Martha Godber in the role of Jesse, a carer on minimum wage, in her play Jesse North Is Broken, produced by the John Godber Company
MARTHA Godber will perform the world premiere of Jesse North Is Broken, her solo theatre piece on the theme of working-class survival in Britain, at York Theatre Royal Studio from May 11 to 14.
Actress-writer Martha, Hull-born daughter of playwright John Godber and fellow writer-director Jane Thornton, will be directed by Millie Gaston in the John Godber Company production.
Jesse, 25, from Hull, is a carer on minimum wage, keeping the elderly alive while trying to live her own messy, chaotic life. Told over one night, Jesse North Is Broken follows her from care shift to the dance floor, from the late-night kebab to an early-morning call-out as she battles the system that undervalues her and the city that shapes her, all while her ADHD-fuelled thoughts and anxious mind crave order in the chaos.
Martha Godber: Hull-born actress, writer and director
“Both political and personal, the show shines a light on working-class survival in Britain today – where carers are underpaid, the care system is crumbling, and young women are left to piece themselves together in a society that keeps breaking them,” says Martha.
LIPA-trained Martha last appeared on the York Theatre Royal stage in June 2025 in the John Godber Company’s tour of John Godber’s hymn to the abiding power of Northern Soul, Do I Love You?.
“I’m thrilled to be bringing Jesse North Is Broken to York Theatre Royal; it feels like the perfect venue to premiere the show,” she says. “As someone from Hull, I’ve always been drawn to telling northern stories, and this piece does exactly that.
Martha Godber, right, playing Northern Soul purist Sally in John Godber’s Do I Love You?, on tour at York Theatre Royal in June 2025
“I’m passionate about creating female characters who are unapologetic, bold and command the stage, celebrating the northern female voice in all its complexity.
At its heart, the show explores connection, pain, love and loss, set against the realities of government policy, the care system and the social pressures of a working-class town. It’s a fearless piece of new writing and I hope it resonates deeply with contemporary audiences.”
John Godber Company presents Martha Godber’s Jesse North Is Broken, York Theatre Royal Studio, May 11 to 14, 7.45pm plus 2.30pm Saturday matinee. Age guidance: 15 plus. Content guidance: Strong language and sexual references. Post-show discussion: May 13. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The poster for the John Godber Company’s production of Martha Godber’s Jesse North Is Broken
Oliver Davis, Amber Wadey, Connor Keetley and Abigail Bailey in The Very Hungry Caterpillar Show. Picture: Pamela Raith
FROM a very hungry caterpillar to a life-changing musical, a Ritchie Blackmore tribute to Normal poetry, Charles Hutchinson looks on the bright side for spring joy.
Children’s show of the week: ROYO presents The Very Hungry Caterpillar Show, York Theatre Royal, tomorrow, 2pm and 4pm; Friday and Saturday, 11am and 2pm
CREATED by Jonathan Rockefeller, The Very Hungry Caterpillar Show features 75 lovable puppets in a faithful 50-minute adaptation of four stories by author/illustrator Eric Carle:Brown Bear, Brown Bear, 10 Little Rubber Ducks, The Very Busy Spider and the titular star of the show. In the cast will be Abigail Bailey, Oliver Davis, Connor Keetley and Amber Wadey. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Nic Cage Against The Machine: A tribute act like no other at The Crescent, York
York tribute act of the week: Nic Cage Against The Machine, The Crescent, York, Friday, 7.30pm
MOVE over Elvana, the covers- band conflation of Elvis and Nirvana. Here comes the even wilder Nic Cage Against The Machine, a tribute to Californian rock band Rage Against The Machine, fronted by an homage to Hollywood’s Nouveau Shamanic method actor supreme Nicolas Cage, with props. Leeds fun punks Moose Knuckle support. Box office: thecrescentyork.com.
Blackmore’s Blood: Celebrating the hard rock of Deep Purple and Rainbow
Ryedale tribute show of the week: Blackmore’s Blood, Milton Rooms, Malton, Friday, 8pm
BLACKMORE’S Blood exploded on to the scene in 2016 with its tribute to Ritchie Blackmore’s rock years with Deep Purple and Rainbow, combining an authentic sound with a flamboyant stage presence and thrilling theatrics.
Playing not only the classics, every performance is a time machine, transporting audiences back to the glory days of hard rock with electrifying riffs, soaring melodies and Blackmore swagger. Box office: 01653 696240 or themiltonrooms.com.
York Stage cast members in Nik Briggs’s production of Come From Away. Picture: Matthew Kitchen
Musical of the week: York Stage in Come From Away, Grand Opera House, York, Friday to April 18, 7.30pm, except Sunday and Monday; 2.30pm, Saturday matinees; 4pm, Sunday matinee
NIK Briggs directs the York premiere of Irene Sankoff and David Hein’s Olivier and Tony Award-winning musical account of the real-life story of 7,000 air passengers being grounded in Canada in the immediate aftermath of 9/11, whereupon the small Newfoundland community of Gander invites these “come from aways” into their lives with open hearts.
Performed by a cast of 19, Come From Away is “more than just a musical,” says Briggs. “It’s a celebration of humanity, resilience and the power of community. Step into a world where kindness conquers all, brought to life with invigorating, electrifying music and stories that will make you laugh, cry, and believe in the goodness of people.” Box office: atgtickets.com/york.
Cyril Raymond and Janet Morrison in the poster for Meaningful Films’ documentary Briefest Encounters at City Screen Picturehouse
Film event of the week: Brief Encounter, Briefest Encounters and Q&A, City Screen Picturehouse, York, Friday, 7pm
FRIDAY’S screening of the 80th anniversary restoration of David Lean’s Brief Encounter (PG) will be followed by North Rigton-raised journalist, researcher and filmmaker Joanna Crosse’s new documentary, uncovering the untold love story behind the 1945 film, revealing the hidden past of her grandfather, actor Cyril Raymond, who played Laura’s cuckolded husband Fred.
In an uncanny twist of fate, Raymond had a ‘brief encounter’ with actress Janet Morrison during a transatlantic stage production in 1929 that resulted in a child being born out of wedlock. Cinema myth meets lived experience in Briefest Encounters as interviews, letters, Raymond’s rediscovered diaries and archive material show how interrupted love, inherited silence and duty shaped family lives for generations. Crosse and fellow Meaningful Films filmmaker Luke Taylor will take part in a Q&A afterwards. Box office: picturehouses.com.
Classical pianist Julian Trevelyan: Performing at Helmsley Arts Centre
Classical concert of the week; Julian Trevelyan, Farewell Letters, Helmsley Arts Centre, April 11, 7.30pm
CONCERT pianist Julian Trevelyan performs regularly throughout Europe and in the UK. He moved to France after winning the 2015 Long-Thibaud-Crespin international competition at the age of 16, becoming the youngest prize-winner in the competition’s history. He has since won prizes at international piano competitions such as Leeds, Géza Anda & Horowitz. He will be performing works by Bach, Byrd, Oginski, Beethoven, Schönberg, Strauss/Trevelyan and Mozart. Box office: 01439 771700 or helmsleyarts.co.uk.
Jan Brierton and Henry Norma:l: Teaming up for poetry and humour at Helmsley Arts Centre
Poetry at the double: Edge Street Live presents Henry Normal and Jan Brierton, Milton Rooms, Malton, April 16, 7.30pm
WRITER, poet, television & film producer and Manchester Poetry Festival founder Henry Normal is joined by Dubliner Jan Brierton for an evening of poetry and humour. Normal, whose credits include co-writing The Mrs Mertom Show and the first series of The Royle Family, will be reading from his new book A Quiet Promise.
Brierton riffs on modern life, love and friendships, wellness and ageing, rage and domestic exasperation in her poetic reflections on being a wife, mother, daughter, sister and retired raver, plus plenty of stuff about tea, lipstick and biscuits. Box office: 01653 696240 or themiltonrooms.com.
Maureen Onwunali: Slam champion in action at Say Owt’s night of poetry at The Crescent in York
Slam champ of the week: Say Owt presents Maureen Onwunali, The Crescent, York, April 17, 7.30pm
YORK spoken-word collective Sat Owt’s guest poet for April’s gathering will be Dublin-born Nigerian poet and two-time national slam champion Maureen Onwunali.
Rich with political observations and carefully crafted verse, her work has been featured by musicians, radio shows and organisations, such as the British Film Institute, Penguin, BBC, Roundhouse, Apples and Snakes, Obsidian Foundation and the Poetry Society. Box office: seetickets.com/event/say-owt-slam-featuring-maureen-onwunali/the-crescent/3588134.
York linocut printmaker and wildlife artist Gerard Hobson with one of his 13 bird boxes for the Castle Howard Easter Family Trail. Picture: David Scott
FROM a bird box trail and Vanbrugh’s architecture at Castle Howard to Horrible Histories in concert and a very hungry caterpillar, Charles Hutchinson embraces Easter’s extra spring in the step.
Birdlife event of the week: Castle Howard Easter Family Trail, Castle Howard Gardens & Arboretum, near York, until April 19
CASTLE Howard has collaborated with York artist and printmaker Gerard Hobson on a new interactive Easter trail, comprising 13 handmade wooden bird boxes installed for a springtime adventure across Castle Howard Gardens and the Arboretum.
The boxes house Hobson’s linocuts of birds, including swallow, magpie, woodpecker and wren, as part of a story designed for children as they all prepare for spring. “Young explorers will discover interesting facts about our feathered friends and learn more about their homes along the way,” he says. Admission is included in Castle Howard and Arboretum day tickets at castlehoward.co.uk/castlehowardarboretumtrust.org.
James B Partridge: Teaching the world to sing Primary School Bangers at York Barbican. Picture: Rebecca Johnson
“School” concert of the week: James B Partridge, Primary School Bangers, York Barbican, tonight, doors 7pm
TEACHER James B Partridge brings his viral hit show Primary School Bangers to York for a night of massive singalongs, throwback mash-ups and tongue-in-cheek humour. What started in the classroom has become a nationwide phenomenon – from Glastonbury to sold-out theatres – as James leads audiences through the songs that defined school days.
“Whether you’re a teacher, a parent, or just someone who remembers every word to He’s Got The Whole World In His Hands, this one’s for you,” he says. Box office: yorkbarbican.co.uk.
