Tag: York St John University Creative Centre Auditorium

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What’s On in Ryedale, York and beyond. Hutch’s List No. 18, from Gazette & Herald

Climb every mountain: Rebecca Jackson in the role of Maria in Steve Tearle’s production of The Sound Of Music for NE Theatre York

THE spring weather may be perking up, but Charles Hutchinson still finds reasons aplenty to stay in the dark for cultural satisfaction.

York musical of the week: NE Theatre York in The Sound Of Music, Joseph Rowntree Theatre, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee

IN its centenary year, members of Strensall Women’s Institute have accepted NE Theatre York creative director Steve Tearle’s invitation to play the abbey nuns in this Rodgers and Hammerstein musical.

The show brings back special memories for Tearle, who played Kurt Von Trapp at the age of 11 in a professional tour in his first role in any show. This time he plays his favourite part, Max Detweiler. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Cracking the whip: Carrie Hope Fletcher’s Calamity Jane in Calamity Jane, on tour at the Grand Opera House, York. Picture: Mark Senior

Whip-cracking touring musical of the week: Calamity Jane, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm Thursday and Saturday matinees

WEST End leading lady Carrie Hope Fletcher takes the title role of fearless, gun-slinging Calamity Jane, the biggest mouth in Dakota territory and always up for a fight, in North Yorkshireman Nikolai Foster’s touring production, based on the cherished 1953 Doris Day movie.

When the men of Deadwood fall hard for Chicago stage star Adelaid Adams, Calamity struggles to keep her jealousy holstered. Here come The Deadwood Stage (Whip-Crack-Away), The Black Hills Of Dakota, Just Blew In From The Windy City and Secret Love in this Watermill Theatre production, choreographed by Nick Winston.  Box office: atgtickets.com/york.

Got it taped: Gary Oldman with the reel-to-reel tape machine in Krapp’s Last Tape at York Theatre Royal. Picture: Gisele Schmidt

York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, until May 17

OSCAR winner Gary Oldman returns to York Theatre Royal, where he made his professional debut in 1979, to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since 1989.

“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: check availability of returns on 01904 623568 or yorktheatreroyal.co.uk.

Andy Bell: New songs, solo favourites and Erasure hits at York Barbican tonight

York gig of the week: Andy Bell, Ten Crowns Tour, York Barbican, tonight, 7.30pm

ERASURE singer Andy Bell opens his tour at York Barbican on the eve of Friday’s release of his third solo album, Ten Crowns, ten tracks of  dazzling, joyous pop, produced and polished in Nashville, inspired by the dancefloor and gospel, available on vinyl, CD (standard and 2CD versions), gold cassette and digitally via Crown Recordings.

Bell’s set combines new compositions with favourites from his solo catalogue and Erasure hits aplenty. His band features his principal Ten Crowns collaborator and co-writer, Grammy-winning American producer Dave Audé, who opens tomorrow’s show with a DJ set. Box office: yorkbarbican.co.uk.

Guitar Legends: Terrific riffs galore at Milton Rooms, Malton

Tribute show of the week: Guitar Legends, Milton Rooms, Malton, Friday, 8pm,

GUITAR Legends celebrates the music of iconic guitarists such as Eric Clapton, Prince, Gary Moore, Mark Knopfler and Jimi Hendrix.

Through a blend of live music, visuals and anecdotes, the show takes a journey through rock history, showcasing tenor vocal prowess and guitar virtuosity. Box office: 01653 696240 or themiltonrooms.com.

Learlike: Greensleeved tell Shakespeare’s tragedy of King Lear from the distaff side at York International Shakespeare Festival

Festival of the week: York International Shakespeare Festival presents Greensleeved in Learlike, York St John University Creative Centre Auditorium, Saturday, 2pm

GREENSLEEVED, a female-led pan-European ensemble, premiere their show Learlike in York, presenting Shakespeare’s tragedy of King Lear but this time told by his daughters. These tyrant-children are newly in power but old in their ability for manipulation and deceit. Or are they? Even in the most corrupt homes the roots of resistance grow deep.

Greensleeved comprises performers who met at the Royal Conservatoire of Scotland: Amber Frances (Belgium), Ariela Nazar-Rosen (Poland/USA), Lucy Doig (Scotland), Julia Vredenberg (Norway) and Cecilia Thoden van Velzen (Netherlands). For the full programme to May 4 and tickets, head to: yorkshakes.co.uk.

