish director George Ure in central York.

The result is a slick show full of rousing singing, highly proficient ensemble scenes, a relish for the power of storytelling and bags of comedy set-pieces. Watching the 10.30am Thursday matinee surrounded by primary schoolchildren found double entendres sailing over young heads like a Joe Root reverse ramp, but this is surely the sauciest mainstream pantomime York has ever seen.

Shall we dance? Jennifer Caldwell’s Belle and Samuel Wyn-Morris’s Beast in Beauty And The Beast. Picture: Charlie Kirkpatrick

Not a blue panto in the post-watershed Jim Davidson style, I stress, but certainly closer to the knuckle, tongue pushed further into cheeks than even Dame Berwick’s fruitier latter-day shows in his Theatre Royal pomp.  

The prime source of the sauce is Leon Craig, a towering presence of a highly experienced dame, all 6ft 7 of her Polly La Plonk in boots and high-rise wigs, who owns the York stage from the off, full of lip and lip gloss, camp cheek and dress dazzle.

Craig is a musical theatre specialist and his singing duly hits the heights here. Playing the Beast’s cook, his dame is both supportive and disruptive, as the role dictates, and his bond with the show’s clown, comedian Phil Reid as his son Louis La Plonk, sparks slapstick aplenty.

Clowning around: Phil Reid’s Louis La Plonk. Picture: Charlie Kirkpatrick

Reid, quick on his feet and in the head, works a treat with the children, all keen to be in his gang, not least the three picked out to join him stage for Choo Choo Wa, this show’s variation on the traditional song-sheet number that has everyone off their feet joining in.

The star on the show poster – as she is quick to remind us in her rap battle with Phil Atkinson’s villainous hunk Hugo Pompidou – is Tracy Beaker’s Dani Harmer, who previously appeared in Beauty And The Beast at York Barbican in 2015. She was Beauty in that Easter panto; now she is a no-nonsense Fairy Bon Bon, with a love-a-duck London accent and platform shoes, always game for a laugh, especially in that rap scrap.

Atkinson’s Hugo Pompidou, Craig’s match in double entendres, sends up his vainglorious villain with an ‘Allo ‘Allo! French accent and a keenness to show off his pecs at every opportunity.  

Ooh…you are Eiffel: The towering Leon Craig’s dame, Polly La Plonk. Picture: Charlie Kirkpatrick

Jennifer Caldwell first caught the eye at the Grand Opera House as Anne Boleyn, the peachiest role in Six The Musical. Her rather more conservative but equally resolute Belle is both a knock-out singer and thoroughly lovely foil to all the silliness around her, both in her scenes with her impoverished artist father Clement (David Alcock) and especially with Samuel Wyn-Morris’s stentorian-voiced Beast.  

Wyn-Morris gives the show’s five-star performance, his singing rich and thunderous, his characterisation full of depth not usually to be found in pantomime. His scenes with Caldwell’s Belle are worthy of a proper, grown-up, serious romantic drama.

Ure’s assured direction is complemented by Alex Codd’s choreography, with room aplenty for an ensemble of Villagers and children’s teams from Dance Expression School of Dance and Lisa Marie Performing Arts, who are sharing performances. Musical director Arlene McNaught leads her three-piece orchestra with snap and crackle in the pop tunes.

Beauty And The Beast director George Ure

This is a polished pantomime whose one failing is that it could be playing anywhere in the country. It does not have enough acknowledgement of York and Yorkshire, with only perfunctory mentions of Wetwang and Ripon and a dig at Leeds United’s FA Cup incompetence.

The best pantos dip into a city’s culture, but if that is a missed opportunity, the show does make the most of its Camembert setting, oozing  in cheesy gags, French references and unforgettable Tricolour pants for Atkinson’s pompous Pompidou.    

UK Productions present Beauty And The Beast, Grand Opera House, York, until January 5 2025. Box office: atgtickets.com/york.

David Alcock’s Clement and Jennifer Caldwell’s Belle in Beauty And The Beast. Picture: Charlie Kirkpatrick

What will be next year’s pantomimes at Grand Opera House & York Theatre Royal?

Invitation to the ball: Grand Opera House announces Cinderella for next winter

TICKETS will go on sale at noon on Friday for next year’s Grand Opera House pantomime in York. The Cumberland Street theatre will present Cinderella from December 6 2025 to January 4 2026 in its fourth collaboration with UK Productions.

As with this winter’s panto, Beauty And The Beast, the show will feature a script by Jon Monie, winner of Best Script at the 2019 Great British Pantomime Awards.

Promising side-splitting comedy, lavish settings and adorable miniature ponies, Cinderella will be “more fun than you can shake a pumpkin at”. Star casting is to be announced but “expect stars from the West End and screen”.

Laura McMillan, the Grand Opera House theatre director, says: “As we open the spectacular Beauty And The Beast, we’re delighted that UK Productions will be returning next year with the most beloved of pantomimes of all time, Cinderella. I’m sure adults and children alike will be spellbound by this magical new show.”

UK Productions producer Martin Dodd says: “Christmas wouldn’t be Christmas without pantomime, and pantomime wouldn’t be pantomime without Cinderella. We are delighted to be presenting this fabulous story at York’s beautiful Grand Opera House, building on the success of this year’s musical pantomime, Beauty And The Beast.”

To take advantage of early bird ticket savings, book by Saturday, February 1 2025 to save £8 per ticket on select performances and seats.