Architect Roz Barr: Curator and designer of Staging The Baroque: Vanbrugh At Castle Howard. Picture: Carole Poirot
Exhibition of the week: Staging The Baroque: Vanbrugh At Castle Howard, on show at Castle Howard, near York, until October 31
STAGING The Baroque: Vanbrugh At Castle Howard celebrates its creator, the architect and playwright Sir John Vanbrugh (1664-1726), on the 300th anniversary of his death.
Designed and curated by architect Roz Barr, the exhibition chronicles the story of the stately home’s creation, exploring Vanbrugh’s visionary use of scale, shadow and light and his creative relationship with the third Earl of Carlisle, as shown in letters by Vanbrugh on public display for the first time. Tickets: castlehoward.co.uk.
Chris Helme: Showcasing new album Forest For The Trees at Rise@Bluebird Bakery
Recommended but sold out already: Chris Helme, Forest For The Trees Album Launch, Rise@Bluebird Bakery, Acomb, April 5 and 6, doors 7.30pm
YORK songwriter and former Seahorses frontman Chris Helme plays a brace of official album launch gigs for Forest For The Trees after a busy 2025 touring his World Of My Own album.
Helme returned to the studio to record stripped-back versions of raw, soulful and bruised songs from his 30-year back catalogue. Forest For The Trees is the first of an ongoing series of recordings, showcasing gently crafted versions of Love Me & Leave Me, Standing On Your Head and other Seahorses classics and more besides.
Harrie Hayes’s Queen Elizabeth I makes her point to Richard David-Caine’s William Shakespeare in Horrible Histories: The Concert, Live And Dead On Stage! Picture: Matt Crockett
“The ultimate first concert for children”: Horrible Histories: The Concert, Live And Dead On Stage!, York Barbican, April 6, 2.30pm and 6.30pm; April 7, 11am and 3pm
FOR the first time, favourite songs and actors from Horrible Histories’ CBBC TV series will be live – and dead! – on stage in York. When Queen Elizabeth I asks William Shakespeare to create the greatest show on earth, he runs into trouble with monstrous King Henry VIII and Queen Victoria.
Once Death appears, Boudica and Cleopatra want to take over! Can things turn any worse? Of course they can! Cue songs such as Stupid Deaths, Charles II, Dick Turpin and The Monarchs Song, performed to a band led by Horrible Histories’ song master, Richie Webb. Box office: yorkbarbican.co.uk.
Jason Fox: Helping you to reboot your thinking and challenge your limits at York Barbican
Advice of the week: Jason Fox: Embrace The Chaos, York Barbican, April 8, 7.30pm
SOME people are built to embrace the chaos. Adventurer, Royal Marine Commando and UK Special Forces soldier Jason Fox is one of them, having survived myriad hostile outposts as an elite operator, documentary maker and expedition leader.
In his new show, Foxy shares stories of his close brushes with enemy gunmen, terrorist bomb makers and cartel leaders, while revealing his strategies for surviving and thriving in environments as life-threatening as the Arctic Circle and Afghan Badlands. Using principles from his military operations, he will help you to reboot your thinking, challenge your limits, change your habits, transform and rebalance your life – and he will answer audience questions too. Box office: yorkbarbican.co.uk.
Clowning skills aplenty in Out Of The Box at Helmsley Arts Centre
Family show of the week: Darryl J Carrington in Out Of The Box, Helmsley Arts Centre, April 9, 2pm
DARRYL J Carrington transforms everyday objects into extraordinary adventures in Out Of The Box, where a toothbrush stars in a balancing act, a string sparks a heist and a tea party lands on someone’s head in an hour of joyful chaos, jaw-dropping skill and irresistible fun.
Carrington brings five-star Edinburgh Fringe reviews, the Brighton Fringe’s Best Family Show prize and more than 20 years of circus and clowning experience to his silent comedy’s blend of juggling, inventive physical theatre and audience interaction. Box office: 01439 771700 or helmsleyarts.co.uk.
Professor Danny and lab assistant Crazy Kazy in Top Secret’s show The Magic Of Science, High Voltage
Fun experiments of the week: Top Secret in The Magic Of Science, High Voltage, Pocklington Arts Centre, April 9, 2pm
JOIN Top Secret as they go on a high-voltage adventure, The Magic Of Science, to ask the question “Is it magic…or is it science?” in a fast-moving, colourful, interactive show filled with mystery, suspense, experiments and loads of mess.
Danny Hunt and Stephanie Clarke take on the guise of Professor Danny and his lab assistant Crazy Kazy as they fuse the mystery of magic with wondrous and miraculous feats of science. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Abigail Bailey and the meal-seeking caterpillar in The Very Hungry Caterpillar, munching its way through York Theatre Royal. Picture: Pamela Raith
Children’s show of the week: ROYO presents The Very Hungry Caterpillar Show, York Theatre Royal, April 9 to 11; Thursday, 2pm and 4pm; Friday and Saturday, 11am and 2pm
CREATED by Jonathan Rockefeller, The Very Hungry Caterpillar Show features 75 lovable puppets in a faithful 50-minute adaptation of four stories by author/illustrator Eric Carle:Brown Bear, Brown Bear, 10 Little Rubber Ducks, The Very Busy Spider and the titular star of the show.
The Very Hungry Caterpillar has delighted generations of readers since its publication in 1969, selling more than 48 million copies worldwide. Telling those tales will be a cast of Abigail Bailey, Oliver Davis, Connor Keetley and Amber Wadey. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Tribute act at the double of the week: Nic Cage Against The Machine, The Crescent, York, April 10, 7.30pm
MOVE over Elvana, the covers- band conflation of Elvis and Nirvana. Here comes the even wilder Nic Cage Against The Machine, a tribute to Californian rock band Rage Against The Machine, fronted by an homage to Hollywood ‘s Nouveau Shamanic method actor supreme Nicolas Cage, with props. “Not sure what more you’re looking for here – if you’re not sold already I don’t know what to tell you,” says The Crescent website. Leeds fun punks Moose Knuckle support. Box office: thecrescentyork.com.
York Stage cast members in Come From Away, making its York debut at the Grand Opera House. Picture: Matthew Kitchen
Musical of the week: York Stage in Come From Away, Grand Opera House, York, April 10 to 18, Tuesday to Saturday, 7.30pm; Saturday matinees 2.30pm; Sunday matinee, 4pm
NIK Briggs directs the York premiere of Irene Sankoff and David Hein’s Olivier and Tony Award-winning musical account of the real-life story of 7,000 air passengers being grounded in Canada in the immediate aftermath of 9/11, whereupon the small Newfoundland community of Gander invites these “come from aways” into their lives with open hearts.
Performed by a cast of 19, Come From Away is “more than just a musical,” says Briggs. “It’s a celebration of humanity, resilience and the power of community. Step into a world where kindness conquers all, brought to life with invigorating, electrifying music and stories that will make you laugh, cry, and believe in the goodness of people.” Box office: atgtickets.com/york.
Brief Encounter actor Cyril Raymond and stage actress Janet Morrison, with Nicholas Crosse, the son he never met and was given up for adoption by Janet, a story told for the first time in Joanna Crosse’s documentary Briefest Encounters
Film event of the week: Brief Encounter, Briefest Encounters and Q&A, City Screen Picturehouse, York, April 10, 7pm
NEXT Friday’s screening of the 80th anniversary restoration of David Lean’s Brief Encounter (PG) will be followed by North Rigton-raised journalist, researcher and filmmaker Joanna Crosse’s new documentary, uncovering the untold love story behind the 1945 film, revealing the hidden past of her grandfather, actor Cyril Raymond, who played Laura’s cuckolded husband Fred.
In an uncanny twist of fate, Raymond had a ‘brief encounter’ with actress Janet Morrison during a transatlantic stage production in 1929 that resulted in a child being born out of wedlock. Cinema myth meets lived experience in Briefest Encounters as interviews, letters, Raymond’s rediscovered diaries and archive material show how interrupted love, inherited silence and duty shaped family lives for generations. Crosse and fellow Meaningful Films filmmaker Luke Taylor will take part in a Q&A afterwards. Box office: picturehouses.com.
In Focus: James Graham’s Punch, Leeds Playhouse, April 7 to 11
Jack James Ryan’s Jacob in Punch. Picture: Pamela Raith
OLIVIER Award-winning playwright James Graham’s Punch is a true story of hope, humanity and the possibility of change.
Based on Jacob Dunne book Right From Wrong, it tells Jacob’s story of being a Nottingham teenager from The Meadows estate who spent his Saturday nights seeking thrills with his friends.
One fateful weekend, an impulsive punch leads to fatal consequences. After serving prison time, Jacob finds himself lost and directionless. Searching for answers, Joan and David – the parents of his victim James Hodgkinson – ask to meet, sparking a profound transformation in Jacob’s life.
Jacob’s unflinching account of the power of forgiveness sparked courthouse discussion and parliamentary debate in the House of Commons on the topic of Restorative Justice at the time of Punch’s 2024 premiere at the Nottingham Playhouse. The play was even cited by a judge when sentencing a one-punch case.
Finty Williams, left, Matthew Flynn, Grace Hodgett Young, Elan Butler (hidden), Jack James Ryan and Laura Tebbutt in Punch. Picture: Pamela Raith
Nottingham playwright Graham is one of Great Britain’s most celebrated writers, winning multiple Olivier Awards, as well as receiving BAFTA, Emmy and Tony Award nominations. His political drama This House opened at Leeds Playhouse in 2018. Now he returns to the Leeds theatre from April 7 to 11 with the energetic, entertaining but heartbreaking Punch after runs in London and on Broadway last year.
To complement Graham’s play, a Talking Circle structure will sit front of house to provide a space for audiences to gather and reflect on the performance, while post-show discussions on related themes will be led by expert speakers.
Graham was awarded the Longford Trust’s Kevin Pakenham Award for Punch, joined on the honours’ board by David Shields, winner of the Best Performance in a Play prize at the 2024 UK Theatre Awards 2024 for his lead role in the premiere.
On tour, the role of Jacob will be played by Jack James Ryan (Sing Street, Lyric Hammersmith; Coronation Street, ITV), joined in Adam Penford’s cast by Elan Butler (The Chaos That Has Been and Will No Doubt Return, Southwark Playhouse and UK Tour; Masters Of The Air, Apple TV+) as Raf and Sam and Matthew Flynn (The Winter’s Tale, Royal Shakespeare Company; Say Nothing, Disney/FX) as David, the father of James Hodgkinson.
