YORK Theatre Royal has signed up two new pantomime recruits for Snow White And The Seven Dwarfs’ run from December 4 to January 3 2027.
West End star Jenny Gayner will take to the dark side as the Wicked Queen while Dean Whatton, from Game Of Thrones, will lead the ‘Seven’ in the role of Sarge.
Jenny and Dean join Richard David-Caine (Horrible Histories, Swashbuckle, Horrible Science) and Theatre Royal panto favourites Robin Simpson and Tommy Carmichael, who return after delighting audiences in last winter’s Sleeping Beauty.
Jenny Gaynor
Jenny has starred in a wide range of musicals, playing Baroness Bomburst in the UK tour of Chitty Chitty Bang Bang, Lina Lamont in Singin’ In The Rain (Sadler’s Wells Theatre and UK/international tour) and as Mum in Gangsta Granny (West End/UK tour).
Jenny’s credits also include Annie (UK tour); The Girls (West End – Original London cast); Chicago (West End/UK tour); A Chorus Line (Lowry Theatre) and Monty Python’s Spamalot! (West End). Television credits include The Power (Amazon Prime), The Trial (Channel 5), Elysse – Entanglement (Amazon Prime) and Material Girl (BBC).
After starting in the entertainment business while still at school, Dean will be appearing in his 18th pantomime this winter. His credits include See How They Run (UK tour), Love’s Labour’s Lost and Richard III (Northern Broadsides/UK tour) and Macbeth (Derby Shakespeare Company).
Dean Whatton’s Sarge
Dean’s film and television credits take in Game Of Thrones (HBO), Call The Midwife (BBC), Life’s Too Short (BBC), Star Wars Episode VII The Last Jedi and Harry Potter And The Deathly Hallows Part II.
Snow White And The Seven Dwarfs is written by regular writer Paul Hendy, directed by Juliet Forster and co-produced with Hendy’s award-winning Evolution Productions, the team behind such Theatre Royal pantomimes as Jack And The Beanstalk, Aladdin and 2025’s Sleeping Beauty.
Juliet Forster, creative director at York Theatre Royal, says: “Panto season is fast approaching and our cast for this year is shaping up to be truly amazing! Jenny and Dean are both super-talented and are fantastic additions to the show. Tickets are selling fast, with some performances already selling out, so make sure you book your seats early to catch the show.”
Family tickets are available for all performances with savings of up to £61 on bookings with four tickets. Box office: 01904 623568 or yorktheatreroyal.co.uk.
GREG Doran, former Royal Shakespeare Company artistic director, York Millennium Mystery Plays director and renowned Shakespearean, brings his revival of Shakespeare’s narrative poem Venus And Adonis to York Theatre Royal tomorrow and Wednesday.
Narrated live by esteemed actor Simon Russell Beale and animated by world-class puppeteers Bartolomeo Bartolini, Edie Edmundson, Rachel Leonard, Lee Maeda and Sarah Wright with live musical accompaniment, this unique production blends comedy, tragedy and Shakespeare’s poetry to bring the story of Venus and her obsession with the handsome Adonis to life in a rich, captivating 60-minute theatrical experience.
Drawing inspiration from the bewitching artistry of Japanese Bunraku puppets and the Jacobean Court Masque, this spellbinding production tells the story using marionettes, rod, shadow and table-top puppets, designed and created by Lyndie Wright.
Produced originally by the Royal Shakespeare Company and Little Angel Theatre, Doran’s staging of this powerful erotically-charged story of unrequited love marks his return to York 26 years since his 2000 production of the Mystery Plays in the Minster.
“I can recall being able to remember every member of the cast’s name because they had become so memorable to me, after pretty much everyone who auditioned got a part, especially the men, who are always in short supply,” he recalls.
“I remember being inspired by the Minster itself, like when Rob Jones, the designer, and I were trying to work out how to do The Flood [for Noah’s Ark] and we settled on two huge pieces of blue material filling the Nave.
“Then we thought, how do we do the rainbow – and I realised there were seven arches in the Quire, which Michael Gunning, the lighting designer, lit to create this wonderful Gothic rainbow.”
Venus And Adonis narrator Simon Russell Beale
Greg reflects: “The Mystery Plays remains not only a highlight of my career but my life too. I used to come to York every Corpus Christi day, from the Jesuit College in Preston, and it was a great occasion in 2000 to celebrate York’s two great cultural beacons: the Minster and the Mystery Plays.
“Brought up as a Catholic, I’m loathe to say I’m a lapsed Catholic, but I jumped away because of its position on homosexuality, but there’s something life enhancing and moving about these extraordinary Mystery Plays.”
Attention turns to Venus And Adonis, a production first staged when the Prince of Wales [now King Charles III], president of the RSC, invited the company to Highgrove House for a development event.
“Adrian Noble [RSC artistic director at the time] said to me, it won’t need to be very long, it won’t have many actors, and I thought, ‘rather than doing familiar scenes, why not do Venus And Adonis?’, which rather shamefully I’d never read. When I did, I just found it hysterically funny, and then it turns into a tragedy, and in that moment, I thought it would be great to do it.”
Toby Stephens’s Adonis and Alexandra Gilbreath’s Venus were complemented by Antony Sher’s Narrator. “It went extraordinarily well,” Greg recalls. “The next outing came at a villa garden in Florence where I invited Judi Dench, who is known for her love of Florence, to play Venus.”
Greg recalls Adrian Noble’s enthusiasm for Venus And Adonis. “He came up on stage at Highgrove to make his speech, then ripped up his notes, and said, ‘what this poem does is explain why Shakespeare is so great, with extraordinary characterisation, the most beautiful poetry and, with it’s wonderful fusing of comedy and tragedy, it’s Shakespeare in miniature’.”
Greg Doran’s 2017 production of Venus And Adonis. Picture: Lucy Barriball
After seeing the Bunraku Puppets, Greg was struck by the possibility of integrating puppetry into Venus And Adonis. “I just thought, this is a great opportunity to see if they could be involved after seeing these exquisite puppets manipulated by these master puppeteers, where the puppetry was of such a high quality,” says Greg.
“It became a company favourite and I put it down as one my favourite shows I did at the RSC because of the level of craftsmanship. I loved working with those puppeteers.”
This year’s revival was sparked by a call to Greg. “The RSC got in touch with me one day to say, ‘look, there’s still this great box of puppets…what would you like to do with it?’. I knew that meant, ‘can you clear it out, please, because we need the space’ and they’ve since taken puppetry to another level,” he says.
“What was lovely was that a whole series of people came out of the woodwork and said ‘we’d like to help you’, including the Backstage Trust providing seed funding and Mark Pigott coming on board as executive producer.”
Oxford Playhouse, Cambridge Arts Theatre, Europe’s biggest Shakespeare festival, in Craiova, Romania, and The Pit at the Barbican (London) were all confirmed for performances, along with York Theatre Royal. “Knowing that York has a proven interest in history and Shakespeare, it seemed a good place to bring it,” says Greg.