Rob Auton: Any eyeful tower of ocular comedy at Leeds City Varieties Music Hall

The eyes have it:  Rob Auton: The Eyes Open And Shut Show, Leeds City Varieties Music Hall, Saturday, 7.30pm

“THE Eyes Open And Shut Show is a show about eyes when they are open and eyes when they are shut,” says surrealist Barmby Moor/York comedian, writer, artist, podcaster and actor Rob Auton. “With this show I wanted to explore what I could do to myself and others with language when eyes are open and shut…thinking about what makes me open my eyes and what makes me shut them.” Box office: 0113 243 0808 or leedsheritagetheatres.com.

Scouting For Girls: Heading for York and Leeds in 2026

Gig announcement of the week: Scouting For Girls, York Barbican, March 17 and Leeds O2 Academy, March 24 2026

LONDON trio Scouting For Girls will accompany the 2026 release of a new studio album with a 22-date tour that takes in York Barbican and Leeds O2 Academy next March. General ticket sales open at 10am on Friday  at yorkbarbican.co.uk and academymusicgroup.com.

Roy Stride, vocals, piano and guitar, Greg Churchouse, bass guitar, and James Rowlands, drums, last payed York Barbican in October 2021. Next year’s shows will mark the 15th anniversary of their Everybody Wants To Be On TV album too.

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Alexander Wright has a new idea for a Hamlet Show. You can question him at York International Shakespeare Festival. UPDATED

Alexander Flanagan Wright: Questions, questions and more questions about Hamlet

ALEXANDER Flanagan Wright has an idea for a show. Not Hamlet exactly, but a version that asks all the big questions in Hamlet, not only To Be Or Not To Be, at York International Shakespeare Festival tonight, tomorrow and on Wednesday.

“I’ve got an idea for a version of Hamlet,” says Alex, storyteller, playwright, dream-weaver of words, director and leading light of The Flanagan Collective, one half of Wright & Grainger and co-founder of Theatre at The Mill, Stillington, near York.

“It’s a gathering, a conversation and a collective reading. We’ll have some tea and some biscuits (I’ll provide those), we’ll read some of Shakespeare’s play together, and we’ll have a good chat.”

There’s more than that, of course, he promises. “It’s deeper than that. It’s about us being somewhere together, here and now; it’s about us grappling with our existential place in the world; it’s about us seeing how words give rise to ideas and definitions about ourselves; it’s about feeling isolated when we’re in the middle of many people. It’s about us all doing something together, whilst bits of the world are tearing us apart.

“And, like I’ve already said, it’s about having a cup of tea. It’s a new show, a new gathering, a new idea. And I’d like to invite you to come and be a part of it.”  

What should this week’s audiences expect? “I’m as intrigued to find out as you are,” says Alex, who will seat everyone in a circle and hand out pieces of paper to be filled in when he asks such questions as: “What is Hamlet about?” and “What is your favourite quote?”. At several junctures participants will need to decide if they are in the To Be or Not To Be camp

“I write plays, whereas this feels more like a chat, and I hope it’s useful and of some value. It’s NOT the play and I’m not writing a play. There’s a good one already – and it’s been done a lot,” says Alex. “I read that a production of Hamlet is being performed somewhere in the world every minute of the day!

“I’m kind of simultaneously pulling something apart while pulling people together to have a chat about it, and in saying that, I kind of mean having a chat about us in having a chat about it.

We need to talk: Alexander Flanagan Wright, book in hand for The Hamlet Show. Picture: John Saunders

“What I found myself thinking about was that people are continually producing Shakespeare plays, but why are they doing that and why is Hamlet one of the big ones?

“I was thinking about its existential discussion of our place in the world, and about what do we do when we present it; how it transcends the technical aspects of theatre making; how there are things in Hamlet that are among the best-known things in the world.

“I don’t think there’s a more famous play or a more famous line [than “To be or not to be”] or a more famous image [than Yorick’s skull], yet when Shakespeare wrote it, he was just writing a play that he felt was useful or important or he was told to write, but something about it has persisted.”

Alex previously directed an all-female production of Romeo And Juliet in St Olave’s Church, in Marygate, suffused with the spirit of rave culture, at an earlier York International Shakespeare Festival.

He has not, however, felt the urge to add his name to the ever-lengthening list of Hamlet directors. “What I’ll be doing is going directly to the bits that ask questions and skipping the rest,” says Alex, who found his copy of the play from his Easingwold schooldays – never returned  to the school library resources – to do his research.

“No-one needs me to direct Hamlet. That’s not presciently useful,” he says. “I don’t think just doing a production of Hamlet necessarily facilitates the discussion in the way we watch things today, but I do think that having a discussion about how we perceive things, how we exist as a society, is useful.

