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Yorkshire Trios confirmed for Next Door But One’s theatrical showcase at York Theatre Royal Studio next March. Who’s taking part?

In the line-up for Next Door But One’s Yorkshire Trios in the York Theatre Royal Studio next March: top row, Sarah Rumfitt, left, Kate Bramley, Connie Peel and Nicola Holliday; second row, Jules Risingham, Tempest Wisdom and Bailey Dowler; third row, Yixia Jiang, Jacob Ward and Claire Morley; bottom row, Paul Birch, Harri Marshall and Livy Potter

AFTER receiving more than four times as many applications as commissions available, York theatre company Next Door But One has assembled the next band of Yorkshire Trios – and a quartet – for March 2024.

“That many applicants is a sign of a few things,” says chief executive officer and artistic director Matt Harper-Hardcastle. “Just the sheer amount of talent that is within the local area; that there’s still a need after Covid for local creatives to be supported to get their own work out there, and hopefully that we as a company are seen as approachable and that people want to connect with us.”

Through a series of micro-commissions, York actors, writers and directors are being supported by NDB1 to produce original, short pieces of theatre that celebrate their individual skill and creativity.

“The brief is to create a five to 15-minute solo performance that in some way responds to the overall theme of ‘Top of the Hill’, so this is already resulting in stories of motherhood, grief, love, war and even Kate Bush!” says Matt.

“The writers are working on their second draft after receiving dramaturgical support from our team, and then rehearsals will begin in the early new year.”

The artists taking part will be Sarah Rumfitt, Kate Bramley, Connie Peel, Nicola Holliday, Jules Risingham, Tempest Wisdom, Bailey Dowler, Yixia Jiang, Jacob Ward, Claire Morley, Paul Birch, Harri Marshall and Livy Potter.

“This version is really building on everything that we learned and achieved from the first time around,” says Next Door But One artistic director Matthew Harper-Hardcastle

They will be working towards a showcase of original performances at York Theatre Royal next March, with more details on performance dates and how to book tickets to be released in the new year.

NDB1’s inaugural 2021 showcase of Yorkshire Trios in the garden performance space of The Gillygate pub marked the first live show in York after the lifting of Covid restrictions.

“At the time, many local performing arts professionals were feeling disconnected from their artistry and were extremely anxious about the future of their careers,” recalls Matt.

“So we listened to their concerns and created a series of micro-commissions to form new collaborative trios of an actor, writer and director, from which original work could be produced.”

One 2021 creative described Yorkshire Trios as “a total lifeline; a lighthouse in a stormy sea”. “Since then, Next Door But One has supported a further 44 creatives with mentoring in such areas as job applications and funding bid writing,” says Matt.

Yixia Jiang: Writing Love Letters Before Dawn for Yorkshire Trios

“We’ve always wanted to be an approachable company where creatives can hang their hat. We really believe in investing in the York cultural ecology, so this new iteration of Yorkshire Trios sits alongside our professional development programme, Opening Doors, and our Company Coaching provision.

“That provision is giving quarterly business and peer mentoring to five arts-based companies, Thunk-It Theatre, Story Craft Theatre, Terpsichoring dance company, Moon Dust and CoCreate, each with a different focus and at different stages of their development.”

Looking forward to next March’s showcase, NDB1 associate director Kate Veysey says: “It was really encouraging and humbling to read people’s honest reflections on what Yorkshire Trios could do for them within the application process.

“Some who had never been able to showcase their work in their hometown, others who had faced challenges in creating a professional network or establishing their careers on their own terms, and others who really respected our work and wanted to align their practice with our values. We feel really confident in being able to offer solutions to these points through this project.”

Emerging writer Yixia Jiang’s play Love Letters Before Dawn will be performed by Claire Morley, directed by Jacob Ward. “Working with this group of amazing people in York gives me a chance to take a glance into the local theatre industry and help establish myself as a playwright here,” he says.