Finty Williams’s Joan and Matthew Flynn’s David, James’s parents in Punch. Picture: Pamela Raith
In the company too will be Olivier-nominated Grace Hodgett Young (Sunset Boulevard, Savoy Theatre/St James Theatre; Hadestown, Lyric Theatre) as Clare and Nicola; Laura Tebbutt (Mrs Doubtfire, Shaftesbury Theatre; School Of Rock, Gillian Lynne Theatre) as Jacob’s mum and Wendy and Finty Williams (The Ocean At The End Of The Lane, national tour; Run Away, Netflix) as James’s mother, Joan.
The original creative team returns, including production designer Anna Fleischle (Death Of A Salesman, Broadway; 2:22 A Ghost Story, Young Vic Theatre); lighting designer Robbie Butler (How To Win Against History, Bristol Old Vic; Death In Venice, Welsh National Opera); sound designer and composer Alexandra Faye Braithwaite (Work It Out, HOME; Lost And Found, Factory International) and movement director Leanne Pinder (The Wonderful Wizard Of Oz, Mountview; Disruption, The Park Theatre).
Punch is dedicated to the memory of James Hodgkinson and all victims of one punch. “James dedicated his life to the helping and healing,” says playwright James Graham in his programme note. “His 28 years were a testament to his outlook and his values – a volunteer, a mentor, a paramedic. He was loved by his family and friends, and he gave love in return.
“Theatre can and should be a restorative space of empathy, and increased understanding. We hope to honour and do justice to the man James was.”
Nottingham Playhouse, in association with KPPL Productions, Mark Gordon Pictures and Eilene Davidson Productions, presents Punch, Leeds Playhouse, April 7 to 11, 7.30pm plus 1pm Thursday and 2pm Saturday matinees. Age guidance: 12 plus. Box office: 0113 213 7700 or leedsplayhouse.org.uk.
Your Bard: Richard David-Caine’s William Shakespeare, centre, holds history in his hands as monarchs turn monstrous in Horrible Histories: The Concert, Live And Dead On Stage. Picture: Matt Crockett
FOR the first time in history, favourite songs and actors from the CBBC TV series Horrible Histories will be appearing live – and dead! – on stage in a special concert production. York Barbican awaits on April 6 and 7.
Asked to create the greatest show in history by his boss Queen Elizabeth I, esteemed playwright William Shakespeare has no idea just how much trouble is on its way from such monstrous monarchs as King Henry VIII and Queen Victoria.
Life will hot up even more when Death appears – and now Boudica and Cleopatra want to take over. Can matters worsen still more? Of course they can!
Find out how and why when actors from the BAFTA award-winning television series sing songs from the TV shows such as Funny Stupid Deaths, Charles II, Dick Turpin and The Monarchs Song, to the accompaniment of a live band led by Horrible Histories song master Richie Webb, as the Bard seeks help to save himself from execution.
Horrible Histories: The Concert director and Birmingham Stage Company actor/manager Neal Foster
“The trick about this show is the disaster is unfolding in front of you, so the audience are in on it,” says director Neal Foster. “No-one knows how it’s going to work or whether Shakespeare is going to get away with it or just how disastrous it’s going to because it’s really happening right there.”
On tour from January 23 to April 18, Horrible Histories: The Concert, Live And Dead On Stage is written by Ben Ward and Claire Wetton, with songs and music by Webb, and is directed by Birmingham Stage Company actor/manager Foster, designed by Jackie Trousdale and choreographed by Lucie Pankhurst.
Foster, the creative force behind all the Horrible Histories Live On Stage adaptations of Terry Deary’s stories since 2005, will be playing Charles II, York Gaol anti-hero Dick Turpin and a Viking.
“These Horrible Histories TV songs have been around for a long time and we feature 16 of the most popular songs in the show,” says Neal. “They’re so loved and no-one around the country’s ever had the chance to see them live on stage and to sing with the actors and join in.”
Neal Foster’s dapper King Charles II in Horrible Histories: The Concert, Live And Dead On Stage!Picture: Richard Southgate
Neal has brought together two worlds, television and stage, for the concert tour. “Part of the reason this production has happened is because in 2023 we got together with Lion Television [producers of the BBC series] to create ‘Orrible Opera for the BBC Proms,” he says. “It was a huge success and, more important, we had a lot of fun and found we complemented each other very well.”
Neal recalls: “We enjoyed working with each other so much, we really wanted to do something again. This seems to be as good as it gets: a collaboration where people get to see the TV actors on stage in a singalong of all the songs they know.
“It’s the biggest show – and the most expensive –we’ve ever done: 17 cities in three months; 23 people on the road, ten in the stage management team, a cast of eight, with a band of five musicians, and we’ve never had a live band in any of our shows before.
“There’s a lot of drama, lots of songs, lots of dancing, and it’s also got wonderful video effects, with the footage being filmed by Lion Television [producers of Horrible Histories on the BBC]. I think there are about 50 costumes, with wigs, hats, props, turning it into a really enormous show.
Neal Foster’s Charles II, second from right, singing The King Of Bling. Picture: Matt Crockett
“All the funding comes from ticket sales, so we’re always delighted that people keep supporting us. That’s how we’ve run our company for 35 years. except in Covid, when we were supported by the Government to do ten shows in car parks and at racecourses.”
Swapping TV for the live tour are long-serving Richard David-Caine, also known for Class Dismissed and CBeebies’ Swashbuckle; Harrie Hayes, who has embodied history’s most iconic royals, from Elizabeth I to Marie Antoinette; Inel Tomlinson, from Histories’ Rameses and Science’s Big Danny; company favourite Ethan Lawrence, also from Ricky Gervais’s After Life, and Verona Rose, Horrible Histories regular, Top Boy and Fully Blown writer-performer and host of ITV2’s Secret Crush.
Joining them are Neal and Alison Fitzjohn, his fellow stalwart from Horrible Histories Live On Stage, touring the world with Birmingham Stage Company.
“They’re such a strong company that in the first week of rehearsals we got so much work done,” says Neal. “My rule is that they must know so much like the back of their hand, and as with a lot of TV actors, our cast are really good on stage and at working with a live band.
Verona Rose and Ethan Lawrence’s Henry VIII in Horrible Histories: The Concert. Picture: Matt Crockett
“Richie Webb, who’s written all 200 songs featured in the TV series, will be on stage leading the band, and the actors are more than capable of hitting the back of the auditorium with their singing.”
Neal has had plenty on his plate, not only directing but also playing multiple roles on stage. “There are great parts for me in the show as I’ve managed to end up with Charles II, Dick Turpin and one of the Vikings, and I’m also understudying four of the other actors, so I’ve had to learn all the script. 100 pages! That’s been quite a challenge!” he says.
“I’m singing my two favourite songs from the TV series, because I’m singing The King Of Bling as Charles II and Dick Turpin’s Highwayman – and as a Viking, I am singing Literally, literally!”
Cast member Ethan Lawrence says: “It’s been a long time since I was last on stage – and I’ve only done one show before: a pantomime. Cinderella. I gave an absolutely stellar performance as Buttons. There were literally tens of people that said I was pretty good!
Neal Foster and his fellow Vikings “singing Literally, literally” in Horrible Histories:The Concert . Picture: Matt Crockett
“Basically I take the jobs that are put in front of me. I’m not so vain that I don’t take on work. It just so happens that I deal with the cards that are presented to me – and now I get the chance to go on stage with Horrible Histories, The Concert where Shakespeare is in the process of writing a show starring all your favourite Horrible Histories characters
“Chaos ensues, high jinks prevail – and it’s very interactive as well, encouraging the audience to participate. I can imagine this show, because of its live nature, will be evolving as we do it. York Barbican is very deep into the run, so theatrically it’ll be the show at its best.”
Fellow cast member Verona Rose admits: “I’m not that good at history! For me, the easiest way to learn about these characters is by watching Horrible Histories.
“I have Cleopatra’s big number, Ra Ra Cleopatra [from Awful Egyptians] and I’ve learnt so much from doing rehearsals for that song.”
Horrible Histories: The Concert, Live And Dead On Stage cast members, very much live on stage. Picture: Matt Crockett
Ethan picks out his favourite role: “I’m a busy boy in the show, but the chief thing that’s exciting for me is the opportunity to play Henry VIII. One of the really gratifying things is singing one of the more modern songs from the TV shows, Ruinous Rivals, with Harrie Hayes.”
Verona says “I’m excited to be doing this show, and the more we do the tour, the more shows we do, what the interaction will be will become clearer. From the first laugh, we’ll know what the audience will be like at each show.”
Speaking ahead of the tour, Neal says: “More than anything else this show will be a celebration of Richie Webb’s brilliant music. Having him on stage, with all these actors he’s worked with, has never been seen before on stage, so it will be very special.
Death stalking Horrible Histories: The Concert, Live and very much Dead On Stage. Picture: Matt Crockett
“I’ve no idea how the audience will react, though I have a feeling it might be even more ecstatic, with the words on screens and audience interaction encouraged.
“Very quickly things start to go wrong for William Shakespeare – and in Tudor and Elizabethan times, if things go wrong, you might lose your head! In the end it’ll be up to the audience to save Shakespeare from being for the chop.”
Come on York, make Monday and Tuesday the most Horrible shows yet.
Horrible Histories: The Concert, Live And Dead On Stage, York Barbican, April 6, 2.30pm and 6.30pm; April 7, 11am and 3pm. Box office: yorkbarbican.co.uk.
NEWSFLASH: 6/4/2026: Horrible Histories: The Concert star Richard David-Caine to play villain in York Theatre Royal panto
Richard David-Caine in the poster image for his role as Herman the Henchman in Snow White And The Seven Dwarfs
THE latest name to join York Theatre Royal’s pantomime cast for Snow White And The Seven Dwarfs is in York already today (6/4/2026).
CBBC and CBeebies’ star Richard David-Caine, who turned 39 on Sunday, will switch to the dark side as villainous Herman the Henchman this winter, but first he is on the 17-city tour of Horrible Histories: The Concert, Live And Dead On Stage! Next stop, York Barbican, today (6/4/2026) at 2.30pm and 6.30pm; tomorrow at 11am and 3pm.