Better still will be the presence of Russell Beale, last in York for An Evening with Simon Russell Beale at the Theatre Royal in September 2024: “I was delighted when Greg asked me to join him in his production,” says the narrator. “I saw it just over 20 years ago and remember it vividly as a delicate and witty interpretation of this sexy, sad and funny poem.”
Venus And Adonis, York Theatre Royal, tomorrow, 7.30pm; Wednesday, 2pm (with post-show discussion with Greg Doran) and 7.30pm. Age guidance: 14 plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Greg Doran: back story
JOINED Royal Shakespeare Company as an actor in 1987; ,became its artistic director in 2012, stepping down a decade later. Directed every play in the First Folio. Notable productions include Antony & Cleopatra with Harriet Walter and Patrick Stewart; Hamlet and Richard II with David Tennant; All’s Well That Ends Well with Dame Judi Dench and a digitally pioneering production of The Tempest with Simon Russell Beale.
His production of Julius Caesar with an all-Black British cast was described by the Guardian theatre critic Michael Billington as one the ten best productions in the 60-year history of the RSC.
Greg’s long relationship with his late husband, Sir Antony Sher, produced many acclaimed productions, including Titus Andronicus, Macbeth, The Winter’s Tale, Othello, Henry IV (Parts 1&2) and King Lear.
He initiated the RSC’s Live From Stratford-upon-Avon programme, broadcasting to cinemas around the world and streaming into UK schools for free.
Honorary senior research fellow of the Shakespeare Institute; trustee of Shakespeare Birthplace Trust; honorary associate of British Shakespeare Association. Awarded Pragnell Shakespeare Prize in 2023; became president of Stratford Shakespeare Club on its 200th anniversary.
Knighted for his services to theatre in 2024.
Recent work includes Richard III, with Arthur Hughes, the first disabled actor to play the role for RSC; Cymbeline, marking 50th production for Royal Shakespeare Company; The Two Gentlemen Of Verona as Cameron Mackintosh Visiting Professor at Oxford University; Gogol’s The Government Inspector at Chichester.
Greg’s book, My Shakespeare : A Director’s Journey Through The First Folio, published by Bloomsbury is now out in paperback. His quest to see as many extant copies of the First Folio across the globe (2023/4) is the subject of his latest book, Walking Shadow: Love Loss And Shakespeare, published by Bloomsbury in April 2026.
Jordan Eskeisa, Marienella Phillips, Chelsea Da Silva (The Enormous Crocodile), Precious Abimbola and Ciara Hudson in a scene from The Enormous Crocodile. Picture: Danny Kaan
TWO days gone, only two to go, so let’s make this review snappy.
He’s green, he’s greedy, he’s grumptious. Now he’s been transformed into a “crocmobile”, steered by Chelsea Da Silva through the heat and sounds of the Theatre Royal Jungle.
The Enormous Crocodile is a horrid, hungry yet still lovable anti-hero as Roald Dahl’s 12-page picture book is stretched into a 55-minute mischievous musical for age three upwards.
Cue bouncy music by composer Ahmed Abdullahi Gallab; humorous book and lyrics by Suhayla El-Bushra; luscious jungle greenery and fabulous costumes, bird plumage and scout camouflage by Fly Davis.
All topped off by Toby Olié’s puppetry, inventive, playful and never hiding the cast who are working them (Precious Abimbola, Jordan Eskeisa, Ciara Hudson and Marienella Phillips). The Jungle Juniors scout puppets are a particular delight, vaudeville in style, performed by actors on their knees.
The Croc of the title takes several forms: body parts in the swamp; a head, body and tail carried above the actors’ heads; the ‘crocmobile’ swaggering around the jungle. Then come assorted disguises as Croc brags about his “secret plans and (not-so) clever tricks”, only for his boastful buffoonery to be outwitted by fellow jungle creatures (exotic bird, nut-throwing monkey, very windy hippo and Trunky the elephant).
Director Emily Lim describes the show as “an explosion of radical joy”; Olié’s three words are “bombastic”, “gregarious” and “emotional”. Your reviewer most enjoyed the puppetry, especially the Egyptain Plover birds, picking at the Croc’s like dentists.
Plus points too: the new touring cast’s camaraderie; the audience participation and the Sizzle Like A Sausage finale as, spoiler alert, Da Silva’s defeated Croc returns, reduced to a green sausage and angel wings.
A sizzling sausage for such sizzling weather, how apt.
Roald Dahl Story Company, Leeds Playhouse and Regent’s Park Open Air Theatre present Roald Dahl’s The Enormous Crocodile, York Theatre Royal, today and tomorrow, 10.30am and 1.30pm.Age guidance: Three plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Stewart Lee confronting his inner beast in the poster for Stewart Lee vs The Man-Wulf
EIGHTEEN months ago, contrarian comedian Stewart Lee played five nights at York Theatre Royal as he cut his lupine teeth on Stewart Lee vs The Man-Wulf.
How has the show moved on as he returns for three more nights in York, switching to the Grand Opera House? After a re-write in January, the basic structure remains the same, Lee ambling on stage in billowing shirt to say he still doesn’t know quite what the show is about, whether it’s even worth him doing it, but those fangs are even sharper. “I’m not a stand-up,” he asserts. “I’m more of a literary artist.”
He turns convention on its head once more by being both acerbic, acid-witted entertainer and heckler. Last time, he chided the audience for York giving him his flattest night on his previous tour, when he had picked the Theatre Royal to record his TV and DVD release. “You ruined it,” he grouched.
This time, he may have sold out everywhere else on tour, he says, but the Grand Opera House was, in his words, “only half full”, and those who had turned up would be berated on behalf of those who had failed to do so. Tonight and Saturday’s shows have plenty of ticket availability too, especially in the Grand Circle, so the digs will no doubt continue.
Please note, Lee’s curmudgeonly schtick is delivered with good cheer in becoming a running joke. It will be the absent York’s fault that we miss out on two “toppers” as we fail to laugh in sufficient number to merit them; even the dry-ice smoke to signify his transition into the Man-Wulf will emerge from only one side, to match the “half-empty” auditorium. It had behaved erratically at the Theatre Royal too, but this time the pay-off gibe is better.
By now in his tuxedo jacket, Lee knocks out his topical five gags, set in place 18 months ago, but in need of constant updates and revisions. He takes pot-shots at Ricky Gervais, Jimmy Carr, Russell Brand, the BBC’s Laura Kuenssberg and Gregg Wallace (later to rise above the stage as the face of the Moon). Musk and Trump too. Always deadpan, but always deadly accurate.
Amid the constant cajoling of his audience, he can be self-deprecating too, returning every so often to the ever-lengthening list of unflattering Lee lookalikes. He keeps you on your toes throughout, even spotting the gum-chewing of an occupant of a dress circle box, and he likes to ask questions to which he will then deliver a smarter response than the audience member proffered
That said, York was in blunt mood on a hot night. “Please leave me alone,” requested one voice from the stalls, when asked a second question. “I wasn’t listening,” said another, after Lee sought a comment of his transition into the Man-Wulf of the title.