Bailey Dowler: Performing Jules Risingham’s Anorak

York actor Bailey Dowler will perform Jules Risingham’s Anorak under the direction of Tempest Wisdom. “I wanted to get involved with Yorkshire Trios because there’s a lot of local talent in York and this is a perfect opportunity to widen my creative circle,” says Bailey.

“I cannot wait to work so closely with a writer and director. It’s such a rarity to have a one-to-one experience in the rehearsal room and so I’m excited to collaborate together, creating beautiful theatre, fuelled with passion.

“Next Door But One has a fantastic support system and I’m looking forward to being mentored and learning more about the process of creating a play, from outside the eyes of an actor.”

Fellow actor Nicola Holliday will present Sarah Rumfitt’s Toast, directed by Kate Bramley, artistic director of Badapple Theatre Company, and Connie Peel. “Having heard from friends what an incredible and inclusive company NDB1 was to work with, I was eager for the opportunity and chuffed to bits to be cast in Yorkshire Trios,” says Nicola.

“As an autistic, full-time working parent, finding flexible inclusive work can be a challenge and being welcomed with open arms, kindness and understanding by the whole NDB1 team has been lovely.

Nicola Holliday: Performer for Sarah Rumfitt’s Toast

“Meeting my Yorkshire quartet, such a talented creative and passionate bunch of local folks, I cannot wait to see our piece grow and develop, to be really challenged as an actor and to make some more meaningful connections here in York.”

Writer Sarah Rumfitt says: “Yorkshire Trios has given me an opportunity to explore my own voice within writing, something I have had little time for since becoming a mum.

“Being a creative is incredibly rewarding but also at times lonely. After an initial meeting with NDB1 and the other trios, I already feel more connected and part of an exciting community of Yorkshire-based creatives.”

Co-director Kate Bramley adds: “I’m really delighted to be working with Next Door But One on a brand new short play and mentoring another young director to boot, which makes us a unique four-person ‘trio’! I’ll be very excited to get started in the New Year.”

The fourth Yorkshire Trio comprises writer Paul Birch, actor Livy Potter and director Harri Marshall, combining on Running Up That Hill, the Kate Bush one.

Now that all the Yorkshire Trios have been introduced to one another, they can start creating performances that “really reflect who they are”. “We’ve provided the stimuli of ‘Top of The Hill’,” says NDB1 creative engagement manager El Stannage. “Not only because it then provides an overall theme to the final performances, but also because it brings a bit of the NDB1 ethos into the process.

Writer Sarah Rumfitt: Toast pops up at Next Door But One’s Yorkshire Trios showcase

“As a team, we often talk about what it’s like for us at the ‘top of the hill’; what it looks like when we are at our best, and that’s really what we want to instil in our trios. We want to celebrate each of them and applaud the incredible talent in our area.”

Highlighting how the 2024 Yorkshire Trios will differ from 2021, Matt says: “This version is really building on everything that we learned and achieved from the first time around.

“We’ve scheduled our Opening Doors programme to run alongside Yorkshire Trios this year, so we can offer development workshops for all the actors, writers and directors. We’ve included additional mentoring or adapted roles to suit the desired outcomes of certain creatives.

“The showcase of work will be performed in the York Theatre Royal Studio so we’ll be able to include more aesthetic decisions. And finally, we’ve reduced the number of commissions this time around so that we can increase the commission sum so that it’s more reflective of the work and energy each creative puts into it.”

Matt is delighted that the chosen artists are so diverse in representing York’s arts community in 2024. “As a company we really lead with who we are, and as an LGBTQ+ and disability-led company, we call to others who want to do the same, or want to be in those same spaces,” he says.

“Then the more that happens, the more others see themselves represented in both the industry and on stage, which then calls to more people, and so the process continues. So, it was really important to us that we had a real diversity across our trios, both in terms of identity and also experiences/stages in their career.”