Richard, core cast member of CBBC’sHorrible Histories and Horrible Science, is playing under-pressure playwright William Shakespeare, who is commissioned by Queen Elizabeth I to create the greatest show on Earth but promptly runs into trouble with monstrous King Henry VIII and Queen Victoria.
On his return to York, Richard will team up with regular Theatre Royal dame Robin Simpson and comic turn returnee Tommy Carmichael, who starred in Sleeping Beauty last winter.
Richard, who appeared in Shakespeare Live! on BBC 2 and Horrible Histories: The Movie and played naughty pirate Line in CBeebies’ Swashbuckle, will be following in the footsteps of CBeebies stars Andy Day (2021), Mandy Moate (2022), James “Raven” McKenzie (2023), Evie Pickerill (2024) and Jennie Dale (2025) in starring in the York Theatre Royal and Evolution Productions co-production.
Richard David-Caine in his promotional image for Horrible Histories: The Concert, Live And Dead On Stage! Picture: Richard Southgate
No stranger to pantomime, Richard won the Best Supporting Male award at the 2018 Great British Pantomime Awards for his performance as Herman the Henchman, the role he will reprise in York. Two years later, he received the Best Male Villain prize for Captain Hook in Peter Pan at the Grove Theatre, Dunstable.
The 2026-2027 pantomime will be directed by Theatre Royal creative director Juliet Forster and written by Evolution Productions director Paul Hendy, the creative team behind such Theatre Royal shows as Jack And The Beanstalk, Aladdin and Sleeping Beauty.
Juliet says: “We are thrilled to welcome Richard to our cast for Snow White And The Seven Dwarfs. He is absolutely hilarious and I know our audiences are going to love him as our baddie Herman the Henchman. Tickets are selling fast, so be sure to book early so you don’t miss out!”
Further casting will be announced for the December 4 to January 3 2027 run. Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk. Family tickets are available for all performances with savings of up to £61 on bookings for four tickets.
Richard David-Caine: back story
Richard David-Caine
ACTOR, writer, comedian and voiceover artist.
Born April 5 1987 in Ruislip, North London.
Graduated from Mountview Academy of Theatre Arts in 2009.
Set up comedy group Four Screws Loose with Joseph Elliott, Conan House and Thom Ford in 2009, performing at Edinburgh Fringe for five successive years, along with Bestival, Latitude Festival, Underbelly, Southbank Festival, Brighton Fringe and Adelaide Fringe Festival. Featured on BBC Radio 4’s Sketchorama.
Core cast member of CBBC’s Horrible Histories and Horrible Science, featuring in Shakespeare Live! on BBC 2, and Horrible Histories: The Movie.
Starred in five series of CBBC mockumentary Class Dismissed, twice being nominated for Royal Television Society award for Best Comedy Performance. Created, wrote and fronted Big Fat Like sketch show, pastiching the internet with Joseph Elliott, Amy Gledhill and Ibidano Jack, on CBBC.
Richard David Caine’s William Shakespeare performing Literally with the Vikings in Horrible Histories: The Concert, Live And Dead On Stage! Picture: Matt Crockett
Appeared as one half of comedy duo Cook and Line with Joseph Elliott in CBeebies’ BAFTA-winning children’s game show Swashbuckle, launched in 2013. Young contestants aged four to eight, known as Swashbucklers, competed in physical, interactive games on a soft-play pirate ship to win back stolen jewels from naughty pirates Cook, Line and Captain Captain and their host, Gem.
Further film and television credits: Steal (Amazon); Masters Of The Universe (MGM/Mattel); Cruella (Disney); Father Brown (BBC); Better Things (FX); Avenue 5 (HBO); Midsomer Murders (ITV); Murder, They Hope (UKTV Gold); Finding Alice (ITV); Dead Air (BBC); Skins: Redux (E4); Doctors (BBC); Big Field (BBC) and People Just Do Nothing (BBC).
Stage credits: The Importance Of Being Earnest (Mercury Theatre, Colchester); The Witches (National Theatre, London); Soho Cinders (original West End cast recording, Queen’s Theatre); Horrible Histories: The Concert, Live And Dead On Stage! (national tour); The Taming Of The Shrew (Derby Theatre); The Tempest (Orange Tree Theatre, Richmond); Potted Panto (Vaudeville Theatre, London) and Jihad! The Musical (Jermyn Street Theatre, London), as well as his award-winning one-man show, Tall, Dark And Anxious (Soho Theatre, London). How tall? Richard is 6ft 3ins.
Harrie Hayes’s Elizabeth I making her point to Richard David-Caine’s William Shakespeare in Horrible Histories: The Concert. Picture: Matt Crockett
York Theatre Royal’s cast and creative team for Jeremy Dyson and Andy Nyman’s world premiere of The Psychic
THE full cast is in place for York Theatre Royal’s world premiere of The Psychic, a twisted thriller written and directed by Jeremy Dyson and Andy Nyman.
Joining the already announced Frances Barber (as Rosa) and Eileen Walsh (Sheila Gold) are Megan Placito (Tara), Dave Hearn (Robert Hamm), Jaz Singh Deol (Deepak), Nikhita Lesler (Nisha) and East Yorkshire actor Charlie Blanshard (Mark).
After the international success of Ghost Stories, Dyson and Nyman return with a dark thriller that follows the story of popular TV psychic Sheila Gold. The production will open on May 6, preceded from April 29, and will run until May 23 with its combination of thrills, laughs and shocks.
The Psychic co-writers and co-directors Jeremy Dyson, left, and Andy Nyman
Sheila Gold loses a high-profile court case that brands her a charlatan, costing her not only her reputation, but also a fortune in legal fees. When a wealthy couple ask Sheila to conduct a séance to attempt to make contact with their late child, she senses an opportunity to bleed them for money.
What follows makes Sheila question everything she has ever believed and leads her on a journey into the darkest corners of her life.
Joining Dyson and Nyman in the production team will be designer Rae Smith; illusion designer Chris Fisher; lighting designer Zoe Spurr; sound designer Nick Manning; video designer Duncan Mclean; casting director Arthur Carrington; associate director Andy Room and design assistant Will Fricker.
The poster for York Theatre Royal’s world premiere of The Psychic
Award-winning Leeds-born writer and director Dyson’s writing credits include Ghost Stories, nominated for Olivier Award for Best Entertainment; The League Of Gentlemen Are Behind You, The League Of Gentlemen: A Local Show For Local People, nominated for Olivier Award for Best Entertainment, and The League Of Gentlemen.
His co-writing credits for television include Psychobitches, winner of Rose d’Or for Best TV Comedy and nominations for two British Comedy Awards; The Armstrong & Miller Show, BAFTA Award winner for Best Comedy; Billy Goat; Funland, nominated for BAFTA Award for Best Drama Serial and The League Of Gentlemen, winner of BAFTA Award for Best Comedy, Golden Rose of Montreux and RTS Award for Best Entertainment. Co-writing credits include Ghost Stories and The League Of Gentlemen’s Apocalypse.
Nyman is an award-winning actor, director and writer. As an actor, his theatre work includes The Producers(Menier Chocolate Factory/Garrick Theatre); Assassins; Terrible Advice(Menier Chocolate Factory); Fiddler On The Roof (Menier Chocolate Factory/Playhouse Theatre – Olivier Award nomination for Best Actor in a Musical); Abigail’s Party (Menier Chocolate Factory/Wyndham’s Theatre); Hello, Dolly! (London Palladium) and Hangmen (Wyndham’s Theatre/Golden Theatre, New York City).
Charlie Blanshard: Appeared on the York stage in 2025 in his debut full-length play Jorvik and York company Next Door But One’s How To Be A Kid
He starred in Ghost Stories (Duke of York’s Theatre/Arts Theatre), co-written and co-directed with Jeremy Dyson and later adapted into a film, in which he also starred.
His television credits include Hanna, Wanderlust, The Eichmann Show, Campus, Crooked House, Dead Set and Peaky Blinders. Among his film credits are Wicked: Part 1, Jungle Cruise, Judy, The Commuter, Death At A Funeral, Kick-Ass 2, Black Death, The Brothers Bloom, Severance and Shut Up & Shoot Me (Best Actor Award at the Cherbourg Film Festival).
Nyman has collaborated with Derren Brown for almost 20 years, co-writing and co-creating much of Brown’s early TV work. He has co-written and directed six of Brown’s stage shows, winning the Olivier Award for Best Entertainment for Derren Brown – Something Wicked This Way Comes and a New York Drama Desk Award for Best Unique Theatrical Event in 2017 for Derren Brown – Secret.
Tickets are on sale on 01904 623568 or at yorktheatreroyal.co.uk.
Mischief Theatre co-founder Dave Hearn: Last appeared on the York Theatre Royal stage in Original Theatre’s The Time Machine in March 2023
Catrin Mai Edwards’ Martha, left, Estella Evans’ Mary Lennox and Dexter Pulling’s Colin in York Theatre Royal’s production of The Secret Garden The Musical. Picture: Marc Brenner
THIS production marks two homecomings: the return of the 1991 Broadway musical to its Yorkshire moorland roots in Frances Hodgson Burnett’s 1911 children’s novel, together with John Doyle’s re-acquaintance with York Theatre Royal after 29 years.
The Scotsman had put actor-musician shows at the heart of his York artistic directorship from 1993 to 1997 before going on to win Tony Awards on Broadway when transferring the artform to the United States.
Now, when his cast members fold away the dust sheets at Misselthwaite Manor, they are not only reviving Hodgson’s story but the actor-musician template too, one where all the players are omnipresent on stage, instruments in hand, rather than garden tools, always on the move as if on a merry-go-round.
Doyle and co-scenic designer David L Arsenault further enhance the sense of a ghost story or memory play by populating the stage with trunks and suitcases, in part to reflect 11-year-old orphan Mary Lennox’s arrival at her uncle’s haunted house from India, where her parents have died from cholera.
Haunting presence: Joanna Hickman’s Lily with Henry Jenkinson’s Archibald Craven. left, and Andre Refig’s Neville in The Secret Garden The Musical. Picture: Marc Brenner
Visually, although the moors are depicted on the base of the drapes, the walled garden of the title remains a secret. We never see its regeneration in the form of flowers or foliage; instead seeds are pulled out of trunks or petals fall from above.