Beauty And The Beast will run until January 5 2025 with a West End cast featuring CBBC’s BAFTA award-winning Dani Harmer, from Tracy Beaker and Strictly Come Dancing, as Fairy Bon Bon; dame Leon Craig, from Everybody’s Talking About Jamie, as Polly La Plonk, Jennifer Caldwell, from SIX The Musical, as Belle, and Samuel Wyn-Morris, from Les Misérables, as The Prince. Box office: atgtickets.com/york.

York Theatre Royal’s promotional poster for dame Robin Simpson’s return in Sleeping Beauty in 2025

ROBIN Simpson will return for his sixth season as the dame in York Theatre Royal’s pantomime for 2025-26, Sleeping Beauty, billed as “an enchanting tale of adventure, fun and spellbinding magic for the whole family”. 

Co-produced with regular partners Evolution Productions, the show will run from December  2 2025 to January 4 2026, with “stunning costumes, gorgeous sets, dazzling special effects and all the spectacular magic of a York Theatre Royal pantomime”.  

The show will be written by Evolution producer Paul Hendy and directed by Theatre Royal creative director Juliet Forster, the team behind Aladdin this winter, Jack And The Beanstalk in 2023, All New Adventures Of Peter Pan in 2022, Cinderella in 2021 and the community-touring Travelling Pantomime in Covid-shadowed 2020.

Forster says: “We’ve been delighted to see so many people returning year after year to enjoy the magic of a York Theatre Royal pantomime. We are so proud of the quality of the pantos we make and can’t wait to continue our panto adventures with Sleeping Beauty. It’s so brilliant to have Robin on board again too to bring the hilarity and fun as our dame!”  

Hendy says: “We’re absolutely thrilled to be working with the fabulous team at York Theatre Royal again for our spectacular production of Sleeping Beauty. We are delighted Robin will be returning as our wonderful dame, and we can’t wait to share with you more exciting casting news in the New Year!” 

Simpson enthuses: “I am overjoyed to be playing the dame in next year’s Sleeping Beauty. I love the York audiences and it’s such a special place to perform every year at Christmas time. I’m looking forward to all the high jinks the dame will get up to in Sleeping Beauty!”  

Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk. Early birds who book before the end of March 2025 can benefit from a price freeze on ticket prices, with options ranging from £15 to £43.50.  

Family ticket discounts can be booked for £90 (for three including at least one child) and £120 (for four including at least one child.) Schools discounts are available when booking via the St Leonard’s Place box office.  

YTR Members receive an extra ten per cent off up to four tickets. For details of how to join YTR Membership, visit yorktheatreroyal.co.uk or contact the box office. 

Magic in the air as Dani Harmer plays Fairy Bon Bon on panto return to York in Beauty And The Beast at Grand Opera House

Dani Harmer as Fairy Bon Bon on the Grand Opera House stage in Beauty And The Beast. Picture: Charlie Kirkpatrick

BAFTA award-winning Dani Harmer will appear in Beauty And The Beast for a second time on a York stage from Saturday.

Best known for playing the title role in the CBBC series Tracy Beaker and its sequel Tracy Beaker Returns, from the age of 13, and later My Mum Tracy Beaker in 2021, Harmer will wave her wand as Fairy Bon Bon in UK Productions’ third pantomime season at the Grand Opera House.

In March 2015, she had played Beauty in two performance of the Easter pantomime at York Barbican, where she had taken the title role in Cinderella in December 2012, when she had to miss two shows that clashed with her commitments competing in BBC One’s Strictly Come Dancing that season.

In the “craziest fortnight of my life”, Dani had to combine rehearsing each morning at the Barbican and spending each afternoon and evening at the University of York, practising routines with partner Vincent Simone, first for the semi-final, then three for the final: a tango, jive and show dance (Bohemian Rhapsody). “It’s been the best thing I have ever done,” she said at the time.

“I’m super excited to be back in my favourite panto of all time, Beauty And The Beast, which I’d be happy to do each year!” says Bracknell-born Dani, who appeared in the same role at Mansfield Palace Theatre last winter. 

Beauty And The Beast principals and ensemble in rehearsals at Central Methodist Church, including Dani Harmer, second from right, back row

“For those that don’t know, I have always been completely obsessed with this story, so it’s a real joy for me to be bringing it to life on stage. And I adore playing the loveable and slightly bonkers Fairy Bon Bon, so cannot wait to put on my wings once more.

“And it’s even more exciting to be coming to the gorgeous city of York! I’m very, very happy to be here. I can’t think of a better place to be spending the Christmas period. So, bring on the Yorkshire puddings.”

Dani has a long history of performing in pantomime. “My first panto was when I was six, as a juvenile. I’m 35 now,” she says. “I went to theatre school from the age of six. It didn’t put me off! Most of what I learnt was on the job.

“I grew up on camera. Your teenage years can be your most difficult, but all my teenage days were spent on camera [filming Tracy Beaker] – and I’m very grateful that social media was not around then. I don’t know if I’d still be an actor now if it had been.”

Now she is waving her wand as Fairy Bon Bon for the second year running. “Playing Fairy, you can take the role two ways. You can be a Fairy Godmother, like a mother figure to a princess, or you can go the more non-traditional fairy route, where I’m loud and energetic and not quite sure what’s going to come out of my mouth!

Dani Harmer as Beauty in Beauty And The Beast at York Barbican in 2015

“So you can expect the unexpected with this show. You get the story but there are also twists and turns you won’t expect.”

The script comes from the pen of 2019 Great British Pantomime Award winner Jon Monie. “I’ve had the pleasure of working with him a few times,” says Dani. “He was my Buttons when I was Cinderella – I just adore that man.”