The 2024 Yorkshire Trios – and a quartet

Kate Bramley: Co-directing Sarah Rumfitt’s Toast

Toast by Sarah Rumfitt

Performed by Nicola Holliday and directed by Kate Bramley and Connie Peel

AFTER giving birth, the midwife brings you toast; simple, medium cut, white Hovis that’s done a quick dip in the toaster, barely browned, overly buttered but the best thing Becky’s ever tasted. If only she knew what was coming…she’d have asked for the full loaf. Following a year-long struggle with post-natal depression, Becky and her son set off on their first walk together; they are going to the top of the hill; a place Becky would often walk alone before becoming “Mum”.

Livy Potter: Performing Paul Birch’s Running Up That Hill

Running Up That Hill by Paul Birch

Performed by Livy Potter and directed by Harri Marshall

ALEX is lost. Alex hates running but loves Kate Bush. They know all the facts about Kate Bush. Kate Bush drinks milk before recording and knows Lenny Henry. Alex is

running and Kate’s voice seems to help. Hill running is the worst and one (bastard) hill has them (almost) beat. This is the story of what Alex is running from and what they are running towards.

Prison is behind them as is their escape from a controlling relationship. Running up that hill is presently painful but it’s a different kind of pain from the past; besides, running up that hill might finally give Alex a clear view…

Harri Marshall: Directing Running Up That Hill

Love Letters Before Dawn by Yixia Jiang

Performed by Claire Morley and directed by Jacob Ward

A SOLDIER has been defending a battlefield from a hill for the past 100 days. Today he has given up on all chances to defend this place. All hopes seem lost.

However, the soldier keeps hold of his bravery and pride by remembering his fallen commander’s words: “We don’t persist because there is hope. It’s because of persisting, there shall be hope.”

Jacob Ward: Directing Yixia Jiang’s Love Letters Before Dawn

Anorak by Jules Risingham

Performed by Bailey Dowler and directed by Tempest Wisdom

THOMAS (no relation to The Tank Engine) loves trains. His whole life has been spent chasing trains, and always chasing after him was his partner, Charlie. Charlie did not like trains but loved Thomas. Thomas sits alone in his camping chair, on the top of his and Charlie’s favourite hill, looking down on the valley below, waiting for a train to pass that never seems to arrive.

With little to write about in his journal, he spends this time reflecting on his life with Charlie – and working out how to overcome his newfound grief. Thomas achieves a new understanding of grief, and how to keep living in the absence of our loved ones.

Jules Risingham: Writer of Anorak
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REVIEW: Jack And The Beanstalk, York Theatre Royal, until January 7 2024

Can you teach an old dame new tricks? Ask Zeus the border collie, working in tandem with Robin Simpson’s lead actor (ho ho), Dame Trott, in Jack And The Beanstalk at York Theatre Royal. All pictures: S R Taylor Photography

YORK Theatre Royal’s pantomime partnership with Evolution Productions is one of gradual evolution, rather than revolution.

A first year under Covid social distancing in 2020 had daft sausage Josh Benson, fellow York actor Anna Soden’s Fairy and Robin Simpson’s dame leading the Travelling Pantomime cast to community centres and village halls and laid the foundations for the fruitful axis of Theatre Royal creative director Juliet Forster and Evolution writer-producer Paul Hendy.

It is to be dearly hoped magician Benson’s time will come again in a York panto – you will have to head to Darlington Hippodrome to see his Muddles in Snow White this winter – but Forster and Hendy are in tandem once more and Simpson’s dame has become the Theatre Royal panto’s affable, quick-thinking, fleet-footed fulcrum, already signed up for Aladdin next winter.

Mia Overfield’s Jack with the giant Blunderbore…or Boris for short in Jack And The Beanstalk

Very welcome too is Strawberry Lion theatre-maker Soden’s first Theatre Royal panto appearance since those 2020 travels, cast as – pull the udder one – the groundbreaking character of Dave the Talking Cow, male by name, but very definitely female and a triple threat to boot as feisty bovine performer/hoofer, fabulous singer and trumpet player in the Walking On Sunshine finale.