The large key, discovered by Mary (Estella Evans, sharing the role with Poppy Jason), must unlock our imagination to create the mysterious yet now magical garden, dormant since the death of Lily (Joanna Hickman), whose fall from a tree had induced her son Colin’s birth, her life curtailed in childbirth.
Marsha Norman and Carly’s sister Lucy Simon’s musical condenses Hodgson’s story into 90 unbroken minutes, and in doing so turns the spotlight rather more on the struggling adults than young Mary’s own spiritual growth, nurtured in tandem with her rejuvenation of bed-ridden Colin (Dexter Pulling, splitting performances with Cristian Buttaci).
The lack of garden matches that shift in focus: we see plenty of the Theatre Royal’s bare black-painted bricks and stone walls, an austere backdrop that adds to the claustrophobia of omnipresent loss that Mary’s uncle Archibald (Henry Jenkinson) imposes on all around him in the grip of grief that leaves him listless and unable to carry out any functions.
His equally stultifying younger brother, doctor Neville (Andre Refig), feels burdened with the need to step in, overseeing Colin’s highly restrictive treatment, ordering Mary to attend school and assuming control in the face of Archibald’s incapacity. In song too, they have a heft reminiscent of opera, and Jenkinson, in particular, sings with devastating impact.
John Doyle’s cast on the set design of cloths, trunks, suitcases and mosaic flooring in Misselthwaite Manor. Picture: Marc Brenner
Floating between both worlds is Hickman’s Lily, who moves in dream-like slow motion by comparison with all around, adding to her ghostly presence. Her singing is sublime throughout, and her performance is the embodiment of Doyle’s belief in the power of actor-musicianship to lift the music-making from underneath (in an orchestra pit) to within the performer.
Hickman, the outstanding performer here, becomes one with her cello, inseparable and heartbreaking – even more so than Jenkinson when at the piano – and this is the apotheosis of Doyle’s performance style and indeed the personification of musical supervisor Catherine Jayes’ gorgeous, deeply moving orchestrations.
The need for light amid the grave shade finds reward in Mary’s relationships with the caring Martha (Catrin Mai Edwards), gardener Ben (Steve Simmonds), young Dickon (Elliot Mackenzie), and especially in her sparring with spoilt, initially insufferable Colin that brings much needed humour.
Mary’s bewilderment at the Yorkshire accent elicits the loudest laugh, and more of this Them and Us banter would have been welcome, whereas the clash is more often one of wills, whether with Ann Marcuson’s teacher Mrs Winthrop or Refig’s Neville.
Elizabeth Marsh, on her return to York Theatre Royal, in the role of Mrs Medlock. Picture: Marc Brenner
Returning to the Theatre Royal, where she had been part of Doyle’s company for his first York actor-musician show, Moll Flanders, Elizabeth Marsh serves a dual role, primarily as stern head housekeeper Mrs Wedlock but also as a symbolic robin, guardian of the “secret” guardian, whose perky presence is represented by constant chirping on flute or whistle: a lovely, uplifting touch.
There is something of an (Indian) elephant in the room. Not so much Dickon being played by an adult (the kindly MacKenzie in roll-up jeans and braces), nor Hickman’s Lily wearing white boots in the Dr Martens style, because artistic licence, directorial whim and costume designer Gabrielle Dalton’s mood board must be allowed to play their part.
More so, why is Mary Lennox in modern clothes with a rucksack on her back (rather than the Indian clothing of the book at the start)? Is this to play to the school groups on GCSE study duty; is Mary reading a book and then stepping into the story? Is it to make Mary even more of an outsider, the alien arriving in Yorkshire? The book she carries is a photo album of relatives, so that rules that theory out; the other explanations go down cul-de-sacs too.
It was a diverting talking point afterwards in the foyer and no suggestion has satisfied your reviewer’s curiosity yet. Further answers on a proverbial postcard are welcome.
York Theatre Royal presents The Secret Garden The Musical, until April 4, 7.30pm (except Sundays and Mondays), plus 2pm, March 26 and April 2; 2.30pm, March 28 and April 4; 6.30pm, tonight and March 30. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Joanna Hickman’s Lily and Dexter Pulling’s Colin in a scene from The Secret Garden The Musical. In the background are Steve Simmonds’ Ben and Elizabeth Marsh’s Mrs Medlock. Picture: Marc Brenner
Darren Walsh: Puns by the punnet load at Theatre@41, Monkgate, York
A PLETHORA of puns, a dysfunctional American family musical, an alien invasion in film and theatre and a bakery burlesque night confirm variety is the spice of Charles Hutchinson’s arts life.
Comedy show like no other, bar pun: Darren Walsh: Do You Like Puns?, Theatre@41, Monkgate, York, tonight, 8pm
WITNESS a pun Goliath in person when Darren Walsh brings his 8ft frame to York for his Do You Like Puns? show. Noted for his Jokes On The Street series on social media, he combines sound effects, videos, one-liners and improvised jokes spun off audience suggestions. “Book now, li is two short,” he says. Think about it. Box office: tickets.41monkgate.co.uk.
Pianist David Hammond
Classical concert of the week: York Late Music: David Hammond, Unitarian Chapel, St Saviourgate, York, today, 1pm
PIANIST David Hammond’s recital celebrates Yorkshire and northern composers, brought together in an afternoon programme full of musical storytelling, ranging in mood and imagery from Patrick John Jones’s Eel and the world premiere of James Else’s Kitten’s Prelude, to butterflies, letters and birthday cards in works by Dawn Walters and Nicola LeFanu.
Two further world premieres, a new James Williamson piece, alongside Scarlatti’s Cat’s Fugue, echo the animal thread and electronic elements feature in Jake Adams’s Thirty In Eight, adding a contemporary edge to Hammond’s typically imaginative combination of local voices, strong themes and plenty of character. Tickets: latemusic.org or on the door.
Catrin Mai Edwards’ Martha, left, Estella Evans’ Mary Lennox and Dexter Pulling’s Colin in The Secret Garden The Musical at York Theatre Royal. Picture: Marc Brenner
Actor-musician show of the week: The Secret Garden The Musical, York Theatre Royal, until April 4
TONY Award-winning director John Doyle, artistic director of York Theatre Royal from 1993 to 1997, returns to pastures past in more ways than one to present his actor-musician staging of Lucy Simon and Marsha Norman’s Broadway musical account of Frances Hodgson Burnett’s story of love, loss, healing and hope, set on Yorkshire moorland in 1906.
Newly orphaned, Mary Lennox is sent to live with her widowed uncle at the secluded Misselthwaite Manor, a house in habited by memories and spirits from the past. On discovering her Aunt Lily’s neglected garden, she vows to breathe new life into its mysterious stasis as she learns the restorative magic of nature. Box office: 01904 623568 or yorktheatreroyal.co.uk.
The BudapestCaféOrchestra: Fronted by Christian Garrick at Helmsley Arts Centre
Snappiest attire of the week: Christian Garrick & The Budapest Café Orchestra, Helmsley Arts Centre, tonight, 7.30pm
CHRISTIAN Garrick (violin, darbuka), Murray Grainger (accordion), Kelly Cantlon (double bass) and Adrian Zolotuhin (guitar, saz, balalaika, domra) team up in this refreshingly unconventional and snappily attired boutique orchestra. Playing gypsy and folk-flavoured music in a unique and surprising way, The Budapest Café Orchestra combine Balkan and Russian traditional music with artful distillations of Romantic masterworks and soaring Gaelic folk anthems.
Established by British composer Garrick in 2009, BCO have 16 albums to their name, marked by an “astonishing soundscape and aural alchemy” characteristic of larger ensembles, evoking Tzigane fiddle maestros, Budapest café life and gypsy campfires. Box office: 01439 771700 or helmsleyarts.co.uk.
This charming man: Nigel Havers is ready to talk at the Grand Opera House. Picture: Matt Crockett
Laughter, nostalgia and charm equals: Nigel Havers Talking B*ll*cks, Grand Opera House, York, March 23, 7.30pm
LET esteemed actor and self-deprecating raconteur Nigel Havers introduce his touring talk show. “Join me, a stage, and a lifetime of gloriously ridiculous stories to share with you. You’ll get the full Havers experience: charm, wit, and absolutely no running in slow motion.
“Of course, there’ll be behind-the-scenes gossip, tales of triumph (and disaster), moments of sheer madness, and a fair bit of talking b*ll*cks. And just when you think you’ve got me figured out, I might surprise you.” Box office: atgtickets.com/york.
Off Pat: Nevin is ready to talk at The Crescent
Football chat of the week: Pat Nevin, Football And How To Survive It, The Crescent, York, March 24, 7.30pm kick-off, doors 7pm
PAT Nevin, the “Wee Man” on the pitch but never short of opinions off it, shares stories and insights from 40 years in football, turning out on the wing for Clyde, Chelsea, Everton, Tranmere Rovers, Kilmarnock and Motherwell in a professional career from 1981 to 2000.
Now a familiar voice on BBC Radio 5 Live’s Premier League coverage, Nevin has seen the game from all sides, from playing for Scotland under Sir Alex Ferguson to being chairman of the players’ union and even a spell as a club chief executive, with a sideline in DJing at club nights too. Expect stories of Kenny Dalglish, Ally McCoist and ex-Chelsea chairman Ken Bates, Morrissey, Saddam Hussein and John Peel too, in conversation with journalist Duncan Steer. Audience questions will be welcomed. Box office: thecrescentyork.com.
Dale Vaughan, left, Ryan Richardson, Monica Frost, Niamh Rose, Fergus Green and Matthew Warry, at the back, in rehearsal for Pick Me Up Theatre’s Next To Normal
American musical of the week: Pick Me Up Theatre in Next To Normal, Theatre@41, Monkgate, York, March 25 to April 4, 7.30pm except March 29 and 30; 2.30pm matinees, March 28 and 29, April 4
ANDREW Isherwood directs York company Pick Me Up Theatre in Brian Yorkey and Tom Kitt’s Tony Award-winning musical exploration of family and illness, loss and grief as a suburban American household copes with crisis and mental illness.
Dad is an architect; Mom rushes to pack lunches and pour cereal; their daughter and son are bright, wise-cracking teens but their lives are anything but normal, because Mom has been battling manic depression for 16 years.Next To Normal presents their story with love, sympathy and heart. Box office: tickets.41monkgate.co.uk.