Dani will forever be associated with Tracy Beaker, the childhood role she resumed as an adult in My Mum Tracy Beaker. “We were one of the first shows to go back into the studio after the pandemic, having been postponed,” she recalls.

“Playing Tracy again was like wearing a nice, comfy pair of slippers. I loved playing her. I’m a fan, like everyone else, where I’m desperate to see where she goes next!”

What first made Tracy so popular, Dani? “I think she just came around at a good time when TV was male dominated and comedy was male dominated, where we grew up with the Chuckle Brothers – I was a fan – but along came this female-led series, just when Grange Hill had finished,” she says.

Beauty And The Beast cast members Phil Reid, Dani Harmer, Leon Craig and Phil Atkinson pose by Clifford’s Tower. Picture: Charlie Kirkpatrick

“I was 13 years old and Jacqueline Wilson’s stories were just magical. You always found something to relate to – and the way the BBC adapted stories, they just nailed it in the scripts. It might make me feel old now but I love the stories and there’s a lot to be said for nostalgia.”

Dani recalls an eye-opening role that brought her to Yorkshire in 2013 to play timid, naive but maybe not-so-innocent Janet Weiss in The Rocky Horror Show in 2013 at Leeds Grand Theatre. “She really does go through a transition, doesn’t she!” she says.

“It was such a joy to do because it couldn’t have been further from anything I’d done before, going from being a teenage lass on a TV show to being in my underwear on stage with a transvestite scientist seducing me!

“The producers took a leap of faith with me and my fans loved it! Rocky Horror fans will stick with you so I was really thankful that they loved it as they’ll tell you when they don’t rate you!”

UK Productions presents Beauty And The Beast at Grand Opera House, York, from December 7 to January 5 2025. Box office: atgtickets.com/york.  


Meet the Grand Opera House pantomime stars: Phil Atkinson’s Hugo Pompidou, left, Jennifer Caldwell’s Belle, Dani Harmer’s Fairy Bon Bon, Leon Craig’s Polly La Plonk, Samuel Wyn-Morris’s Prince and Phil Reid’s Louis La Plonk

Copyright of The Press, York

SIX queen Jen Caldwell and Les Miserables star Samuel Wyn-Morris join Grand Opera House panto cast for Beauty And The Beast

Who’s who in Beauty And The Beast: from left, Phil Atkinson’s Hugo Pompidou, Jen Caldwell’s Belle, Dani Harmer’s Fairy Bon Bon, Leon Craig’s Polly la Plonk,  Samuel Wyn-Morris’s The Beast and Phil Reid’s Louis La Plonk

WHO will play the lead roles – the last to be announced – in the Grand Opera House pantomime, Beauty And The Beast, in York?

Producers UK Productions have confirmed that SIX The Musical star Jen Caldwell will be heading back to the Cumberland Street theatre after her fun-loving Yorkshire-voiced minx Anne Boleyn was head and shoulders the stand-out in Toby Marlow and Lucy Moss’s pop concert musical in October 2022.

“I am so excited to be returning to York and the beautiful Grand Opera House after having a wonderful time there with SIX back in 2022,” says Jen. “I can’t wait to meet all the wonderful panto audiences and spread some festive joy.” 

Welsh actor Samuel Wyn-Morris, whose role as Enjolras in Les Miserables brought him to Leeds Grand Theatre in November 2022, will be The Beast in the December 7 to January 5 2025 run.

New addition: Jen Caldwell’s Belle in Beauty And The Beast

“I am thrilled to be returning to Beauty And The Beast and to pantoland this Christmas,” says Samuel, who starred in the Sunderland Empire’s version last winter. “To be in beautiful York over the festive period is exciting and I’m looking forward to it greatly.”

Caldwell and Wyn-Morris will be joining the previously announced Tracy Beaker star Dani Harmer’s Fairy Bon Bon, Phil Atkinson’s villainous Hugo Pompidou, Leon Craig’s dame, Polly la Plonk, comedian Phil Reid’s Louis la Plonk and David Alcock’s Clement, the villain’s sidekick.  

Martin Dodd, UK Productions’ managing director and producer, says: “We are absolutely delighted to welcome Samuel and Jen to the company of Beauty And The Beast. Both are amazing West End musical theatre talents and bring a wealth of experience to what we can promise will be the most musical, and magical, of all pantomimes.”

Heading for a beheading: Jen Caldwell’s Anne Boleyn in SIX The Musical, on tour at the Grand Opera House, York, in October 2022. Picture: Pamela Raith

What lies in store in the first pantomime since the final curtain for Dame Berwick Kaler’s three-year residency at the Grand Opera House? “This year’s panto brings a larger-than-life range of characters together with side-splitting comedy, stunning sets and costumes, and with an award-winning script by Jon Monie, this will be a magnificent must-see musical adventure,” says the publicity machine.

“With additional morning performances for schools and suitable for all ages, this is not to be missed, with tickets from just £15.”

Laura McMillan, the Grand Opera House theatre director, says: “From the West End to York, this year our pantomime is set to be like nothing seen before at the Grand Opera House. We can’t wait to welcome families and friends to join us for this festive spectacular and I know the talented cast will wow our audiences and create memories for years to come.” 

Tickets are on sale at atgtickets.com/york

Jen Caldwell: the back story

Jen Caldwell

TRAINED at London School of Musical Theatre.