Her startling version of I’m Just Dave, borrowed from this year’s biggest, pinkest movie, Barbie’s I’m Just Ken, is typical of the topical cultural antennae under Forster-Hendy’s control.

But let’s go back to the beginning, the only slow section of a show whose momentum builds and builds. Artichoke wand in hand, Nina Wadia’s cajoling Fairy Sugarsnap opens the curtain to a stage empty but for two tech team staff removing equipment. That’s novel! 

Wanderful: Nina Wadia’s Fairy Sugarsnap

Commanding scenery to appear, with the powers of a Prospero, she introduces the audience to the wonders of pantomime, character by character, in the setting of Giggleswick, a funny name that does what it says on the tin: make you giggle, like Wadia herself.

For first timers, reflecting the new, younger age of the Theatre Royal pantomime post-Berwick Kaler, this is a gentle stepping stone, if a little laboured for the serial panto-goer. Plot is somewhat put on hold, but then it is little more than bean there, done that anyway, and enjoyment rises quickly.

Especially once James “Raven” Mackenzie’s blackbearded Scottish baddie Luke Backinanger (cue an Oasis lyric gag later on), Soden’s loquacious Friesian and Simpson’s Dame Trott make their entries. The latter attired in a fortified Clifford’s Tower dress beneath a balloon headgear, the first in a fashion parade of fabulous, off-the-wall dame costumes by Michael J Batchelor and Hazel Fall (complemented throughout by Ella Neal and Amy Chamberlain’s cast costumes and Helga Wood and Michelle Marden’s sets, especially for Cloudland). 

CBeebies star James Mackenzie’s Luke Backinanger leading a zombie dance with the ensemble

Former chief executive Tom Bird was loathe to build up too many returnees after the years of Dame Berwick’s Infamous Five, but continuity combined with innovation is the way forward. Simpson’s knowing, ever game dame, so appealing to children and adults alike, is the key, here playing with a new toy, the Drone of Love, a piece of camera kit that lets Simpson home in on men in the audience as the same’s potential new beau/victim for the rest of the show.

This is the moment of lift-off for Jack And The Beanstalk, rather more than the misbehaving beanstalk-inflating transformation scene that has Simpson ad-libbing deliciously in surprise.

All the while Mia Overfield’s Jack – short for Jacqueline – Trott and her daft brother Billy (Matthew Curnier) grow into their roles, especially once Overfield moves more to the fore as the story demands and Curnier inserts himself in a bouncing ball (ostensibly a giant tomato), only his head sticking out, and somehow changes costume (in a new development on debuting this physical comedy last winter).

Robin Simpson’s Dame Trott, in the Clifford’s Tower frock designed by Hazel Fall, with Matthew Curnier’s Billy Trott, left, Mia Overfield’s Jack Trott and the ensemble

Continuity? The return of the Trolley of Puns, turning pantomime into puntomime, this time on the theme of dog breeds on picture boards, that is all the better for a Simpson slip-up. The inevitable ghost scene, but with a new finale, typical of Forster’s determination never to settle for the conventional.

Look out, here come the perennial digs at “desolate, desperate, depressed” Hull; political putdowns aplenty, for Braverman and Sunak, and Blunderbore the giant being re-named Boris, while Wadia adlibs a Cop28 quip when fluffing a line.

Then add Hayley Del Harrison’s choreography, as joyous for the ensemble of Villagers and Zombies as it is for the lead shakers and moovers (in the case of Dave the Talking Cow). On song too is Robert Louden’s musical direction, playful (listen out for the entry for EastEnders star Wadia), vibrant and varied, topped off by Mackenzie and Soden duetting on trumpet at the close.