Mike Wozniak: Coming off The Bench to perform twice at the Grand Opera House, York
Sit-down stand-up of the week: Mike Wozniak: The Bench, Grand Opera House, York, March 25 and September 12, 7.30pm
THE Bench is the new stand-up tour show from Mike Wozniak, wherein in a story about a bench will be prominent. Previous experience of or strong opinions about benches are not required. Let Wozniak worry about that.
This Oxford-born comedian, writer, actor and former medical doctor portrays Brian in Channel 4 sitcom Man Down, is part of the team that makes Small Scenes for BBC Radio 4 and co-presents the Three Bean Salad podcast with Henry Paker and Benjamin Partridge. Box office: atgtickets.com/york.
Gorillaz: Bringing The Mountain to Leeds next Wednesday
Yorkshire gig of the week: Gorillaz, supported by Trueno, Leeds First Direct Bank Arena, March 25, 7.30pm; doors 6pm
DAMON Albarn and Jamie Hewlett’s BRIT and Grammy-winning British band showcase their chart-topping ninth studio album in Leeds after two warm-up shows at Bradford Live. Spanning 15 songs that embody the collaborative Gorillaz ethos, The Mountain creates a “playlist for a party on the border between this world and whatever happens next, exploring the journey of life and the thrill of existence”. Box office: gorillaz.com.
Bonnie Baddoo, Gareth Cassidy, Amy Dunn and Morgan Bailey in Imitating The Dog’s War Of The Worlds. Picture: Ed Waring
All’s Wells that ends in the worst nightmares of the week: Imitating The Dog in War Of The Worlds, Leeds Playhouse, March 25 to 28, 7.45pm plus 2pm Thursday and 2.30pm Saturday matinees
FOUR performers enter the stage and construct an epic road movie before your eyes in Imitating The Dog’s re-invention of H G Wells’s apocalyptic tale of alien invasion and the unfolding destruction of everything we hold dear as extraterrestrial life-forms land from the skies.
Using miniature environments, model worlds, camera tricks and projection, the ever-audacious Leeds company mixes the live and the recorded, the animate and the inanimate to ask “What would you do if order broke down? What would you do to survive? How far would you go to protect your own?” Box office: 0113 213 7700 or leedsplayhouse.org.uk
Vitamin String Quartet: Eroding boundaries between classical, dance, hip-hop and pop at Grand Opera House, York
Billie Eilish, Bridgerton & Beyond concert of the week: Vitamin String Quartet, Grand Opera House, York, March 27, 7.30pm
ERASING the boundaries between classical, dance, hip-hop and pop, Vitamin String Quartet perform renditions of everything from Billie Eilish to BTS, Taylor Swift to The Weeknd and Danny Elfman to Daft Punk. Formed in 1999, this Los Angeles group comprises Tom Lea, viola, Wynton Grant and Rachel Grace, violins, and Derek Stein, cello. Box office: atgtickets.com/york.
Freida Nipples: Baps & Buns burlesque on board a baguette at Rise@Bluebird Bakery
Cabaret of the week: Freida Nipples presents Baps & Buns Burlesque, Rise@Bluebird Bakery, Acomb, York, March 27, 8pm, doors 7pm
YORK’S queen of burlesque, Freida Nipples, swaps teas for tease as she turns the bakery cafe into a cabaret joint for a night of fun, frolics and freedom of expression in all shapes and sizes.
On the fabulously zesty menu will be Donna Divine, Ezme Pump, Callum Robshaw and Freida herself, hosted by Harvey Rose. Box office: bluebirdbakery.co.uk/rise.
Djibril Ramsey’s Barnardo , Ralph Davis’s Hamlet and Colin Ryan’s Horatio in the Royal Shakespeare Company’s Hamlet. Picture: Marc Brenner
THE Royal Shakespeare Company will present multi award-winning Rupert Goold’s touring production of Hamlet at York Theatre Royal from April 14 to 18.
“Hamlet is a play about the inevitability of death: the death of fathers, the death of kings, the mortality facing each and everyone of us, but it is also a play about how to live, what makes a good life and a just one too, however brief our allotted time,” says Goold.
The York run will coincide with the 114th anniversary of the sinking of the RMS Titanic on the night of April 14-15 in 1912.
“Our production is set aboard a ship but one that is soon to founder, going down with all hands,” says Goold. “Its inspiration comes from the most famous sinking in history, and just as that icy tragedy came to pass in a little over two and a half hours, our play takes place in real time and for about as long, as much catastrophic thriller as poetic meditation. It’s a production that asks what it means to be human and decisive when time is running out.”
Georgia-Mae Myers’ Ophelia. Picture: Marc Brenner, Royal Shakespeare Company
Shakespeare’s epic family drama of deceit and murder will feature classical actor Ralph Davis in the title role of Hamlet. He was nominated for the 2023 Ian Charleson Award for his performance as Benedick in Much Ado About Nothing, appeared as Edmund in King Lear, both at Shakespeare’s Globe, and played Iago in Othello at the Sam Wanamaker Playhouse, for which he came second in the 2025 Ian Charleson Awards.
As well as theatre credits at the Almeida, Chichester Festival Theatre, Ustinov Studio and elsewhere, Davis’s RSC credits include Tamburlaine, Timon Of Athens, Richard III and King John.
Davis co-wrote, created and starred in Film Club for the BBC in 2025. His other screen credits include House Of The Dragon for HBO, Big Boys for Channel 4 and SAS: Rogue Heroes, Life After Life and Steve McQueen’s Small Axe for the BBC.
Ship shape: Rupert Goold’s cast in the Royal Shakespeare Company’s Hamlet. Picture: Marc Brenner
Alongside Davis’s Hamlet in the RSC cast will be Rob Alexander-Adams (Voltemand); Richard Cant (Polonius); Kat Collings (Ensemble); Raymond Coulthard (Claudius); Maximus Evans (Marcellus); Ian Hughes (Ghost/Player King); CJ Johnson (Player Queen); Julia Kass (Guildenstern); Poppy Miller (Gertrude); Georgia-Mae Myers (Ophelia); Mark Oosterveen (Cornelius/Priest); Djibril Ramsey (Barnardo); Colin Ryan (Horatio); Jonathan Savage (Ensemble); Jamie Sayers (Rosencrantz); Leo Shak (Francisco) and Benjamin Westerby (Laertes).
Goold directed Dear England for the National Theatre and Romeo And Juliet and The Merchant Of Venice (RSC). This year he will take up the role of artistic director of The Old Vic after 13 years at the Almeida Theatre.
He has received Olivier, Critics’ Circle and Evening Standard awards for best director twice and won a Peabody Award in 2011 for Macbeth. In 2017 he received a CBE in the New Year’s Honours for services to drama.
Joining Goold on the creative team are revival director Sophie Drake; set designer Es Devlin; costume designer Evie Gurney; lighting designer Jack Knowles; composer and sound designer Adam Cork; movement director Hannes Langolf; video designer Akhila Krishnan; fight director Kev McCurdy; dramaturg Rebecca Latham and casting director Matthew Dewsbury.
Poppy Miller’s Gertrude and Raymond Coulthard’s Claudius in the Royal Shakespeare Company’s Hamlet. Marc Brenner
Sophie says: “I’m so looking forward to taking this exciting show on the road. We’ve assembled a wonderful cast, led by Ralph Davis, who promises to make a great Hamlet. It’s probably Shakespeare’s most famous play, but I’m sure no-one will have seen a Hamlet like this before. I can’t wait for audiences to see it.”
The Hamlet tour is supported by the National Lottery through Arts Council England, whose funding makes it possible for the RSC to expand its tour to work in partnership with more places across England.
Royal Shakespeare Company in Hamlet, York Theatre Royal, April 14 to 18, 7pm plus 1.30pm, April 16 and 2pm, April 18. Post-show discussion, April 17. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Hamlet is touring to Truro, Bradford, Norwich, Nottingham, Blackpool, Newcastle, York and Canterbury, from February to April 2026.
Here Ralph Davis discusses his role as Hamlet and why Shakespeare is “the best”.
What can audiences expect from this particular production of Hamlet, Ralph?
“They can expect something epic and cinematic. We’re doing it on a scale that will be very exciting to watch but also relatable. The play deals with a deeply human experience – Hamlet has to deal with the fallout of his father being murdered, and everything that spirals from that. So yes, I hope audiences will be both riveted and moved.”
Where is Rupert Goold’s production set?
“It’s set on a sinking ship, which is reminiscent of a particular disaster that happened in 1912. It will be a real spectacle. We’ve got these amazing projections of the sea and storms, and a huge, raked stage.
“Hamlet is a play that feels big, and putting it right in the middle of the sea on a ship takes the audience to a very exciting place.
“That said, we’re not literally setting it on the Titanic: I don’t see all these characters as sinking and drowning. The play deals with the theme of justice, and the point of it when we’re all dying anyway.
“So the setting Rupert has chosen feels appropriately dangerous, with death and disaster all around whilst Hamlet is trying to work out what he should do when he’s told that his uncle has killed his father.”
Ralph Davis’s Hamlet clashing with Raymond Coulthard’s Claudius in the RSC’s Hamlet. Picture: Mark Brenner
How did you feel when you were picked to play Hamlet, probably the most famous stage role of all?
“I found out when I was sitting alone in my flat in Camberwell. It had been a few days since the audition, and I thought I’d given a fairly good account of myself, and I had a good feeling about things.
“Anyway I found I’d got the role, and, to use Hamlet’s words, I was ‘struck so to the soul’. I couldn’t believe it. I was so giddy and excited.
“Partly because I’ve already done quite a lot of Shakespeare, people have always asked me if Hamlet was a role I wanted to play. And I’d always said ‘no, it wasn’t something I was interested in’. But I know I was just saying that in case it never happened!
“I found out that I’d got the part quite a long time before rehearsals began, so I had a while to be excited about it. Of course I then read the play again, and thought, ‘God. What am I going to do with this?’”
How are you approaching it?
“I’m trying to approach it like any other role. It is different, of course, because it’s so iconic, and there are so many different preconceived ideas about what the part is and what the play is.
Skull’s out: Ralph Davis’s Hamlet contemplates once knowing Yorick well in Hamlet. Picture: Marc Brenner
“I’m stripping all of that away, getting rid of all of that noise, and reading it like it is a new play. And trusting my instinct of what I think the role is.