Credits include: Cover/resident director in Kathy & Stella Solve A Murder (West End); Emmeline Pankhurst in Fantastically Great Women Who Changed the World (UK tour); Anne Boleyn in Six The Musical (UK, Ireland & Korea tour & West End); alternate Anne Boleyn & Katherine Howard in Six The Musical (UK & Ireland tour),

Swing/cover Heather/resident director in Green Day’s American Idiot (UK and Ireland tour); swing/cover Emily in Knights Of The Rose, (Arts Theatre); Flick in The Rhythm Method workshop, (The Bush Theatre and The Landor Space); Dyanne in Million Dollar Quartet (Indian tour); cover Dyanne/resident director/resident choreographer in Million Dollar Quartet (UK and Ireland tour); cover Princess Fiona in Shrek The Musical (UK and Ireland tour) and cover Sophie and Ali in Mamma Mia! (Prince of Wales and Novello Theatres).

Samuel Wyn-Morris: the back story

Samuel Wyn-Morris in his role as The Beast

TRAINED at Guildford School of Acting.

Best known for his role as Enjolras in Cameron Mackintosh’s Les Miserables.

Theatre credits include: Beauty & The Beast (Sunderland Empire); Frederick Fleet in Titanic The Musical (China tour); Enjolras in Les Misérables (UK tour); Feuilly/Understudy Jean Valjean & Enjolras in Les Misérables (Sondheim Theatre); Feuilly/Understudy Enjolras in Les Misérables – The Staged Concert (Sondheim Theatre); Ensemble in Alan Ayckbourn’s The Divide (Old Vic Theatre).

Dani Harmer to wave fairy wand of change over Grand Opera House panto. Who’s joining her in Beauty And The Beast?

“I adore playing the loveable and slightly bonkers Fairy Bon Bon, so cannot wait to put on my wings once more,” says Grand Opera House-bound Dani Harmer

OUT with the old, in with the new, for the Grand Opera House pantomime in York, following the exit of Berwick Kaler and co after three years.

In come BAFTA award-winning Dani Harmer, Phil Reid, Leon Craig, Phil Atkinson and David Alcock to star in Beauty And The Beast, UK Productions’ third panto at the Cumberland Street theatre, from December 7 to January 5. Further star-studded casting for Belle and the Beast will be announced shortly.

Best known for playing the title role in the CBBC series Tracy Beaker and its sequel Tracy Beaker Returns, from the age of 13, and later My Mum Tracy Beaker in 2021, Harmer will wave her wand as Fairy Bon Bon.

“I can’t think of a better place to be spending the Christmas period,” says Dani Harmer of her return to York

Bracknell-born Harmer, now 35, has appeared in numerous pantomimes and West End musical theatre shows, including playing the title role in York Barbican’s 2012 panto, Cinderella, when she had to miss two performances that clashed with her commitments competing in BBC One’s Strictly Come Dancing that season.

In the “craziest fortnight of my life”, she had to combine rehearsing each morning at the Barbican and spending each afternoon and evening at the University of York, practising routines with partner Vincent Simone, first for the semi-final, then three for the final: a tango, jive and show dance (Bohemian Rhapsody). “It’s been the best thing I have ever done,” she said at the time.

Earlier that year at York Barbican too, she appeared as Dorothy in The Wizard Of Oz, returning there in March 2015 for two performances as Beauty in the Easter pantomime Beauty And The Beast. In between, she played not-so-innocent Janet in The Rocky Horror Show at Leeds Grand Theatre in June 2013 

Dani Harmer in the role of Beauty in Beauty And The Beast at York Barbican in March 2015

Now she will star in Beauty And The Beast in York for a second time, switching from Beauty to Fairy Bon Bon. “I’m super excited to be back in my favourite panto of all time, Beauty And The Beast,” says Dani.

“For those that don’t know, I have always been completely obsessed with this story, so it is a real joy for me to be bringing it to life on stage. And I adore playing the loveable and slightly bonkers Fairy Bon Bon, so cannot wait to put on my wings once more.

“And even more exciting to be coming to the gorgeous city of York! I can’t think of a better place to be spending the Christmas period. So, bring on the Yorkshire puddings and I really hope you enjoy our magical beauty of a show.”

Phil Reid’s Louis la Plonk

Joining Dani will be award-winning comedian Phil Reid as Louis la Plonk and panto dame extraordinaire and musical theatre star Leon Craig as his larger-than-life mum, Polly la Plonk, after West End appearances in Everybody’s Talking About Jamie and Disney’s Aladdin.

Musical theatre star Phil Atkinson, from The Bodyguard, Joseph And The Amazing Technicolor Dreamcoat and Little Shop Of Horrors, will play the dastardly Hugo Pompidou, with David Alcock, from The Mousetrap and the BBC’s SAS: Rogue Heroes, as his assistant in villainy, Clement.

Producers UK Productions will be “pulling out all of the stops to bring their award-winning version of this timeless tale to York”. Managing director and producer Martin Dodd says: “We are delighted to be returning to the beautiful Grand Opera House and even more so that we can bring one of our favourite productions for the Christmas season.

Phil Atkinson’s dastardly Hugo Pompidou

“The show is filled with comedy, show-stopping tunes, a cast of top musical performers, magic and an award-winning script by Jon Monie [prize winner for Best Script in the 2019 Great British Pantomime Awards]. It’s a fantastic show for young and old and one that is sure to make your Christmas complete.”

Grand Opera House theatre director Laura McMillan says: “This year our Christmas is set to be a cross between a hilarious pantomime and a spectacular West End musical, really something for everyone.

“The audience are in for a festive treat, with a show packed full of award-winning talent and stars from the West End. There’s no doubt Beauty And The Beast will be a huge hit with something for all the family.”

Expect “larger-than-life characters, an unmissable transformation moment, slide-splitting comedy and stunning sets and costumes”, promises the panto press release.