“We’d all love not to care and be off the hook,” he speculates once more, as he did at the Theatre Royal. “To not be accountable.” Like how a werewolf or vampire thinks. Except that Lee holds everything to be accountable: politicians, fellow comedians, York audiences.
When he asks a woman if she would prefer to be a vampire or a werewolf, she picks the vampire on account of the werewolf ‘s thick fur, a choice perhaps influenced by the June heat wave: conditions that Lee would soon be experiencing in the opening to Act Two, dressed in his £6,000 werewolf costume.
First up, he was telling liberal jokes in a liberal way. Now, after I’m The Man-Wulf, the song commissioned by Lee from Scottish garage-punk band The Primevals, had played throughout the interval, he was in his lupine attire for his pastiche of the comedy of offence perpetrated by Netflix-marketed, 60-million dollar, right-leaning stand-up comedians.
Cue reactionary jokes told in a reactionary way in a gruff American accent, in front of a New York skyline: grotesque, awkward, yet devilishly witty in its deconstruction.
To complete the experiment, he tries out reactionary jokes told in a liberal, left-leaning way, by now stripped down to tour T-shirt, boxers and the wolf’s head.
Above all, you will revel in his turn of phrase; how he picks up on American comic Dave Chappelle’s misuse of grammar; his request for Dave Allen storytelling lighting; his restless curiosity; his knowledge of experimental jazz and stone monuments, his way of being shambling but never rambling; his mimicry of Bob Dylan’s ever-worsening singing in concert; his boundless despair at humanity.
Stewart Lee vs The Man-Wulf, Grand Opera House, York, tonight and tomorrow, 7.30pm. Box office: atgtickets.com/york.
Dan Wood, left, Stephen Wright, Lotty Farmer, Rosa Burns, Hannah Shaw and James Dickinson in York Light Opera Company’s production of The 25th Annual Putnam County Spelling Bee
A SNAPPY crocodile and a Man-Wulf, a spelling bee musical and the York Mystery Plays on wagon wheels keep Charles Hutchinson’s arty eye on the ball and off the football.
Musical of the week: York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, today to Saturday & June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026)
NEIL Wood directs York Light in Rebecca Feldman, William Finn and Rachel Sheinkin’s musical account of six ‘mid-pubescents’ battling for the spelling championship of a lifetime. While candidly disclosing stories from their home life, the tweens spell their way through a series of words hoping to never hear the bell that signals a mistake.
Cue a heart-warming message that highlights themes of friendship, identity and perseverance, all while celebrating the awkwardness and excitement of growing up. Box office: tickets.41monkgate.co.uk.
Jordan Eskeisa, left, Marienella Phillips, Chelsea Da Silva (The Enormous Crocodile, front), Precious Abimbola and Ciara Hudson in Roald Dahl’s The Enormous Crocodile The Musical. Picture: Danny Kaan
Mischievous adaptationof the week:Roald Dahl Story Company in Roald Dahl’s The Enormous Crocodile The Musical, York Theatre Royal, tomorrow to Sunday, 10.30am and 1.30pm
ROALD Dahl’s Enormous Crocodile is weaving his way through the jungle in search of delicious little fingers and squidgy podgy knees. Only fellow jungle creatures can foil his “secret plans and clever tricks”, but they need courage aplenty to stop this greedy, grumptious, horrid brute.
Equipped with Ahmed Abdullahi Gallab’s tunes, Suhayla El-Bushra’s rib-tickling book and lyrics and Tom Brady’s additional music and lyrics, the dastardly family adventure has been developed and directed by Emily Lim, working in tandem with co-director and puppetry designer Toby Olié. Chelsea Da Silva, Precious Abimbola, Jordan Eskeisa, Ciara Hudson, Marienella Phillips and actor-musician René Francalanza star.Age guidance: Three plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Stewart Lee’s illustration for Stewart Lee vs The Man-Wulf, on tour for three nights at Grand Opera House, York
Comedy gigs of the week: Stewart Lee vs The Man-Wulf, Grand Opera House, York, tomorrow to Saturday, 7.30pm
AFTER a five-night Theatre Royal run in the fledgling days of Stewart Lee vs The Man-Wulf in January 2025, the contrarian comedian returns to York for three more nights of testing whether the beast inside us all can be silenced with the silver bullet of Lee’s scalpel-sharp stand-up?
Lee will play the same material three ways: first up, telling liberal jokes in a liberal way, then, after a screaming transformation into the Man-Wulf, reactionary jokes in a reactionary way post-interval and, finally, wolf’s head removed, reactionary jokes in a liberal, left-leaning way. Box office: atgtickets.com/york.
The Moorlands Blues Band: Playing at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents The Moorlands Blues Band, Milton Rooms, Malton, tomorrow, 8pm
IN The Moorlands Blues Band, the powerhouse blues ensemble founded by seasoned musicians Giuseppe Vitale and Rod Mackay is joined by Owen Houlston on voice and guitar. In high-energy performances of soulful depth, they play everything from the rawness of Old Delta Blues to the swing of Jump Blues and the gritty soul of Chicago Blues. Box office: 01653 696240 or themiltonrooms.com.
Karl Mullen: Everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, at The Old Paint Shop
Cabaret gig of the week: The Old Paint Shop presents Karl Mullen, York Theatre Royal Studio, Friday, 8pm
AFTER two Old Paint Shop gigs last year, Karl Mullen, upright-piano busker, Phoenix Inn fixture and Leeds Piano Competition Pub Piano Champion, completes his hat-trick, serving up his energetic take on everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, packed with outrageous and heartfelt stories from decades of gigging. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Coastal gig of the week: Pete Tong, Ibiza Classics, TK Maxx presents Scarborough Open Air Theatre, Friday, gates open at 6pm
FROM the sun-soaked shores of Ibiza to the world’s biggest stages, Pete Tong has redefined live dance music over more than 30 years of pushing boundaries and supporting new talent.
After celebrating the tenth anniversary of Ibiza Classics with four sold-out nights at the Royal Albert Hall, he heads to the Yorkshire coast with The Essential Orchestra, having first visited Scarborough Open Air Theatre in 2023. Box office: scarbroughopenairtheatre.com.
Becky Hill: Performing after Saturday’s race meeting on Knavesmire
Under starter’s orders: Becky Hill, Summer Music Saturday, York Racecourse, Saturday, first race at 1.20pm
BECKY Hill, two-time BRIT Award winner for Best Dance Act, opens the summer of post-racing concerts at York Racecourse, promising a high-energy performance on the “Glastonbury-style stage” after seven races. For her set list, she can pick from such hits as Gecko; Back & Forth; Wish You Well; Lose Control; Better Off Without You; Heaven On My Mind; Remember; My Heart Goes; Run; Crazy What Love Can Do; History and Disconnect. For race-day tickets, go to: yorkracecourse.co.uk.