“So I’ve been very resistant to knowing how anyone else has done it in the past. I’m just working from the words on the page – what’s happening in this scene? What’s this relationship about? Why is he saying these words at this point? I’m treating it like it’s a new play.”
What was your route into acting?
“My mum dropped me off at Playbox, a theatre company for young people, in Warwick when I was literally 18 months old. I don’t think you’re capable of acting at 18 months, but I was there for some sort of storytelling session.
“That place became a second home to me. It was a tremendously professional and exciting environment for a young person to be in, and I just did play after play after play there.
“And then I was at the RSC as a child actor. At the age of ten, I was in King John alongside actors like Richard McCabe and Tamsin Greig. Then, still as a boy, I was in Richard III, directed by Michael Boyd and with Jonathan Slinger in the lead.
“I’m treating it like it’s a new play,” says Ralph Davis of playing Hamlet. Picture: Marc Brenner
“I also did lots of plays at Warwick School. I actually played Hamlet at school. That was set on a ship as well, although it was set pre-World War Two, so a bit later than the show we are touring. I think I was probably terrible because I was trying to do my A-levels at the same time!
“I went straight to RADA from school, and since then I’ve done a lot of Shakespeare, including a season at the RSC, and I’ve played Edmund in King Lear, Benedick in Much Ado and Iago in Othello at the Globe.”
Does Shakespeare particularly interest you?
“Yes. I’m just very old fashioned, or I’m just influenced by the people I would watch growing up. Those actors that I saw on stage would do a lot of Shakespeare until they were in their 40s, and then they’d make the leap to TV. And that’s what I wanted to do. And that’s sort of what I’ve done.
“I think my life was changed and shaped by the Shakespeare I saw at the RSC growing up, particularly Michael Boyd’s productions of the History plays. I think watching Jonathan Slinger in those plays probably did change my life.
“I thought, ‘that is something worth doing’. I find Shakespeare easier to do than modern texts sometimes because Shakespeare’s writing is the best there is.”
Ralph Davis’s Hamlet and Poppy Miller’s Gertrude in the RSC’s Hamlet. Picture: Marc Brenner
What were the highlights from the roles you have played?
“I enjoyed playing Benedick in Much Ado. I was 26, which is a young age to be playing that part, but I was leading a company at the Globe. It was shortly after Covid, during which I thought my dream of playing lead roles was perhaps over.
“Both Benedick and Iago were a real test of my abilities. And now, in rehearsals for Hamlet, I feel – and I know this might sound pretentious – that this part is going to change me. It’s such a challenge. Shakespeare really stretched the actor who played the role originally, because I think the play meant so much personally to Shakespeare.
“I also had a great time when I was in A Streetcar Named Desire at the Almeida, alongside the likes of Paul Mescal and Patsy Ferran. I had quite a small role, but it was such a fun company.
“What’s so nice about Hamlet is that I haven’t been on stage for about a year, and it’s lovely to be back in a company putting on a play.”
As well as acting, you write…
“Yes, I spent all of last year writing. I feel very fulfilled by making something and putting it in front of an audience. At RADA it was understandably all about acting, but I knew I also wanted to create things.
“I think Shakespeare’s stories are the best stories,” says Ralph Davis. Picture: Marc Brenner
“I co-wrote the BBC show Film Club. There’s a lot of work in getting something on TV, pitching it is a really tough process. But then you end up making it with all these talented people pulling in the same direction. I really like that feeling.
“In the future I’d like to direct as well. All of that said, I certainly feel fulfilled now working on Hamlet.”
How would you persuade audiences to see this production if they think Shakespeare is not for them?
“What I’m seeing in the rehearsal room is people speaking Shakespeare’s words, which really are words that we use nowadays, but just put in a more poetic and perfect order. People speaking the language like you and I are speaking now. And when actors harness those words and make them real, then I think there’s nothing more thrilling.
“And there’s no reason for anyone to be scared about the play, or feeling that they won’t be able to follow the story.
“I think people sometimes feel alienated because they hear words like ‘thee’ and ‘thou’ and certain words that are a little strange to the ear, but they make perfect sense when an actor delivers them right. And I think Shakespeare’s stories are the best stories. They are stirring and have fantastic characters.
“I’m really pleased that we’re taking this show on tour and reaching lots of different parts of the country, and perhaps people who’ve never seen Shakespeare before. I hope they find the experience as exciting as I did when I saw my first Shakespeare. Just don’t be scared of it – Shakespeare’s the best.”
Elizabeth Marsh in rehearsal for The Secret Garden The Musical at York Theatre Royal. Picture: Marc Brenner
A MAGICAL Yorkshire garden, an hotel comedy thriller, a surrealist wine bar exhibition and Pulp confessions exhibition stir Charles Hutchinson’s interest.
Musical of the week: The Secret Garden The Musical, York Theatre Royal, March 17 to April 4
TONY Award-winning director John Doyle, artistic director of York Theatre Royal from 1993 to 1997, returns to pastures past in more ways than one to present his actor-musician staging of Lucy Simon and Marsha Norman’s Broadway musical account of Frances Hodgson Burnett’s story of love, loss, healing and hope, set on Yorkshire moorland in 1906.
Newly orphaned, Mary Lennox is sent to live with her widowed uncle at the secluded Misselthwaite Manor, a house in habited by memories and spirits from the past. On discovering her Aunt Lily’s neglected garden, she vows to breathe new life into its mysterious stasis as she learns the restorative magic of nature. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Leeds abstract surrealist Nicolas Dixon, front, spotted at Thursday’s launch of his RARE v WET exhibition with WET proprietors James Wall and Ella Williams and RARE Collective organiser Sharon McDonagh, right
Exhibition of the week: Nicolas Dixon, RARE v WET, at WET, Micklegate, York, until April 22
YORK artist and event organiser Sharon McDonagh and DJ/artist Sola launch their RARE v WET series of solo exhibitions in aid of York charity SASH (Safe and Sound Homes) at WET, James Wall and Ella Williams’ indie wine bar and restaurant, with Nicolas Dixon first up.
Leeds abstract surrealist Dixon’s murals and artworks have become landmarks in Leeds, including at Kirkgate Market, Trinity Shopping Centre and the University of Leeds, as well as Leeds United tributes to the 1972 FA Cup Winners at Elland Road and the iconic Bielsa the Redeemer in Wortley. On show is a mixture of new and older work, both prints and originals.
Stephen Joseph Theatre favourite Bill Champion as American billionaire Theodore Racksole in Claybody Theatre’s The Grand Babylon Hotel, on tour at the SJT next week. Picture: Andrew Billington
Thriller of the week: Claybody Theatre in The Grand Babylon Hotel, Stephen Joseph Theatre, Scarborough, March 18 to 21, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees
CONRAD Nelson directs an ensemble cast of multiple flamboyant characters in a rollicking comedy thriller of rapid-fire character changes, sharp humour and theatrical fun, presented in association with the New Vic Theatre.
In Deborah McAndrew’s adaptation of Arnold Bennett’s novel, Nella Racksole discovers steak and beer are not on the menu for her birthday treat at the exclusive Grand Babylon Hotel, prompting her American millionaire father to buy the chef, the kitchen, the entire hotel. Cue kidnapping and murder. Have Theodore and Nella bitten off more than they can chew? Box office: 01723 370541 or sjt.uk.com.
Baroque Alchemy’s Lyndy Mayle and Piers Adams: Playing NCEM tonight
Classical-electronic concert of the week: Baroque Alchemy, National Centre for Early Music, York, tonight, 7.30pm
ANCIENT and modern meet in a spectacular musical fusion in Baroque Alchemy, the realisation of recorder virtuoso Piers Adams and keyboard player Lyndy Mayle’s long-held dream. Ever since the rise of synth-led bands and New Age music in the 1980s, Red Priest frontman Adams has nurtured a vision to combine the drama of baroque music with the expansive sound-world of the electronic era. Now Baroque Alchemy turn the traditional early music recital on its head for the 21st century. Box office: 01904 658338 or ncem.co.uk.
Dominic Halpin & The Hurricanes: Evoking the Grand Ole Opry in A Country Night In Nashville at the Grand Opera House
Tribute gig of the week: A Country Night In Nashville, Grand Opera House, York, Sunday, 7.30pm
A COUNTRY Night In Nashville re-creates the scene of a buzzing Honky Tonk in downtown Nashville, capturing the energy and atmosphere of a night in the home of country music in a journey through the history of its biggest stars past and present. Hits from Johnny Cash to Alan Jackson, Dolly Parton to The Chicks, Willie Nelson to Kacey Musgraves are showcased by Dominic Halpin & The Hurricanes. Box office: atgtickets.com/york.
The book cover for Mark Webber’s I’m With Pulp, Are You?, under discussion by the author and guitarist at York Literature Festival
Book event of the week: York Literature Festival, I’m With Pulp, Are You?, An Evening With Mark Webber, The Crescent, York, March 17, 7pm
PULP guitarist and avant-garde film curator Mark Webber discusses I’m With Pulp, Are You?, his visually rich chronicle of the Sheffield band’s history from the perspective of a fan-turned-manager-turned-guitarist.
In his music memoir, 40 years of archived material comes to life as Chesterfield-born Webber recalls his fascination with David Bowie, The Velvet Underground, Andy Warhol and counterculture, writing fanzines and organising concerts from the age of 15, joining Pulp in 1995 and playing on Different Class, This Is Hardcore, We Love Life and More, 2025’s recording renaissance after a 24-year hiatus. Box office: 01904 623568, yorktheatreroyal.co.uk or yorkliteraturefestival.co.uk.
Bluey’s Big Play: Australian fun and games for children at the Grand Opera House
Children’s show of the week: Windmill Theatre Co in Bluey’s Big Play, Grand Opera House, York, March 19 to 22, 10am, Thursday and Friday; 10am, 1pm and 4pm, Saturday and Sunday
COMBINING puppets and original voices from Ludo Studios’ Emmy Award-winning Australian children’s television series, including Dave McCormack and Melanie Zanetti as Dad and Mum, this theatrical adaptation is based on an original story by Bluey creator Joe Brumm, featuring music by series composer Joff Bush. When Dad wants a bean bag time-out, Bluey and Bingo have other plans as they pull out all the games and cleverness at their disposal. Box office: atgtickets.com/york.