“That conversation can get more defensive, but to approach it from a ‘defence’ viewpoint doesn’t allow much room for manoeuvre, creativity or passion, because you’re just worried about whether you’re saying the right or wrong thing, but talking about 17th century Denmark doesn’t have the same fear.

“By saying we’re going to talk about Hamlet, rather than Ukraine or Trump, opens it up, but the first thing in Hamlet is a discussion about war and the useless notion of who owns what. That’s all laid out in the first six pages and then all the existential discussions take place after that.”

Taking note: Alexander Flanagan Wright collects audience suggestions at The Hamlet Show. Picture: John Saunders

Alex continues: “The play is saying that warfare is cruel and not good for the people, which sounds so familiar, and within that context a lot of people in the play are saying ‘what am I supposed to be doing in the face of all this injustice?. What should I be doing?’.

“I’m not saying that I have come up with the answers but I think it’s good to sit down with a cup of tea and have a think about it on a Tuesday night or Wednesday morning, and then we shall crack on with the day.”

This is the time for tea, a chat and “to be or not to be”, in a show with a five-act structure to mirror Hamlet: exposition; rising action; climax; falling action and resolution. “We’ll just read bits together and talk about them. There are some things I would like to lay; some things that I think we should read, and sometimes it’ll be me listening to others talking about it,” says Alex.

“Have you noticed how no-one listens in Hamlet? Everyone just talks.There are so many people dead by the end, and you think, ‘did anyone stop to ask anyone how they were feeling’ until Guildenstern asks Hamlet how he is.

“So, in a play where no-one listens, it will be good to have a discussion about us now, just as Hamlet discusses what has led them there. Our responsibility is to have a discussion about where we are going, in the 21st century here and now, and what’s next.”

Maybe, as Alex, speculates, there is a third option: to be or not to be or to let it be.

To be or not to be at Rise@Bluebird Bakery, Acomb, York, tonight at 8.30pm, or York St John University Creative Centre Auditorium, tomorrow at 10am, or Micklegate Social, Micklegate, York, on Wednesday, 7.30pm, you decide. To book, head to yorkshakes.co.uk. Running time: up to 90 minutes

Did you know?

A scene from Hamlet Hail To The Thief. Picture copyright: Manuel Harlan

ADDING to the list of Hamlet being performed somewhere in the world every minute of the day is Hamlet Hail To The Thief, premiering at Factory International’s Aviva Studios, Manchester, from April 27 to May 18 and the Royal Shakespeare Theatre, Stratford-upon-Avon, from June 4 to 28.

Shakespeare’s great tragedy and Radiohead’s seminal album collide for a feverish experience that fuses theatre, music and movement in a frenetic distillation of Shakespeare’s play, where Elsinore has become a surveillance state and “hectic runs in the blood of its citizens”. 

Hamlet Hail To The Thief centres on Hamlet and Ophelia’s awakening to the lies and corruption revealed by ghosts and music. Paranoia reigns and no-one is spared a tragic unravelling.

Thom Yorke, left, Tom Knowles and Justin Levine in rehearsal room for Hamlet Hail To The Thief. Picture copyright: Manuel Harlan

In this adaptation, music becomes an integral part of the narrative. Radiohead frontman Thom Yorke has reworked Radiohead’s 2003 album into a deconstructed score that illuminates the text and is performed by live musicians.

The production is co-created by Yorke and directors, Steven Hoggett and Christine Jones. Hoggett is a founder member of Frantic Assembly, whose credits include Sweeney Todd, The Curious Incident Of The Dog In The Nighttime and Black Watch. Jones is the creator and artistic director of Theater For One, and director of the immersive nightclub experience Queen Of The Night. 

Their projects together as choreographer and designer include Harry Potter And The Cursed Child, American Idiot and Let The Right One In.

Bringing together the innovation of Factory International and the legacy of the Royal Shakespeare Company, Hamlet Hail to the Thief will move from a vast Manchester warehouse to an Elizabethan RSC stage. Please note, Radiohead do not perform in this production. Box office: rsc.org.uk/hamlet-hail-to-the-thief.

To be or not to be at Rise@Bluebird Bakery, Acomb, York, tonight at 8.30pm, or York St John University Creative Centre Auditorium, tomorrow at 10am, or Micklegate Social, Micklegate, York, on Wednesday, 7.30pm, you decide. To book, head to yorkshakes.co.uk. Running time: up to 90 minutes

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More Things To Do in York and beyond when theatre goes on trial. Here’s Hutch’s List No. 18, from The York Press

Gary Oldman in the York Theatre Royal auditorium, where his production of Krapp’s Last Tape is in its second week. Picture: Gisele Schmidt

FANCY serving on a jury in a true crime thriller? Find out how in Charles Hutchinson’s guide to going out.