York Mystery Plays: Returning to streets of York on June 28 and July 5
Theatrical event of the week: The York Mystery Plays, streets of York, June 28 and July 5, 10.30am to 4.50pm; Sunset In The Shambles Market, June 30 and July 1, 7.45pm
THE four-yearly staging on the York Mystery Plays on pageant waggons take place at four locations across the city: free viewing at the Minster Refectory Gardens, Deansgate, (from 10.30am) King’s Square (from 11.10am), St Sampson’s Square (from 11.50am) and ticketed seats at Dean’s Park (from 12.30pm). Ten core plays will be complemented by further extracts to tell the story from The War In Heaven to Doomsday. For full details, go to: yorkmysteryplays.co.uk.
Special midsummer performances of five plays will be held in Shambles Market on June 30 and July 1, introduced by the York Waits musicians before Pageant Master Dr Alan Heaven guides the audience through each play, from the Creation sequence to the End of Days in the interactive show Doomsday. These shows begin at 7.45pm and end as the dusk is deepening before 10pm. Tickets: ticketsource.com/york-festival-trust.
The Choir Of Man: Harmony singing to the max at Grand Opera House, York. Picture: The Other Richard
Foot-stomping musical celebration of the week: The Choir Of Man, Grand Opera House, York, June 30 to July 2, 7.30pm; July 3, 4pm and 8pm; July 4, 2.30pm and 7.30pm
SET in the on-stage pub The Jungle, The Choir Of Man is billed as “the best trip to your local you’ll ever have” as a cast of nine (extra)ordinary guys combine beautiful harmonies and foot-stomping singalongs with tap dance and soulful storytelling in an uplifting celebration of community and friendship.
The debut UK & Ireland tour cast features Gustav Melbardis as Maestro; Oluwalonimi (Nimi) Owoyemi as Poet; Levi Tyrell Johnson as Hard Man; Ben Mabberley as Joker; Rob Godfrey as Beast; Jack Skelton as Handyman; Joshua Lloyd as Barman; Sam Walter as Romantic and Aaron Pottenger as Bore performing Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns N’ Roses, Avicii and Katy Perry hits. Box office: atgtickets.com/york.
Al Dunn, Matt Freeman and Nick Bunt in Oh Zeus! on Le Navet Bete’s fifth visit to York Theatre Royal. Picture: Mark Senior
A MYTHOLOGICAL farce and Lenny Henry at large, a snappy crocodile and a Man-Wulf, a spelling bee musical and a mirrored installation keep Charles Hutchinson’s arty eye on the ball and off the football.
Greek comedy of the week: Le Navet Bete in Oh Zeus!, York Theatre Royal, today, 2pm and 7.30pm
EXETER’S chaotic comedy specialists, Le Navet Bete, conduct a riotous ride through Ancient Greece, the Underworld and back in Oh Zeus! Written by director John Nicholson and company founders Al Dunn, Nick Bunt and Matt Freeman, this mythological farce finds the stability of Olympus being threatened by the marriage of Zeus’s daughter, Hebe, to a mere mortal, whereupon the King of the Gods hatches a plan to derail the wedding.
Expect physical comedy, outrageous jokes and fast-paced pandemonium as Dunn, Bunt and Freeman play 40 characters between them. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Beverley Knight: Born to perform at York Barbican. Picture: Lewis Shaw
Recommended but sold out: Beverley Knight, Born To Perform, York Barbican, tonight, 7.30pm
QUEEN of British soul Beverley Knight shares stories from her life on stage, as well as performing her biggest hits, musical theatre favourites and cherished songs that have inspired her on her 20-date UK tour.
“Born To Perform is me taking you on a journey through my life on both music and theatre stages, using my memories and of course my songs. I’m stripping back my sound so the audience can lean in a little closer and really hear my soul,” says Knight, whose hits include Made It Black, Greatest Day, Get Up, Shoulda Woulda Coulda, Gold, Come As You Are, Keep This Fire Burning and Piece Of My Heart. Her special guest is Gabriella Cilmi. Box office for returns only: yorkbarbican.co.uk.
Anastacia: Playing Scarborough Open Air Theatre on Not That Kind tour
Coastal gigs of the week: TK Maxx presents Scarborough Open Air Theatre, Skunk Anansie & Garbage, tonight; Anastacia and Heather Small tomorrow, gates 6pm
SKUNK Anansie and Garbage play Scarborough on a six-date tour. Formed in London in 1994, fronted by Skin, Skunk Anansie blend hard rock with political and social themes; American alternative rock band Garbage, fronted by Scottish singer Shirley Manson, combine rock, electronica and pop influences.
Chicago singer Anastacia heads to the Yorkshire coast to perform I’m Outta Love, Paid My Dues and Left Outside Alone et al on her Not That Kind tour. London soul singer Heather Small, of M People fame, is her special guest. Box office: scarboroughopenairtheatre.com.
York artist Ric Liptrot’s illustration for tomorrow’s 2026 Bishy Road Street Party
Community event of the week: Bishy Road Street Party, Bishopthorpe Road, York, tomorrow, 11am to 4pm
CELEBRATING community spirit and independent shops, Bishopthorpe Road Traders Association’s 2026 Bishy Road Street Party combines live music, family activities and food and drink, plus street vendors and community stalls. The main stage plays host to performances by Yorkshire Voices (11am), Third Parallel (11.45am), Gaia On Fire (Juno, 12.30pm) and Bargestra (1.30pm), climaxing with headline sets by the Yorky Pud Street Band (14.15pm) and The Unnamed Band (3.15pm).
Look out for five children’s performances and interactive sessions, with appearances from Evergreen Explorers (11am), Professor Dan (12 noon), Baby Band (1pm), Elevate Dance Sessions (2pm) and Josh Benson (3pm). A children’s zone, featuring face painting, mud kitchen, crafts, hair braiding and balloons, will be set up on Ebor Street and entertainment will be spread across the event space. Charities, artists, makers and community groups offer games, activities and information. Free to attend; no booking required.
Artist and designer Es Devlinin the Temple of the Fours Winds at Castle Howard. Picture: Rick Walker, PA Media
Installation of the week: Es Devlin, Library Of The Four Winds, Temple of the Four Winds, Castle Howard, near Malton, until September 27
AS part of the Vanbrugh 300 celebrations at Castle Howard, artist and designer Es Devlin responds to Sir John Vanbrugh’s visionary architecture with her luminous installation Library Of The Four Winds, a new mirrored sculpture that takes over the Temple of the Four Winds in honour of the National Year of Reading.
The temple’s original use as a place for refreshment and reading was Devlin’s starting point for a central sculpture made up of hundreds of books, curated from the personal libraries of Vanbrugh and Devlin. The temple is encompassed by four concentric tables where the public can read, draw, talk, eat and listen. The space will host events throughout the summer. Tickets: castlehoward.co.uk.
The many faces of Lenny Henry: Actor, comedian, fundraiser and stand-up anedoctalist
Talk of the week: Lenny Henry, Still At Large, Grand Opera House, York, June 23, 7.30pm
PART stand-up, part storytelling and part conversation with himself and with you, Still At Large finds Lenny Henry returning to the experiences that shaped him while also exploring the ideas, challenges and creative sparks driving him today.