All the right mooves: Anna Soden hoofing it as Dave the Talking Cow

Innovations? Dame Berwick introduced film to pantomime, and now Juliet Forster reinvigorates it with the aid of Ed Sunman’s video production wizardry, peaking with a send-up of boy band tropes (Mackenzie’s Luke Backinanger is so called after being turned down for a boy band  in younger days). By this point, Jack And The Beanstalk has become by far the best of the Evolution shows so far.

Luke Backinanger’s weather-making machine – for his plans for world domination via climate change – lends itself to revamping the dame’s water slapstick scene. Long may it rain, unexpected final flourish et al.

The surprises and delights keep coming, from the Giant being joined by a grumpy teenage son, Darren (who “hates sleeping”), to Simpson’s costume as a piano-playing Elton John, so clever that it requires a double-take before another fiesta of song title puns.

Giant steps are what you take: James Mackenzie’s Luke Backinanger and Anna Soden’s Dave the Talking Cow with Blunderbore and grouchy teenage son Darren

One more talking point: Dave the Talking Cow is not the only animal to tread the boards. Making his stage debut is a scene and headgear-stealing border collie by the name of Zeus – from god to dog in one step!

This three-time Young Kennel Club Crufts champion is trained by Anna Auster (whose mum goes to the same York art class as Forster’s husband, leading to a conversation about Zeus appearing in the show). 

The dame and dog partnership – each negotiating an obstacle course with very differing results – is as unpredictable to Simpson, canine and audience alike. Best in Show winner, no question, in a panto that, like Jack’s beans, will grow and grow.

Box office: 01904 623568 or yorktheatreroyal.co.uk.

Only stools and farces: Matthew Curnier, left, James Mackenzie, Mia Overfield and Robin Simpson send up boy band tropes in With A Little Help From My Friends with more than a little help from Ed Sunman’s video wizardry
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More Things To Do in York and beyond as panto time arrives and Christmas shows abound. Hutch’s List No. 50, from The Press

Me babbies, me bairns, me Berwick: Berwick Kaler’s dame, Dotty Dullaly, in Robinson Crusoe & The Pirates Of The River Ouse, his third Grand Opera House pantomime. Picture: Charlie Kirkpatrick

‘TIS the season for pantomime as three start at the same time amid a glut of Christmas shows, from kitchen disco to classic rock, as Charles Hutchinson reports.  

York pantomimes at the treble: Rowntree Players in Cinderella, Joseph Rowntree Theatre, York, today until next Saturday, except Monday; Jack And The Beanstalk, York Theatre Royal, until January 7 2024; Robinson Crusoe & The Pirates Of The River Ouse, Grand Opera House, tonight until January 6

ROWNTREE Players “rollicking pantomime” director Howard Ella is joined in the writing team for the first time by comic Gemma McDonald, who will be playing Buttons alongside Sara Howlett’s Cinderella, Laura Castle’s Fairy Flo and the baddie trio of Marie-Louise Surgenor’s Wicked Queen, York ghost walk host Jamie McKeller’s Cassandra and Michael Cornell’s Miranda.

James Mackenzie’s Luke Backinanger and Nina Wadia’s Fairy Sugarsnap in Jack And The Beanstalk at York Theatre Royal

York Theatre Royal’s fourth collaboration with Evolution Productions goes green with Nina Wadia’s Fairy Sugarsnap and CBeebies’ James Mackenzie’s villainous Luke Backinanger joining returnee Robin Simpson’s Dame Trott, Anna Soden’s Dave the Cow, Mia Overfield’s Jack and Matthew Curnier’s very silly Billy in Jack And The Beanstalk.

Dowager dame Berwick Kaler tackles Robinson Crusoe for the first time in his 43rd York panto and third at the GOH. Jake Lindsay takes the title role alongside the Ouse crew’s regulars, Martin Barrass, David Leonard, Suzy Cooper and AJ Powell. Box office: josephrowntreetheatre.co.uk or 01904 501935 (last few tickets); yorktheatreroyal.co.uk or 01904 623568; atgtickets.com/york.