York theatre event of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, until May 17

OSCAR winner Gary Oldman returns to York Theatre Royal, where he made his professional debut in 1979,  to perform Samuel Beckett’s melancholic, tragicomic slice of theatre of the absurd Krapp’s Last Tape in his first stage appearance since 1989.

“York, for me, is the completion of a cycle,” says the Slow Horses leading man. “It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” Tickets update: check availability of returns on 01904 623568 or yorktheatreroyal.co.uk.

James Bond Concert Spectacular: Celebrating the music of the long-running film series. Picture: Bryan Marshall

Film music event of the week James Bond Concert Spectacular, Grand Opera House, York, Sunday, 7.30pm

CAROLINE Bliss, who played Moneypenny in The Living Daylightsand Licence To Kill, will be the compere for Q The Music’s James Bond Concert Spectacular, sharing anecdotes from her film appearances.  

Focusing not only on Bond theme songs, such as Goldfinger, Diamonds Are Forever, Live And Let Die and Nobody Does It Better, the show also pays homage to the complete canon, covering chase music, incidental cues and suites from across the series. Box office: atgtickets.com/york.

You are the jury: Murder Trial Tonight III, in court at York Barbican on Tuesday

Courtroom drama  of the week: Tigerslane Studios presents Murder Trial Tonight III – The Doorstep Case, York Barbican, April 29, 7pm

“THIS isn’t just a theatre play; it’s a social experiment,” says Murder Trial Tonight’s West End director, Graham Watts. “We aim to challenge perceptions and engage our audience in a way that goes beyond traditional theatre.”

Welcome to Tigerslane Studios’third season of  Murder Trial Tonight – The Doorstep Case, wherein storytellers, technicians and performers break down the fourth wall and bring true-crime stories to life. The show begins on screen, giving the backdrop to the case, followed by a live murder trial, with the audience as the jury. Box office: yorkbarbican.co.uk.

Carrie Hope Fletcher: Shooting from the hip and lip in Calamity Jane at the Grand Opera House, York

Whip-cracking musical of the week: Calamity Jane, Grand Opera House, York, April 29 to May 3, 7.30pm and 2.30pm Wednesday, Thursday and Saturday matinees

WEST End leading lady Carrie Hope Fletcher takes the title role of fearless, gun-slinging Calamity Jane, the biggest mouth in Dakota territory and always up for a fight, in North Yorkshireman Nikolai Foster’s touring production, based on the cherished 1953 Doris Day movie.

When the men of Deadwood fall hard for Chicago stage star Adelaid Adams, Calamity struggles to keep her jealousy holstered. Here come The Deadwood Stage (Whip-Crack-Away), The Black Hills Of Dakota, Just Blew In From The Windy City and Secret Love in this Watermill Theatre production, choreographed by Nick Winston with musical supervision by Olivier, Grammy and Tony Award winner Catherine Jayes. Box office: atgtickets.com/york.

Karine Polwart’s poster artwork for her Feather & Ether Tour show at Pocklington Arts Centre

Folk gig of the week: Karine Polwart, Feather & Ether Tour, Pocklington Arts Centre, April 30, 8pm

THIS year marks 25 years since Karine Polwart embraced a full-time career as a Scottish folk singer and 20 years since she scooped three BBC Radio 2 Folk Awards with  her debut solo album Faultlines. 

Her Feather & Ether Tour is a rare chance to enjoy her in intimate, conversational solo performance. Expect a clutch of new songs and wonder tales and an night of curiosity and compassion from Polwart, songwriter, theatre-maker, broadcaster and storyteller, whose work evokes a richness of place, hidden histories, scientific enquiry and folklore. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Learlike: King Lear re-told from the distaff side in the UK premiere at the York International Shakespeare Festival

Festival of the week: York International Shakespeare Festival presents Greensleeved in Learlike, York St John University Creative Centre Auditorium, May 3, 2pm

GREENSLEEVED, a female-led pan-European ensemble, premiere their show Learlike in York, presenting Shakespeare’s tragedy of King Lear but this time told by his daughters. These tyrant-children are newly in power but old in their ability for manipulation and deceit. Or are they? Even in the most corrupt homes the roots of resistance grow deep.

Greensleeved comprises performers who met at the Royal Conservatoire of Scotland: Amber Frances (Belgium), Ariela Nazar-Rosen (Poland/USA), Lucy Doig (Scotland), Julia Vredenberg (Norway) and Cecilia Thoden van Velzen (Netherlands). For the full programme to May 4 and tickets, head to: yorkshakes.co.uk.