From The Lenny Henry Show and Chef! to dramatic performances in Othello and The Lord Of The Rings: The Rings Of Power, he traces the roles, characters and moments that have defined his six-decade career and shares what continues to inspire him as he reflects on a life lived out loud. On show will be the many versions of Lenny: actor, impressionist, comedian, fundraiser and stand-up anecdotalist. Box office: atgtickets.com/york.
Dan Wood, left, Stephen Wright, Lotty Farmer, Rosa Burns, Hannah Shaw and James Dickinson in York Light Opera Company’s The 25th Annual Putnam County Spelling Bee
Musical of the week: York Light Opera Company in The 25th Annual Putnam County Spelling Bee, Theatre@41, Monkgate, York, June 24 to 27 & June 30 to July 4, 7.30pm, plus 2.30pm Saturday matinees and 2pm Sunday matinee (28/6/2026)
NEIL Wood directs York Light in Rebecca Feldman, William Finn and Rachel Sheinkin’s musical account of six ‘mid-pubescents’ battling for the spelling championship of a lifetime. While candidly disclosing stories from their home life, the tweens spell their way through a series of words hoping to never hear the bell that signals a mistake.
Cue a heart-warming message that highlights themes of friendship, identity and perseverance, all while celebrating the awkwardness and excitement of growing up. Box office: tickets.41monkgate.co.uk.
Jordan Eskeisa, left, Marienella Phillips, Chelsea Da Silva (The Enormous Crocodile, front), Precious Abimbola and Ciara Hudson in The Enormous Crocodile. Picture: Danny Kaan
Mischievous adaptationof the week:Roald Dahl Story Company in Roald Dahl’s The Enormous Crocodile The Musical, York Theatre Royal, June 25 to 28, 10.30am and 1.30pm.
ROALD Dahl’s Enormous Crocodile is weaving his way through the jungle in search of delicious little fingers and squidgy podgy knees. Only fellow jungle creatures can foil his “secret plans and clever tricks”, but they need courage aplenty to stop this greedy, grumptious, horrid brute.
Equipped with Ahmed Abdullahi Gallab’s tunes, Suhayla El-Bushra’s rib-tickling book and lyrics and Tom Brady’s additional music and lyrics, the dastardly family adventure has been developed and directed by Emily Lim, working in tandem with co-director and puppetry designer Toby Olié. Chelsea Da Silva, Precious Abimbola, Jordan Eskeisa, Ciara Hudson, Marienella Phillips and actor-musician René Francalanza star.Age guidance: Three plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Stewart Lee’s poster illustration for Stewart Lee vs The Man-Wulf, on tour for three nights at Grand Opera House, York
Comedy gigs of the week: Stewart Lee vs The Man-Wulf, Grand Opera House, York, June 25 to 27, 7.30pm
AFTER a five-night Theatre Royal run in the fledgling days of Stewart Lee vs The Man-Wulf in January 2025, the contrarian comedian returns to York for three more nights of testing whether the beast inside us all can be silenced with the silver bullet of Lee’s scalpel-sharp stand-up?
Lee will play the same material three ways: first up, telling liberal jokes in a liberal way, then, after a screaming transformation into the Man-Wulf, reactionary jokes in a reactionary way post-interval and, finally, wolf’s head removed, reactionary jokes in a liberal, left-leaning way. Box office: atgtickets.com/york.
Karl Mullen: Playing everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, at The Old Paint Shop
Cabaret gig of the week: The Old Paint Shop presents Karl Mullen, York Theatre Royal Studio, June 26, 8pm
AFTER two Old Paint Shop gigs last year, Karl Mullen, upright-piano busker, Phoenix Inn fixture and Leeds Piano Competition Pub Piano Champion, completes his hat-trick, serving up his high-energy take on everything from Chopin to Oasis, via Led Zeppelin and Les Dawson, packed with outrageous and heartfelt stories from decades of gigging. Box office: 01904 623568 or yorktheatreroyal.co.uk.
In Focus: Prima Choral Artists, Under One Sky, National Centre for Early Music, York, Sunday, 21/6/2026, 5pm & 7.30pm
Prima Choral Artists; poster for Sunday’s concerts at the double on Father’s Day
PRODUCER and artistic director Eve Lorian leads Prima Choral Artists in a compelling journey through global vocal traditions in two concerts on Sunday at the National Centre For Early Music, St Margaret’s Church, Walmgate, York.
Under One Sky is a signature programme by this Polish-born, York-based choral director, who has consistently introduced unique concerts and explored new territory for York choirs for nearly two decades.
Eve’s latest artistic compilation is designed to celebrate the relationship between musical language, cultural identity and vocal technique, while recognising the unifying nature of the choral canon. Spanning a wide geographical and cultural spectrum, the repertoire highlights distinctive approaches to tone production, ornamentation, rhythm and ensemble cohesion.
Sunday’s programme opens with Sakura, a Japanese folk melody characterised by its pentatonic modality and lyrical phrasing. The Bulgarian works Kaval Sviri and Dilmano Dilbero exemplify the highly resonant, open-throated “white voice” technique, and this vocal aesthetic continues in Serbian folk music, where dance-derived rhythms and communal expression are central.
Folk traditions of the North Atlantic are represented through the French-Canadian J’entends le Moulin, with its rhythmic drive, alongside Wild Mountain Thyme and Gaelic Song Of The Boatman, which reflect the modal inflections of Scottish and Gaelic song traditions.
Prima Choral Artists’ founder, producer and artistic director Eve Lorian
The programme broadens even further afield through Yeish Kochavim (Hebrew), Evohé (Venezuela) and Dao Mai Fan Ye’ (Mandarin), each illustrating the interaction between text, rhythm and collective energy within their respective traditions. These works foreground the role of music in both ritual and communal celebration.
The final section centres on vocal traditions from the Torres Strait Islands and Southern Africa. Sesere Eeye reflects oral transmission practices and community-based performance, while Ngothando, Ndikhokhele Bawo and Papaoutai demonstrate the harmonies and call-and-response structures that are foundational to many African musical forms.
Eve’s diligent research has brought together this sparkling burst of music with the support of a choir who are no strangers to world music and singing in multiple languages.
“We have always been proud of our multi-cultural, international identity,” says Eve. “Music has always been a unifying force for good. These concerts, celebrating unity through diversity, represent a truth that sometimes only music can express.”
Giving a brief glimpse into the creative process behind these events, she adds: “Selecting the music takes weeks upon weeks of research and listening. I thrive on fresh choices, on presenting the unexpected – and these pieces are far from the standard choral repertoire.
Prima Choral Artists in concert under Eve Lorian’s direction
“But the title came so naturally: Under One Sky says everything that we mean to convey in these two performances!”
International connections for Eve and Prima Choral Artists are not merely constrained to concert programming. For more than a decade, Eve has led the way in introducing outstanding overseas opportunities for York choirs.
This commitment continues this summer with a concert tour to Prague from July 8 to 13 to take part in the International Choir and Orchestra Festival (Prague Festival 2026, July 9 to 13).
On September 6, Eve will welcome the Norwegian choir Fanakoret, from Bergen, for a Friendship performance with Prima Choral Artists at St Olave’s Church, Marygate, York, at 5pm.