Tickets are on sale at atgtickets.com/york

Leon Craig’s dame, Polly la Plonk, in Beauty And The Beast

‘I’m just sorry that I didn’t get the chance to say goodbye,’ says retiring dame Berwick Kaler as he exits stage left after 47 years

Berwick Kaler’s dame Dotty Dullaly in his last pantomime, Robinson Crusoe And The Pirates Of The River Ouse at the Grand Opera House, York. Picture: Charlie Kirkpatrick

BERWICK Kaler, Britain’s longest-running pantomime dame, is “bowing out gracefully after 47 years of getting away with complete nonsense” on the York stage, but there could yet be one final show.

“It has crossed my mind to maybe do a one-off performance as a thank-you, a show of appreciation to the staunch fans of our pantomime,” says Berwick.

Most likely it would be held at the Grand Opera House, host to the Kaler panto for the past three winters.

“I don’t want to say too much but the farewell has been handled wrongly,” says Berwick. “I’ll be 78 later this year [October 31], I’m ready to retire, but I would like to have made the decision in a better way.”

A seven-minute standing ovation had concluded the final night of Robinson Crusoe And The Pirates Of The River Ouse – written and directed by and starring the dowager dame as ever – but ticket sales for the December 9 to January 6 run had been underwhelming, even prompting a discounted price campaign.

“All those panto companies in the business, they need to make money,” acknowledges Berwick. “But I just thought, after the reception from the audience to that last show, which was totally amazing…

“…I’ve always said that every show I’ve done was ‘rubbish’, but that standing ovation, I don’t know if they knew something that night.

“I know it can’t go on forever. It can’t. I’ve not spoken anyone apart from [UK Productions managing director] Martin Dodds, who rang to let me know, so I’ve kept it to myself for a week.

“What I don’t want is for us to continue and for me to find that my energy levels – which were as good as ever for Robinson Crusoe – were suddenly not there. I smoke, I drink, I’m lucky to have got to the age I have!”

The last gang show: Martin Barrass, left, dame Berwick Kaler, Suzy Cooper, David Leonard and AJ Powell promoting Robinson Crusoe And The Pirates Of The River Ouse outside the Grand Opera House, York. Picture: Charlie Kirkpatrick

That thought would seem to rule out any suggestion of a move for Kaler and co to the Joseph Rowntree Theatre for winter 2024, in favour of a farewell one-nighter.

“I’ve had a pacemaker for eight years,” says Berwick, who also had a double heart bypass operation in July 2017. “I wanted to get out of hospital the day after the pacemaker was fitted. They said ‘No’, but I did leave the next day!

“I’m just sorry that I didn’t get the chance to say goodbye to our most wonderful audiences, to say ‘thank you’ on my part and everyone in the panto gang’s part too. Now it’s about just getting used to looking after my two dogs on my own in Acomb.”

And now, the end is here, the final curtain falling after panto producers UK Productions decided not to retain the services of veteran dame Berwick, who had transferred across the city after 40 years at York Theatre Royal to stage Dick Turpin Rides Again and subsequently Old Granny Goose and Robinson Crusoe And The Pirates Of The River Ouse.

“I would love to thank everyone in York for giving me a career that would not have gone on this length of time without their support, because every minute I’ve been on stage I’ve just bounced off the audience’s energy, and I’m so grateful for that,” says Berwick.

“When we went to the Grand Opera House, it continued to be ‘the York pantomime’, and that’s a reputation I hope will go on.”

Exiting panto stage left too will be Kaler’s “loyal gang”: long-serving comic stooge Martin Barrass, vainglorious villain David Leonard, principal golden gal Suzy Cooper and “luverly Brummie” A J Powell after their three-year run at the Cumberland Street theatre.

Thanking his co-stars for “putting up with me for so many years”, Berwick says: “I don’t know why UK Productions, even if they didn’t want me anymore, wouldn’t want to keep David, the best villain in the country, the amazing Suzy, Martin and AJ.”

Born in Sunderland, Berwick moved to London in his teenage years to be a painter and decorator, but the acting bug bit. Initially, in pantomime Berwick took to the dark side as a villain but 1977 found him donning his wig as Ugly Sister Philomena in Cinderella at the Theatre Royal after playing Bottom in A Midsummer Night’s Dream that summer.

This would be the last time: Berwick Kaler’s dame Dotty Dullaly in familiar rudimentary wig and workman’s boots with contrasting laces in Robinson Crusoe And The Pirates Of The River Ouse. Picture: Charlie Kirkpatrick

He would go on to play dame, write the script, ignore conventional plot lines, ad lib ad nauseam and direct “the rubbish”, year after year, bringing him the Freedom of the City, an honorary doctorate from the University of York and a Lifetime Achievement Award in the Great British Pantomime Awards.

“I came to York, not known to the Theatre Royal audience, but the thing is, they take a comic actor to their heart and that was case with me,” he says.

He retired once… “Don’t forget, when I announced my retirement from the Theatre Royal, I was ready to retire. It was that thing of marking 40 years.”

He soon regretted that decision, even more so after writing, co-directing and appearing on screen in the 2019 panto, Sleeping Beauty, and particularly so after the Theatre Royal decided to part with the Kaler gang to make way for a new partnership with Evolution Pantomimes.

The invitation to take up a three-year contract at the Grand Opera House brought about his comeback in 2021, but his finale to his last interview with The Press turned out to be prescient.

“I’m not going to announce my retirement. I’ll just go quietly, whenever. I’ve had my big send-off already [after 40 years at the Theatre Royal],” he mused last December.