Scouting For Girls: Re-visiting Everybody Wants To Be On TV at York Barbican
York Barbican gigs of the week: Scouting For Girls, Everybody (Still) Wants To Be On TV Tour 2026, March 17, doors 7pm; The Brand New Heavies, March 19
AS Scouting For Girls’ vocalist, guitarist and songwriter Roy Stride puts it: “I can’t believe we’re already celebrating the 15th anniversary of our second album [Everybody Wants To Be On TV], and I’m beyond excited to get back on the road in 2026! The shows are going to be immense: a massive nostalgic Scouting singalong every night.” Expect further hits to feature too.
Ealing Acid Jazz pioneers The Brand New Heavies – Simon Bartholomew, vocals and guitar, Andrew Levy, bass and keyboards, and Angela Ricci, vocals – mark their 35th anniversary with a 12-date tour that takes in York Barbican as their only Yorkshire destination. Expect joy, funk, love and fancy clothes. Box office: yorkbarbican.co.uk.
The Brand New Heavies: Acid Jazz joy, funk, love and fancy clothes at York Barbican
Comedy classic of the week: Rowntree Players in The Importance Of Being Earnest, Joseph Rowntree Theatre, York, March 19 to 21, 7.30pm plus 2pm Saturday matinee
ROWNTREE Players bring Oscar Wilde’s cherished 1895 farcical comedy of manners to the York stage in the original four-act version reconstructed by Vyvyan Holland, under the direction of Hannah Shaw.
Lizzie Lawton’s John Worthing and Jorja Cartwright’s Algernon Moncrieff lead double lives under the false name of “Ernest” to escape social obligations, leading to romantic entanglements and comedic misunderstandings, played out by a cast featuring Jeanette Hambridge’s Lady Bracknell, Bethan Olliver’s Gwendolen Fairfax, Katie Shaw’s Cecily Cardew, Wayne Osguthorpe’s Reverend Canon Chasuble, Rebecca Thomson’s Miss Prism and Max Palmer’s Lane/Merriman. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
A collage from the rehearsal photo-shoot for Rowntree Players’ production of The Importance Of Being Earnest
Comedy gig of the week: Rob Rouse, Funny Bones, Helmsley Arts Centre, March 20, 8pm; Stephen Joseph Theatre, Scarborough, March 21, 7.45pm
FRESH from being picked as the Comics’ Comic Best Act of the Year 2025, Rob Rouse is touring Funny Bones: a daft whirlwind of craftily spun tall tales, a bucketful of manic energy, canny stagecraft, eerily convincing characters and a barrage of one-liners.
“Warning: this show has been meticulously assembled to make you laugh as much as possible,” says Rouse. “However, you will not learn anything from it. You may even come out stupider than when you came in.” Box office: Helmsley, 01439 771700 or helmsleyarts.co.uk; Scarborough, 01723 370541 or sjt.uk.com.
Super scooper: Funny Bones comedian Rob Rouse and his skeleton dog on tour at Helmsley and Scarborough
Director-designer John Doyle in rehearsal for The Secret Garden The Musical at York Theatre Royal. Picture: Marc Brenner
DIRECTOR and designer John Doyle returns to York Theatre Royal for the first time in 29 years with his actor-musician revival of Broadway hit The Secret Garden The Musical from March 17 to April 4.
Artistic director at the St Leonard’s Place theatre from 1993 to 1997, the Scotsman became synonymous with this performance style, going on to win Tony Awards in New York, where he directed Cynthia Erivo and Jennifer Hudson in The Color Purple.
“It is wonderful to have John Doyle return to York Theatre Royal and direct this beautiful Yorkshire story,” says chief executive officer Paul Crewes. “We are excited that this will be a fresh take on this critically acclaimed musical, and that our audiences will be the first to experience it.”
In his days of working in the United States, Paul had hoped to link up with John for a project. “I couldn’t do it at that time, but I was delighted to be asked back to York, as I’d been very happy here, so to do The Secret Garden in York felt right,” says John, now 73, of his thrill at the invitation to direct this “beautiful, hopeful musical”.
Poppy Jason rehearsing her role as Mary Lennox in The Secret Garden The Musical. Picture: Marc Brenner
“Though initially I wasn’t thinking of doing it with actor musicians, I then thought it would be good for the family elements of the story because, if you were to do it with an orchestra in the pit, so much time would be spent with only two people on stage, whereas having the cast on the stage all the time gives it a sense of community.”
The 1991 Broadway musical combines music by Lucy Simon (Carly‘s sister) with book and lyrics by Pulitzer Prize winner Marsha Norman in its account of Frances Hodgson Burnett’s beloved story of love, loss, healing and hope, set in the North Riding of Yorkshire in 1906.
When newly orphaned Mary Lennox is sent to the moors to live with her widower uncle, she finds the secluded Misselthwaite Manor to be inhabited by memories and spirits from the past.
Whereupon she discovers her Aunt Lily’s mysterious, neglected garden and determines to breathe new life into it, with the help of her new friends, as she learns the power of connection and the restorative magic of nature.
Double bass-playing Steve Simmonds in rehearsal for his role as Ben. Picture: Marc Brenner
“To me there is something holy in this story,” says regular church attendee John. “To see the world through a child’s eyes – a spunky, difficult child that she is – Mary makes a miracle happen; she makes the boy walk, which is incredible.”
In a nutshell, the appeal of actor-musician productions that stretches back to such Doyle productions as Into The Woods, Pal Joey, Cabaret and the TMA award-winning Moll Flanders lies in “putting the emotions of the music in the hands of the performers on stage, so it doesn’t come from under them but from within them instead,” says John.
“Because there’s no conductor, with no-one leading them, it has a risky potential to go wrong, but there is something joyous about that because it’s alive. It’s not a concept; it’s a means to an end to tell a story.”
John continues: “I come from the Highlands, where everybody in my family played an instrument. I played the cello, the piano and the bagpipes – not very well in the case of the bagpipes! – and this was in the days before TV when we would entertain ourselves by playing music together.”
Estella Evans, centre, will be sharing the role of Mary Lennox with Poppy Jason
That love of music, and its communal powers, has driven John’s actor-musician work all the way to winning a Tony Award for his production of Stephen Sondheim’s Sweeney Todd: The Demon Barber Of Fleet Street.
“That legitimised it further because it was the first time that a major composer – Sondheim – had given his approval to work in this way,” says John.
“Now there are degree courses in actor-musician theatre, at places such as Rose Bruford, where I’m a Fellow, Mountview and the Royal Conservatoire [in Glasgow].”
He taught theatre as a professor at Princeton University Lewis Centre for the Arts for ten years too, but moved back to Britain after 20 years in America, disaffected by President Trump’s intolerant attitudes in his first term in office.
Cristian Buttaci: Rehearsing for the role of Colin. Picture: Marc Brenner
Whereupon John settled in Wells – all’s wells that ends in Wells, you could say – with time spent in his native Scottish Highlands too.
“I walk to work every day and I think, ‘how much longer can I do this? How long have I got left?’. You get to the point where you think, ‘I’m not going to live forever, what is the best way I can use that time?’, and theatre is still part of that.”
York Theatre Royal is very grateful for that philosophy and long may it continue.
York Theatre Royal presents The Secret Garden The Musical, March 17 to April 4, 7.30pm (except Sundays, Mondays and March 19); plus 2pm, March 19, March 26 and April 2; 2.30pm, March 21, 28 and April 4; 6.30pm, March 23 and 30; 7pm, March 19. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Interview copyright of The York Press.
Elizabeth Marsh: Returning to York Theatre Royal to play Mrs Medlock in The Secret Garden The Musical after earlier appearances in Into the Woods and Twelfth Night. Picture: Marc Brenner
Who’s in The Secret Garden cast and production team?
JOHN Doyle’s principal actor-musician cast for The Secret Garden The Musical will comprise Catrin Mai Edwardsas Martha;Joanna Hickman, Lily; Henry Jenkinson, Archibald; Elliot Mackenzie, Dickon; Ann Marcuson, Mrs Winthrop; Elizabeth Marsh, Mrs Medlock; André Refig, Neville, and Steve Simmonds, Ben.
In the company too will be Estella Evans and Poppy Jason, sharing the role of Mary Lennox, and Cristian Buttaci and Dexter Pulling splitting performances as Colin. The ensemble will be completed by Stephanie Cremona, Matthew James Hinchliffe, Lara Lewis and Melinda Orengo.
Completing the creative team alongside director-designer John Doyle are musical supervisor and orchestrator Catherine Jayes, co-designer David L Arsenault, costume designer Gabrielle Dalton, lighting designer Johanna Town, sound designer Tom Marshall and casting director Ginny Schiller.
John Doyle: director and designer of The Secret Garden The Musical at York Theatre Royal
John Doyle: back story
AWARD-WINNING Scottish director of theatre, film and opera. Served as artistic director of five major British and American theatre companies, including York Theatre Royal from 1993 to 1997.
Extensive stage credits include the world premiere of Alfred Hitchcock Presents at Theatre Royal Bath; Sweeney Todd: The Demon Barber Of Fleet Street (Tony Award for Best Director of a Musical); Company (Tony Award for Best Revival of a Musical); The Visit (Tony Award nomination for Best Musical, Drama Desk nomination for Best Director) and The Color Purple (Tony Award for Best Revival of a Musical, Drama Desk Award for Outstanding Director, Grammy Award).
Pacific Overtures (Drama Desk nomination for Best Musical Revival); Carmen Jones (Audelco Award for Best Musical Revival, Lucille Lortel nomination for Best Director); Mahagonny (Los Angeles Opera, two Grammy Awards); Passion (Drama Desk nomination for Best Director); Road Show, The Caucasian Chalk Circle, Kiss Me Kate and Assassins (Lucille Lortel nomination for Best Musical Revival, Best Director).
In addition to numerous credits in London’s West End, John has directed at Grange Park Opera, Sydney Opera House, the Metropolitan Opera, Houston Grand Opera, La Fenice in Venice, Williamstown Theatre Festival, Second Stage Theatre, Princeton McCarter Theatre and Cincinnati Playhouse in the Park.
Taught at Princeton University’s Lewis Centre for the Arts for ten years, specialising in acting and musical theatre courses. Known for his pioneering actor-musician style, he taught courses such as Development of the Multi-skilled Performer and The Nature of Theatrical Reinvention.