“Before these opportunities comes the unmissable chance to join Prima on Father’s Day on Sunday at the National Centre For Early Music with the two time slots designed to complement everyone’s plans and make for a truly special weekend celebration,” she says.
Tickets are available from www.primachoral.com; with limited seating available, booking is recommended.
Ciara Hudson, left, Jordan Eskeisa and Chelsea Da Silva in Roald Dahl’s The Enormous Crocodile The Musical, on tour at York Theatre Royal. Picture: Danny Kaan
HE’s greedy, he’s grumptious, he’s horrid! Welcome to the lovable anti-hero world of The Enormous Crocodile, a mischievous musical adaptation of Roald Dahl’s snappy book, on tour at York Theatre Royal from June 25 to 28.
Equipped with Ahmed Abdullahi Gallab’s tunes, Suhayla El-Bushra’s rib-tickling book and lyrics and Tom Brady’s additional music and lyrics, the dastardly family adventure has been developed and directed by Emily Lim, working in tandem with co-director and puppetry designer Toby Olié, with set and costume design by Fly Davis.
Originally co-produced by the Roald Dahl Story Company, Regent’s Park Open Air Theatre and Leeds Playhouse, The Enormous Crocodile will be performed in York by the tour cast of professional theatre debutant Chelsea Da Silva, Precious Abimbola, Jordan Eskeisa, Ciara Hudson, Marienella Phillips and actor-musician René Francalanza.
“The tour has been going really, really well,” says puppetry designer Toby Olié. “The book was written for age three upwards, but we wanted to make a show that parents and carers could enjoy as much as children. I genuinely think that anyone can see this show.
Toby Olié: Puppetry designer and co-director of The Enormous Crocodile The Musical. Picture: Steve Tanner
“Because I work in puppetry, I try to make work that hits the sweet spot, like Pixar’s work. It’s an inclusive, family-friendly piece that our director [Emily Lim] describes as ‘an explosion of radical joy’. It’s bombastic, it’s gregarious but it’s still emotional.”
Toby was first approached to be involved in the musical production in early 2020, but then the Covid-19 pandemic intervened. “We had lots of Zoom meetings that year, but the show didn’t open until December 2023 at Leeds Playhouse, where it was their Christmas show for children,” he says.
“It’s then gone to Regent’s Park Open Air Theatre, in London, and last autumn it went to Minneapolis and Los Angeles over Christmas. So there’s a hunger for it as a beloved book and a stage adaptation that feels entertaining and something for everyone in the family.”
Toby’s brief was to make “playful and inventive puppets, where we don’t hide the actors”. “Everyone is on show as you watch five adults telling the story with puppets attached to them in many different forms,” he says.
Jordan Eskeisa, Chelsea Da Silva (The Enormous Crocodile), Marienella Phillips and Precious Abimbol in the jungle in The Enormous Crocodile. Picture: Danny Kaan
The “crocodile” of the title appears in three guises. “The first time you see him, he’s in the swamp, so you only see the parts that appear above the surface, like the Loch Ness Monster, so you see him first in mystery form,” says Toby.
“Then you see what we call the ‘crocmobile’, which is a huge body, with the head mounted on the steering wheel, in front of the actor, and a tail behind that misbehaves as the ‘crocmobile’ moves around.
“Then, because the crocodile has ‘secret plans and clever tricks’ to disguise him, he rebuilds himself in various devious forms, where he takes more risks and you won’t see him coming!”
Dahl’s 12-page picture book has been turned into a 55-minute play. “Nothing in the original book has been changed, and certainly in the adaptation, we were encouraged to make a story for everyone with characterisation that wasn’t pandering to early-age audiences,” says Toby.
“We knew we could embellish it for the stage show in an expanded opportunity to turn it into a full stage show, where the big part was deciding where the songs would fit in. The songwriters and musical director were rigorous in doing that, and for the directorial and design team it was about fleshing out the characters.
Jordan Eskeisa and Ciara Hudson with the Giant African Land Snails in The Enormous Crocodile The Musical. Picture: Danny Kaan
“We also realised you can’t just get children being ‘in the jungle’; we have to explain why they would be there, so we’ve enjoyed finding ways for the audience to meet the children before the crocodile does.”
The show has invented a scout group, the Jungle Juniors, led by an enthusiastic but haphazard teacher. “The children in the group are represented by ‘humanettes’: puppets that have their roots in vaudeville,” says Toby. “They have puppet arms, puppet legs, puppet torsos, but the actors’ heads, which gives them much more of a children’s scale that makes it look like the crocodile could eat them.”
In Dahl’s story, should you need a refresher course, the Enormous Crocodile is weaving his way through the jungle in search of delicious little fingers and squidgy podgy knees. Only the other jungle creatures can foil his “secret plans and clever tricks”, but they need courage aplenty to stop this greedy brute.
“Tonally, in finding the balance in the story, the songs, even the characterisation, you have to find the meeting point where the gleeful, evil buffoon meets the hungry, scary croc,” says Toby.
Jordan Eskeisa, Marienella Phillips, Chelsea Da Silva (The Enormous Crocodile), Precious Abimbola and Ciara Hudson in a scene from The Enormous Crocodile. Picture: Danny Kaan
“The audience are in that place where they think, ‘I sort of love the croc, but I’m scared of him too’, like Cruella de Vil or Captain Hook. The crocodile is the anti-hero figure, where the audience cheer when he’s defeated, but they think ‘where’s he gone?’, because they want to see him again.”
The show has changed with each iteration, including making changes to the storytelling. “This is an entirely new cast for the tour that joined at the start of the year. They’re funny, they can sing and they’re really good puppeteers, some with experience, some new to it, and it’s a show where the group dynamic really defines it, bringing their own slant to it,” says Toby.
New animal species have been added to the jungle puppets throughout the story. “I’m calling them ‘narrator characters’ who step out to engage with the audience,” says Toby. “We have frogs in the swamp; Plover birds, who pick the crocodile’s teeth – they’re the ‘dentist bird’! – who act like a Greek chorus and are on the audience’s side, which I felt we needed.
“There are Giant African Land Snails, with slimy sound effects to go with them, and two ‘Bush Babies’ [Galago] too. They’re like the gatekeepers of the story because, when you have an anti-hero antagonist, it feels important to have characters that ‘check in’ with you.”
The Enormous Crocodile The Musical, York Theatre Royal, June 25 to 28, 10.30am and 1.30pm. Age guidance: Three plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Al Dunn, Matt Freeman and Nick Bunt in Le Navet Bete’s Oh Zeus. Picture: Mark Senior
CHAOTIC comedy specialists Le Navet Bete return to York Theatre Royal from tomorrow, this time with their riotous ride through the world of Greek mythology, Oh Zeus!.
The Exeter company previously toured their hit family shows Dracula: The Bloody Truth, King Arthur and Treasure Island to the St Leonard’s Place theatre.
Written by John Nicholson and Le Navet Bete and directed by Nicholson, Oh Zeus! finds the stability of Olympus being threatened by the marriage of Zeus’s daughter, Hebe, to a mere mortal, whereupon the King of the Gods hatches a plan to derail the wedding.