“When they announce the next Grand Opera House pantomime, it will either be with us or without us.”

The reality is, “without us”, but with a new “star casting” instead for Beauty And The Beast’s run from December 7 to January 5 2025, with tickets on sale from Monday, March 11 at 4pm  at atgtickets.com/york.

As for that Berwick Kaler farewell show, watch this space.

Copyright of The Press, York

End of an era as Berwick Kaler hangs up his boots & wig after 47 years as York’s panto dame. “Bowing out gracefully,” he says

Ape japes: Berwick Kaler in his last pantomime, as Dame Dotty Dullally, in Robinson Crusoe And The Pirates Of The River Ouse at the Grand Opera House, York. Picture: Charlie Kirkpatrick

BERWICK Kaler, Britain’s longest-running pantomime dame, is “bowing out gracefully” after 47 years on the York stage.

The final curtain has fallen after Grand Opera House panto producers UK Productions decided not to retain the services of veteran dame Berwick, 77, who had transferred across the city in 2021 after 40 years at York Theatre Royal.

Exiting panto stage left too will be long-serving comic stooge Martin Barrass, vainglorious villain David Leonard, principal golden gal Suzy Cooper and “luverly Brummie” A J Powell after their three-year run at the Cumberland Street theatre.

In his quote at the very bottom of the Grand Opera House’s official announcement of Beauty And The Beast as the 2024-2025 pantomime, Berwick says: “After 47 years of getting away with complete nonsense, it’s time to bow out gracefully and I couldn’t have wished for a better production than Robinson Crusoe [And The Pirates Of The River Ouse].

“I’d like to thank all of the audiences over the years, and particularly those who came to the Grand Opera House this year for making it so memorable. I’d also like to thank the producers UK Productions for their support, and for bringing to life my frankly mad ideas so spectacularly.

The last gang show: Berwick Kaler, second from right, with David Leonard, Martin Barrass, Suzy Cooper and A J Powell, promoting Robinson Crusoe And The Pirates Of The River Ouse on King’s Staith

“Last and of course not least, my loyal gang, David, Suzy, Martin and AJ, for putting up with me for so many years.”

The official statement reads: “Also announced today is the departure of Berwick Kaler from the Grand Opera House pantomime.

“Berwick has been a beloved Dame in York since 1977 and it has been a privilege for the Grand Opera House to host Berwick and the gang for the last three years. Martin Barrass, Suzy Cooper, AJ Powell and David Leonard will also not be returning.”

UK Productions took over the Grand Opera House pantomime after only one year of Berwick and co performing for Qdos Entertainment/Crossroads Live in his comeback show Dick Turpin Rides Again.

Managing director Martin Dodd, always an enthusiastic advocate for Berwick Kaler’s pantomimes, nevertheless makes no mention of the parting of the ways in the Grand Opera House announcement.

Instead, he looks to the future, as the pantomime partnership with the York theatre is retained but in a new form with “star casting”. “We are delighted to continue our relationship with the Grand Opera House and bring one of the most popular fairy tales of all time, our award-winning Beauty And The Beast, to audiences in York,” he says.

“The production is spectacular and contains all the elements that young and old will love, and we look forward to announcing the star casting very soon.”

Likewise, Grand Opera House theatre director Laura McMillan, focuses on the new era: “The annual pantomime is the biggest show in the theatre’s calendar and to be welcoming Beauty And The Beast to our stage is incredibly exciting.

“There’s nothing like pantomime to introduce children and young people to Theatre and I have no doubt that Belle, The Beast and the rest of the characters will bring so much joy this winter.”

Beauty And The Beast will run from December 7 2024 to January 5 2025. Tickets, from £15, will go on sale on Monday, March 11 at 4pm  at atgtickets.com/york.

Full story to follow.

Berwick and panto crew will be all at sea in Robinson Crusoe And The Pirates Of The River Ouse at Grand Opera House

Five mates on the River Ouse: Grand Opera House pantomime stars David Leonard, left, Martin Barrass, Suzy Cooper, dame Berwick Kaler and AJ Powell. All pictures: Charlie Kirkpatrick

EVEN after five decades of pantomayhem, York dowager dame Berwick Kaler is still setting himself new challenges at 76.

“I’ve never done a Robinson Crusoe pantomime, and now I’m discovering why!” jokes the writer and director of…Robinson Crusoe And The Pirates Of The River Ouse, his third pantomime for the Grand Opera House following his crosstown transfer after 41 years at York Theatre Royal.

Dame Berwick and his regular crew launched this winter’s sea-faring adventure at the Cumberland Street theatre at Wednesday’s press day, where perennial sidekick Martin Barrass, villainous David Leonard, golden principal gal Suzy Cooper and luvverly Brummie AJ Powell completed York pantoland’s infamous five once more.

Why tackle Robinson Crusoe now, Berwick? “I’m blaming Martin Dodd,” he says, attributing his 2023 choice of pantomime to the managing director of UK Productions, producers of the Grand Opera pantomime for a second year.

“Sometimes, when you think, ‘why’s he doing that?’, it turns out to be a brilliant show,” says Berwick Kaler as he prepares to turn Robinson Crusoe into a pantomime for the first time

“He caught me off-guard, which made me say ‘I’d like to do something a bit different this year’, and somehow that became Robinson Crusoe! But I’ve no regrets about taking it on. It’s a challenge, and fortunately I’m still up for it.”