Rob Auton: Any eyeful tower of ocular comedy at Leeds City Varieties Music Hall

The eyes have it:  Rob Auton: The Eyes Open And Shut Show, Leeds City Varieties Music Hall, May 3, 7.30pm

“THE Eyes Open And Shut Show is a show about eyes when they are open and eyes when they are shut,” says surrealist York/Barmby Moor comedian, writer, artist, podcaster and actor Rob Auton. “With this show I wanted to explore what I could do to myself and others with language when eyes are open and shut…thinking about what makes me open my eyes and what makes me shut them.” Box office: 0113 243 0808 or leedsheritagetheatres.com.

Scouting For Girls: Heading for York and Leeds in 2026

Gig announcement of the week: Scouting For Girls, York Barbican, March 17 and Leeds O2 Academy, March 24 2026

LONDON trio Scouting For Girls will accompany the 2026 release of a new studio album with a 22-date tour that takes in York Barbican and Leeds O2 Academy next March. Fans who pre-order the Wolfcub Edition at scoutingforgirls.os.fan will receive access to a ticket pre-sale that opens at 10am on April 30. General sales follow from 10am on May 2 at yorkbarbican.co.uk and academymusicgroup.com.

Roy Stride, vocals, piano and guitar, Greg Churchouse, bass guitar, and James Rowlands, drums, last payed York Barbican in October 2021. Next year’s shows will mark the 15th anniversary of their Everybody Wants To Be On TV album too.

In Focus: NE Theatre York in The Sound Of Music, Joseph Rowntree Theatre, York, April 29 to May 3, 7.30pm plus 2.30pm Saturday

NE Theatre York’s cast for The Sound Of Music at the JoRo

TWO Marias, two Captain Von Trapps, three groups of Von Trapp children and multiple members of Strensall Women’s Institute, plus a dog, add up to NE Theatre York’s production of The Sound Of Music.

In its centenary year, Strensall Women’s Institute has accepted creative director Steve Tearle’s invitation to play the abbey nuns – and sing several big numbers – in the heartwarming Rodgers and Hammerstein musical.

The show brings back special memories for Tearle, who played Kurt Von Trapp at the age of 11 in a professional tour in his first stage role.

NE Theatre York creative director Steve Tearle with his dog Millie Bell

“I’ve always loved this show, and remembering my experience of it always fills me with
joy. Fast forward to 2025 and I get to produce this famous musical and play my personal
favourite part in the show, Max Detweiler,” says Steve, whose dog, Millie Bell, will make an appearance in the canine role of Max’s dog.

Tearle’s cast features newcomers aplenty to the stage. “NE Theatre prides itself on giving
people of all ages the confidence to perform on stage, and this is the perfect
opportunity with more than 20 people who have never performed before,” he says.

NE Theatre York in rehearsal for The Sound Of Music

“We’re producing the show with all the elements that everyone loves but keeping with the
West End trend of scaled-back sets and using lighting effects to highlight the action. The
focus, as always, will be on the talent of the actors on stage and giving everyone a moment
to shine.”

Maia Beatrice and Rebecca Jackson will alternate the role of Maria while Matthew Clarke and Chris Hagyard will do likewise as Captain Von Trapp. NE Theatre stalwart Perri Anne Barley will play Mother Abbess; Ali Butler and Aileen Hall will take turns as Baroness Elsa. Tearle is joined in the production team by musical director Joe Allan.

NE Theatre’s production coincides with a brace of landmarks: the 60th anniversary of Robert Wise’s film starring Julie Andrews as the singing nun and the 90th anniversary of the Joseph Rowntree Theatre.

Rebecca Jackson in the role of Maria in Steve Tearle’s production of The Sound Of Music for NE Theatre York

Quick refresher course: The Sound Of Music is based on the real-life story of the Von Trapp family of singers, one of the world’s best known concert groups in the era immediately preceding the Second World War.

When Maria, a tomboyish postulant at an Austrian abbey, becomes governess to a widowed naval captain’s seven children, she brings a new love of life and music into the home. Among the much-loved songs are My Favourite Things, Climb Every Mountain, Do Re Mi, Sixteen Going On Seventeen, Edelweiss and The Sound of Music.

A number of tickets are being given to charities. Hurry, hurry to secure a seat as April 29, May 1 and May 2 are down to “last few tickets”, availability is limited for April 30 and both May 3 performances have sold out. Box office: 01904 501935 or josephrowntreetheatre.co.uk.