Cue three actors – company founders Al Dunn, Nick Bunt and Matt Freeman – playing 40 characters between them in a mythical farce that journeys through Ancient Greece, the Underworld and back.
Expect physical comedy, outrageous jokes, fast-paced pandemonium and togas aplenty in a show ideal for devotees of Fawlty Towers, Bottom and The Play That Goes Wrong.
Formed in 2008 in Exeter, Devon, Le Navet Bete travel around the UK and internationally, with support from Arts Council England, the Exeter Northcott Theatre and the Exeter Phoenix, on a mission to create and tour humorous, physical and accessible comedy theatre, replete with storytelling for “absolutely everyone (ages four to 104)” – although Oh Zeus! carries an age guidance of 12 plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Nick Bunt in Le Navet Bete’s Oh Zeus!. Picture: Mark Senior
Hal Cruttenden: Dishing out the comical blows at Pocklington Arts Centre tonight. Picture: Matt Crockett
OPEN studios across York and beyond, Strictly dancers in tandem, Les Miserables in its school edition and Elvis Costello’s early years are among Charles Hutchinson’s joyful June recommendations.
Comedy gig of the week: Hal Cruttenden: Can Dish It Out But Can’t Take It, Pocklington Arts Centre, tonight, 7.30pm
EALING comedian Hal Cruttenden’s new tour show promises to stick it to ‘The Man’, as long as ‘The Man’ doesn’t stick it back to him. Utilising his trademark hard-hitting comedy style, he pontificates on subjects such as middle-aged dating, social media, the insanity of modern politics and how his daughters love him but do not respect him. He believes that, after experiencing this gig, you will feel exactly the same way. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Es Devlin stands by her installation Library Of The Four Winds in the Temple of the Four Winds at Castle Howard. Picture: James Drury
Drawing workshop of the day: Es Devlin, Library Of The Four Winds, Temple of the Four Winds, Castle Howard, near York, today at 12 noon
TO mark today’s opening of her Library Of The Four Winds installation at the Temple of the Four Winds, Castle Howard, artist and designer Es Devlin will hold a 45-minute outdoor drawing workshop, with materials provided. Further workshops will follow at the installation every Saturday until September 26.
Devlin will be in conversation today with Nicholas Howard and Francis Terry in a 5.30pm event supported by the Georgian Society and National Lottery Heritage Fund. Library Of The Four Winds will be on show until September 27. For full details of the workshops, conversation and installation, go to: castlehoward.co.uk.
The Jazzville Quartet: Performing with Kirsty Hughes at The Old Paint Shop
Cabaret gig of the week: The Old Paint Shop presents The Jazzville Quartet, with Kirsty Hughes, York Theatre Royal Studio, tonight, 8pm
YORK jazz combo The Jazzville Quartet are joined by University of York alumna and Royal Academy of Music graduate Kirsty Hughes, showcasing her love of Judy Garland and the great jazz singers in an intimate cabaret performance.
Piano maestro and arranger Alec Robinson, saxophonist Alex Fisher, double bassist Tim Murgatroyd and drummer Steve Hanley will be exploring the Great American Songbook too in a celebration of swing, Latin classics and haunting jazz ballads. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Shechter II in Hofesh Shechter’s In The Brain at York Theatre Royal.Picture: Todd MacDonald
New dance work of the week: Shechter II in In The Brain, York Theatre Royal, tonight, 7.30pm
HOFESH Shechter’s exhilarating new full-length work for Shechter II, In The Brain, is a raw, electrifying dive into movement, rhythm, and collective energy, taking a pulsing, urgent journey into the depths of our consciousness, where stories dissolve, identity fades and only the beat remains.
In The Brain is a space to break free, to lose yourself, to surrender to the rush of movement, the weight of bass and the euphoria of bodies locked in Shechter’s signature groove. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Abstract artist Mark Ibson
Exhibition of the week: Mark Ibson, Rise@Bluebird Bakery, Acomb, York, until July 30
SELF-TAUGHT Bishop Wilton artist Mark Ibson’s abstract works are back on the bakery walls at Bluebird Bakery, where he is exhibiting new artworks in the form of experiments in surface texture and instinctive marking.
Initially a furniture and interior restorer, Ibsen began painting in 2012, holding his debut solo exhibition at Partisan, Micklegate, in May 2027 at the age of 47 after years of quietly painting and honing his skills at his studio in the former Herris Fisher blacksmith’s forge. “It seemed to be a natural progression,” he said at the time.
Ric Liptrot: Taking part in North Yorkshire Open Studios in York this weekend
Open invitation of the weekend: North Yorkshire Open Studios 2026, Saturday and Sunday, 10am to 5pm
MORE than 200 artists and makers are taking part in the second weekend of the summer edition of North Yorkshire Open Studios. Among those involved in and around York are Lucie Wake; Alex Ash; Lincoln Lightfoot; Jon Haste; Ali Hunter; Veronica Ongaro; Di Gomery; Jill Tattersall; Evie Leach; Katrina Mansfield and Lesley Shaw.
So too are Lisa Power; Lu Mason; Ric Liptrot; Jo Walton; Kai West; Emily Littler; Hannah Arnup; Michelle Galloway; Janie Stevens; Toby Staunton; Gonzalo Blanco; Andrew Bloodworth; Justine Warner; Graham Jones; Nora Gaston and Freya Horsley. The full list of artists and makers can be found at nyos.org.uk.
Amy Dowden and Carlos Gu: Reborn at Grand Opera House, York
Strictly stars of the week combination number one: Amy & Carlos: Reborn, Amy Dowden and Carlos Gu, Grand Opera House, York, June 16, 7.30pm
AFTER making her stunning return to the Strictly Come Dancing dancefloor, Amy Dowden MBE truly feels Reborn in her tour show, accompanied by fellow Strictly professional Carlos Gu.
Back on stage after a triumphant debut season, Amy and Carlos will be sharing an intimate portrait of their lives and journeys, wherein the inspirational and transformative power of dance shines through. Reborn features world-class dancers, live vocalists and a soundtrack of iconic anthems from across the decades. Box office: atgtickets.com/york.
Nikita Kuzmin: Shining brightly in Supernova with Karen Hauer, on tour at York Barbican
Strictly stars of the week combination number two: Burn The Floor presents Nikita Kuzmin in Supernova, with special guest Karen Hauer, York Barbican, June 16, 7.30pm
STRICTLY Come Dancing fan favourite Nikita Kuzmin takes centre stage in the explosive dance spectacular Supernova, joined by very special guest star Karen Hauer, Strictly’s longest-serving female professional.
Created in collaboration with choreographer and BAFTA award recipient Jason Gilkison and presented by international dance sensations Burn The Floor, Supernova is fuelled by the firepower of world-class performers and global creatives in an evening where artistry meets innovation and Kuzmin’s trademark charm, power and charisma shine brighter than ever. Box office: yorkbarbican.co.uk.