Dig deeper and another reason emerges for Berwick’s panto pick. As with Dick Turpin, whose life ended in a flash white suit and a noose around his neck on the Tyburn gallows on April 7 1739, Robinson Crusoe has his York connections. Turpin and his horse Black Bess have twice stood and delivered in a Kaler pantomime, most recently in his Grand Opera House debut, Dick Turpin Rides Again, in 2021.

As for Robinson Crusoe, the lead character in Daniel Defoe’s 1719 tale of adventure and survival was born in York in 1632 to a middle-class upbringing. The son of a German immigrant, his surname Crusoe is an anglicised version of Kreutznaer, an amalgam of his parents’ surnames.

That much we know, but as for the rest of Crusoe’s York story, the cupboard is bare, says Berwick. “We only know that Robinson Crusoe was shipwrecked, not how his story began [in York] or how he got to the island,” he notes.

Who will panto villain David Leonard be playing in Robinson Crusoe And The Pirates Of The River Ouse? How the devil should he know!

Cue Kaler coming up with his nod to Johnny Depp’s swashbuckling Caribbean capers in his title, Robinson Crusoe And The Pirates Of The River Ouse, for the story of “the sailor from York who finds himself marooned on a desert island…but he’s not alone”.

Who will be these “Pirates of the River Ouse”? Wait and see, but just as Berwick’s 2011 Theatre Royal pantomime, The York Family Robinson, bore little relation to its 19th century source material, Swiss army chaplain Johann David Wyss’s The Swiss Family Robinson, so Berwick will find a framework for his partners in panto in a nautical setting.

For research, “I’ve re-read the story, and when I was going through some old VHS tapes I was throwing out, I found the old Peter O’Toole film, which I’ve now watched,” he says.

Have crew members David, Suzy, Martin and AJ ever read Defoe’s story? “No, but I remember the TV series,” says David. “No, but I remember the TV series,” says Martin, breaking into the theme tune. “And I know Crusoe set off from Hull [Martin’s home city].”

“We have an identity as ‘the crazy gang’,” says Suzy Cooper

“I’m the only one with a character name so far,” says AJ. “I’ll be playing Luvverly Jubberly, which I only found out from Berwick just before the press launch.” And no, he has never had Robinson Crusoe on his bookshelf.

You can imagine David Leonard’s villain in swaggering piratical garb in the Adam Ant meets Captain Hook style, but who might that character be? “I haven’t the faintest idea who the baddie is,” he admits, still in the dark about his latest venture to the dark side.

“I don’t yet know who I’ll be playing, but I don’t think I’m playing the fairy,” says Suzy, another member of the non-Robinson Crusoe reading club.

“What’s important, even more so now, is that we are family – performers and audience – and people want to celebrate that. We make those connections each year; they make them with us and with each other and that’s why Berwick’s pantomime works.”

“People will say to us, ‘we’ve booked for such and such a night’, and then they’ll say, ‘by the way, what’s the title?’,” says Martin Barrass

Berwick and co are enjoying the partnership with UK Productions. “They let us get on with it,” says Suzy. “They found that it worked last year [The Adventures Of Old Granny Goose) and they’re happy to let us do that again, saying that they’d never seen a pantomime like ours!

“They know that we have an identity as ‘the crazy gang’. What they get when they get us is they’re buying into the history of who we are and what kind of pantomime we do.”

Berwick chips in: “They’re not used to someone ad-libbing, even at rehearsals, but what I’m doing is always trying to find a better line.”

Suzy rejoins: “It must be a very tough job for whoever is on the book each performance, because the cue will come, but they really have to listen because the dialogue will change every day!”

AJ Powell: Definitely playing Luvverly Jubberly in Robinson Crusoe And The Pirates Of The River Ouse

The same applies for the signer doing the sign language, prompting Martin to recall: “When I was dressed as a seal one year, standing next to the signer, I remember saying, ‘oh, signed and sealed’!”

Also confirmed for the cast is the returning Jake Lindsay, along with Henry Rhodes, who once appeared as a bairn in a Kaler panto at the Theatre Royal and has been starring in the musical Newsies this year.

AJ Powell, by the way, has been filming for the latest series of Father Brown, “doing a bit of ballroom dancing,” as he puts it.

Come rehearsal time in November, Robinson Crusoe and those pirates will be heading for ship shape and York fashion. “Berwick hates the constraints of traditional pantomime and he’s in his element when he’s creating,” says Suzy.

Shipwrecked! Robinson Crusoe And The Pirates Of The River Ouse pantomime stars David Leonard, left, AJ Powell, Martin Barrass, Suzy Cooper and dame Berwick Kaler land on the Grand Opera House stage at Wednesday afternoon’s launch in York

“He does like to use these random titles,” says AJ, recalling 2016’s Dick Whittington And His Meerkat, for example.

“Sometimes, when you think, ‘why’s he doing that?’, it turns out to be a brilliant show,” says Berwick, as he adds Robinson Crusoe And The Pirates Of The River Ouse to that list. 

“We often find people don’t care what the show title is; they just want to come and see us as they always have,” says Martin.

“People will say to us, ‘we’ve booked for such and such a night’, and then they’ll say, ‘by the way, what’s the title?’.”

Robinson Crusoe And The Pirates Of The River Ouse will run at Grand Opera House, York, from December 9 to January 6 2023; tickets are on sale at atgtickets.com/York.

Launch date: Robinson Crusoe And The Pirates Of The River Ouse panto stars Martin Barrass, left, Berwick Kaler, Suzy Cooper, David Leonard and AJ Powell announce their return by the Grand Opera House stage door

Dame Berwick and his crew all at sea as they launch Robinson Crusoe piratical pantomime for Grand Opera House

Messing about on the river: Dame Berwick Kaler, AJ Powell and David Leonard spot an incoming Grand Opera House pantomime. Picture: Charlie Kirkpatrick

AT 76, York’s grand dame of pantomime, Berwick Kaler, is never too old to try something new.