NE Theatre York’s poster for next week’s School Edition production of Les Miserables
Youth theatre show of the week: NE Theatre York in Les Miserables School Edition, Joseph Rowntree Theatre, York, June 16 to 20, 7.30pm plus 2.30pm Saturday matinee
ALAIN Boublil and Claude-Michel Schönberg’s musical adaptation of Victor Hugo’s 1862 novel of redemption will be performed by under-18s from NE Theatre York, directed by Steve Tearle, with a 15-piece orchestra under Joe Allen’s musical direction, projections by Tom Turner and the obligatory barricade in the set design.
The musical tells the story of former prisoner Jean Valjean, who is pursued for 17 years by police inspector Javert against the backdrop of a brewing revolution in 19th-century Paris. The principal cast features Sam Brophy’s Jean Valjean, Will Roberts’s Javert, Emil Marczuk’s Marius, Juliette Sellamuttu’s Fantine, Oscar Smith’s Enjolras, Callum Richardson’s Thenardier and Bella Gledhill’s Madame Thenardier. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Elvis Costello: Revisiting his 1977-1986 back catalogue in Radio Soul! at York Barbican
York gig of the week: Elvis Costello & The Imposters with Charlie Sexton, Radio Soul!: The Early Songs of Elvis Costello, York Barbican, June 17, 7.45pm
ELVIS Costello plays York Barbican for the first time since May 2013, joined by The Imposters’ Steve Nieve, Pete Thomas and Davey Faragher and Texan guitarist Charlie Sexton for a set list drawn from 1977’s My Aim Is True to 1896 Blood & Chocolate albums, complemented by “other surprises”.
“For any songwriter, it has to be a compliment if people want to hear songs written up to 50years ago,” says Costello, 71. “You can expect the unexpected and the faithful in equal measure.” His special guest will be Emily Moment. Box office: yorkbarbican.co.uk.
Dominic Goodwin in myriad roles in Twice Nightly at Helmsley Arts Centre
Recalling variety’s golden days: Pyramus and Thisbe Productions present Dominic Goodwin in Twice Nightly, Helmsley Arts Centre, June 26 and 27, 7.30pm
WRITER and performer Dominic Goodwin, one-time manager of Helmsley Arts Centre, returns to his old stamping ground with his first one-man comedy show, directed by York director Thomas Frere.
Twice Nightly follows the story of struggling comedian Freddie Francis in 1956 as the final curtain hovers over variety. Many acts of the time are highlighted, including Norman “Over The Garden Wall” Evans (said to be an influence on Les Dawson) Stockton comic Jimmy James, wartime star Robb Wilton and the iconic Max Miller. “It’s been an honour to perform these stars’ material, and even more so to have the backing of the families,” says Goodwin. Box office: 01439 771700 or helmsleyarts.co.uk.
Al Dunn, Matt Freeman and Nick Bunt in Le Navet Bete’s Oh Zeus!. Picture: Mark Senior
In Focus: Le Navet Bete in Oh Zeus!, York Theatre Royal, June 18 to 20, 7.30pm plus 2pm Saturday matinee
CHAOTIC comedy specialists Le Navet Bete return to York Theatre Royal from tomorrow, this time with their riotous ride through the world of Greek mythology, Oh Zeus!.
The Exeter company previously toured their hit family shows Dracula: The Bloody Truth, King Arthur and Treasure Island to the St Leonard’s Place theatre.
Written by John Nicholson and Le Navet Bete and directed by Nicholson, Oh Zeus! finds the stability of Olympus being threatened by the marriage of Zeus’s daughter, Hebe, to a mere mortal, whereupon the King of the Gods hatches a plan to derail the wedding.
Cue three actors – company founders Al Dunn, Nick Bunt and Matt Freeman – playing 40 characters between them in a mythical farce that journeys through Ancient Greece, the Underworld and back.
Expect physical comedy, outrageous jokes, fast-paced pandemonium and togas aplenty in a show ideal for devotees of Fawlty Towers, Bottom and The Play That Goes Wrong.
Formed in 2008 in Exeter, Devon, Le Navet Bete travel around the UK and internationally, with support from Arts Council England, the Exeter Northcott Theatre and the Exeter Phoenix, on a mission to create and tour humorous, physical and accessible comedy theatre, replete with storytelling for “absolutely everyone (ages four to 104)” – although Oh Zeus! carries an age guidance of 12 plus. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Olivia Turner’s Rosalinda and Ian Thomson-Smith’s Falke in York Opera’s Die Fledermaus. Picture: David Kessel
BREAK out the champagne! York Opera celebrates its 60th anniversary, no less, with this sizzling production of Johann Strauss II’s comic operetta.
Co-directed by two stalwarts of the company, John Soper and Liz Watson, this Die Fledermaus lives up to the work’s reputation as the Viennese operetta par excellence.
Inevitably that starts with the orchestra, who set the style and tone in the overture, here mercifully done without gimmicky mime. So we can concentrate fully on Edward Venn’s excellent control of the orchestra.
Not only are the many tempo changes smoothly negotiated, so are the little hesitations on the upbeats, so characteristic of Viennese style. Throughout the evening, the orchestral underlay is impeccably geared to the singing.
Two soprano principal roles are double-cast, reflecting their difficulty and intensity. Both are carried with confidence. LaLa Marais brings panache and brilliance to her coloratura as Adele, notably in her ‘laughter’ aria, and matches it ideally with a high-spirited personality.
With equally sparkling charm, Olivia Turner, also making her company debut, gives a fiery bite to her Rosalinda, triumphing in her csárdás as the masked Hungarian countess. Their alternates, tonight and on Saturday afternoon, are Stephanie Wong and Alexandra Mather respectively.
Hamish Brown brings a happy-go-lucky charisma to his Eisenstein, while succumbing with pseudo-protestation to the wiles of his friend Doctor Falke (the original ‘bat’ of the title). His franglais routines with prison governor Frank, as both pretend to be French, are comic highlights.
Mark Simmonds makes an amiable Frank, alias Chevalier Chagrin. Ian Thomson-Smith’s light baritone is well geared to Falke, as he becomes the amiable puppeteer of the proceedings.
Molly Raine glides through the trouser role of Prince Orlofsky, cigarette holder poised, and gets the champagne flowing effortlessly at his party. Alex Holland conjures a nicely bumbling buffo as Eisenstein’s lawyer, Blind. Karl Reiff’s tenor is underused in the role of Alfredo, but he does much with little in the opening scene.
Act 3 can easily pall, but John Soper’s antics as sozzled jailer Frosch keep the laughter rolling. Cameo roles consistently make their mark.
The chorus is everywhere disciplined and confident, developing a healthy blend, even if it is required to do rather less dancing than we might have expected; indeed, no choreographer is mentioned.
It is much to the company’s credit that it has made almost all its own costumes and sets over the years, doubtless one reason for its financial stability. John Soper’s sets are evocative without showiness – the prison windows are impressive – and Maggie Soper’s colourful costumes enhance the party atmosphere.
We are fortunate to have a company of this calibre in our midst: it deserves our warmest support.
Here’s to its next 60 years. Break out the champagne indeed!