After 41 years in his big boots and misbehaving wig at York Theatre Royal and now newly confirmed for a third season following his crosstown transfer to the Grand Opera House, he will write, direct and star in Robinson Crusoe for the first time.

Or, to give this “swashbuckling panto adventure” its full title with a nod to a certain Johnny Depp film franchise, Robinson Crusoe & The Pirates Of The River Ouse will be afloat from December 9 to January 9 2024.

Martin Dodd, pantomime producer for UK Productions’ second year at the Cumberland Street theatre, says: “Following last year’s success with The Adventures Of Old Granny Goose, we are delighted to return with another legendary Berwick Kaler pantomime in York. Ahoy me hearties…grab your tickets quick!”

Those tickets – £13 and upwards – will go on sale to ATG TheatreCard and Groups Presale today (March 23) from 10am and on general sale from tomorrow (March 24) at 10am in person at the box office or at atgtickets.com/york.

Dame Berwick and fellow piratical panto hearties David Leonard and AJ Powell launched Robin Crusoe in suitable costume in the Tuesday morning rain aboard a City Cruises self-drive boat, steered by comic sidekick Martin Barrass, making an impromptu appearance in his civvies.

Only regular co-star Suzy Cooper was not on board, but she too has been confirmed as part of the crew for the famous-in-York five’s winter return.

Laura McMillan, theatre director for the Grand Opera House York, says: “We are delighted to welcome Berwick and the wider family back this year for what will certainly be a swashbuckling family adventure. The Berwick panto is a York tradition, and we can’t wait to welcome audiences to the theatre.”

What can they expect? Dame Berwick as writer? Tick. Director? Tick. Dowager dame? Tick. The dame’s name and role? How she fits in? Er, nothing decided yet, although any variation of “Mrs Crusoe” is the odds-on favourite.

“But there definitely won’t be a Man Friday,” he says of the slave character from Daniel Defoe’s 1719 seafaring tale, The Life And Strange Surprizing Adventures Of Robinson Crusoe, of York, Mariner.

“You’ve got to get round that. I’m not ‘woke’, but for 50-odd years we’ve never insulted anybody. If we like to take the mick, we take it out of ourselves, but when you get to adapt fairy tales – or a novel, like this one – there’s a lot you have to change.”

What is promised, to quote the Grand Opera House press release, is an “hilarious take on the classic story of the sailor from York who finds himself marooned on a desert island, but he’s not alone”. Expect a “captivating tale of magic, mayhem and misunderstanding”…and mystery at this stage, because Dame Berwick’s panto is among the very first in the UK Productions stable to be announced for 2023/24.

Martin Barrass takes the wheel on the City Cruises self-drive boat as fellow Grand Opera House pantomime stars Berwick Kaler, AJ Powell and David Leonard launch Robinson Crusoe And The Pirates On The Ouse. Picture: Charlie Kirkpatrick

“Man Friday isn’t necessary to the story, and I’m used to changing things anyway. I’ve always done that in my pantomimes, changing names, or the plot, to give it some spontaneity, to make it something different.

“The problem for pantomime is that if you make it ‘woke’, it just won’t be funny, I promise you.”

The challenge is to make it work, not make it woke. “To do that, it’s about playing to the strengths of the cast, how they play their characters each year. I still have my imagination and it’s a young imagination for my age, and that’s vital for panto,” says Dame Berwick.

“We love to make it a little different, but at the same time, I don’t think anyone would go away from having ‘He’s behind you!’ in there, but we even change that a bit.”

In the first instalment of Defoe’s nautical trilogy, Robinson Crusoe introduces himself thus: “I was born in the year 1632, in the city of York, of a good family, tho’ not of that country, my father being a foreigner of Bremen, who settled first at Hull.”

Defoe’s  hero does not stay long in York, however, the call of the sea soon luring him to his shipwrecked fate. “In my story, I have to decide how far does he get up the Ouse before he meets the pirates,” says Dame Berwick.  What about Hull, the book’s starting  point. “No, not in our panto!”

Kaler’s pantomimes are no stranger to taking to the waters, whether in Dick Whittington or 2011’s The York Family Robinson or indeed the many bygone years of water slapstick for Dame Berwick and Barrass.

Will water slapstick or aquatic mishaps make a Kaler panto comeback? “You’ll be the first to know,” says Dame Berwick. “I’ve got to get water into it somehow, so I think you will see water, but I’m governed by the commercial pantomime producers and the space.

“To do a proper water scene, you do need the whole of the floor to be covered.  At the minute, I’m trying to get them to do something new and hopefully get a rocking cabin on the stage.”

Perennial panto villain David Leonard was dressed in a rather dandy wig for the City Cruises launch. “It’s a pirate theme, so they thought, ‘let’s have me looking like Captain Hook, AJ like Smee and Berwick as…well, looking like a ‘Mona Washboard’,” he says of that familiar harassed washer woman look.

As for his role, details are sketchy because Kaler will be writing “from scratch”. “He’ll be someone tall, a 6ft 3 ponce in a wig,” David speculates. “And evil,” says dame Berwick. “Oh yes, very evil.”

“Luvverly Brummie” AJ Powell has set his sets high. “I’m hoping for the title role this year. Robinson Crusoe,” he says. “But he never appears. He’s only spoken of,” jests David. “A bit like Berwick’s Mrs Fitzackerley, always mentioned but never seen!”