Matheea Ellerby: Shining as Sparkle in Pocklington Arts Centre’s The Elves And The Shoemaker Save Christmas

Debut of the week: The Elves And The Shoemaker Save Christmas, Pocklington Arts Centre, until December 16

WRITER Elizabeth Godber and director Jane Thornton are at the helm of Pocklington Arts Centre’s inaugural in-house production: the children’s story of Jingle, Sparkle and Daredevil Dave, who have gingerbread to cook, peas to find and shoes to make. But who gives the Elves their Christmas? Surely they too deserve a break? Dylan Allcock, Jade Farnill and professional debut-making Matheea Ellerby star. Show times and tickets: pocklingtonartscentre.co.uk.

Sophie Ellis-Bextor: Cooking up her hits with Christmas trimmings in her Kitchen Disco at York Barbican

Yuletide on the dancefloor: Sophie Ellis-Bextor’s Christmas Kitchen Disco, York Barbican, Sunday, 7.30pm

WHAT began as a lockdown online sensation from Sophie Ellis Bextor’s kitchen turned into her 2022 Kitchen Disco tour. Now she follows up Cooking Vinyl’s June release of her seventh studio album, Hana, with her Christmas Kitchen Disco tour for 2023. Hits from throughout her career will be combined with festive classics, served in her seasonal disco style. Tickets update: Sold out. Could be murder on the dancefloor to acquire one now. Box office for returns only: yorkbarbican.co.uk.

Mostly Autumn: Christmas classic rock at The Crescent

Homecoming for Christmas: Mostly Autumn Christmas Show!, The Crescent, York, Sunday, 8pm

BEFORE heading off to Belgium and the Netherlands next week, York classic rock band Mostly Autumn play a home-city Christmas show heavily influenced by 1970s’ progressive rock, trad folk and, increasingly, contemporary influences after 28 years together led by guitarist Bryan Josh.

Meanwhile, York folk-covers, busker rock’n’roll troupe Hyde Family Jam have sold out both Thursday and Friday’s Christmas Party gigs, but tickets are available for Tuesday’s 7.30pm double bill of folk trio The Magpies and York singer-songwriter Dan Webster. Box office: thecrescentyork.

Bootleg Beatles: Get back to York Barbican on Wednesday

Tribute show of the week: Bootleg Beatles, York Barbican, Wednesday, 7.30pm

PERFECT timing for the Bootleg Beatles to return to York this Christmas with their nostalgic whirlwind trip through the Fab Four Sixties, after the reissue of the ‘Red’ and ‘Blue’ compilations and especially the chart-topping renaissance of Now And Then.

And yes, that reactivated ghost of a John Lennon song will feature in a set combining the then and the now as Steve White’s Paul, Tyson Kelly’s John, Steve Hill’s George and Gordon Elsmore’s Ringo re-create the sound and look of each Beatles’ phase in fastidious detail, accompanied by a brass and string orchestra. Box office: yorkbarbican.co.uk.

A mouse on skis in A Townmouse Christmas at Fairfax House, York

Mouse in the house: A Townmouse Christmas, Fairfax House, Castlegate, York, until January 7, 10.30am to 4.30pm, last entry 4pm

FAIRFAX House’s 2022 festive exhibition, A Townmouse Christmas, returns this winter with double the magic and double the mice, causing even more mayhem and mischief amid the Georgian Christmas festivities.

Hundreds of merry mouse guests can be spotted swinging from the ceiling and bursting out of drawers as they play among the 18th century décor, festive foliage and displays of Georgian Christmas traditions. Tickets: fairfaxhouse.co.uk.

Hands up who’s coming to town: Santa Claus looks forward to York Stage’s Santa’s Sing-a-Long

Busiest company of the week: York Stage presents Santa’s Sing-a-Long, Wednesday to December 23; Festive Feast, December 15, 16, 19 to 22, 8pm, both at Theatre@41, Monkgate, York

JOIN Mr and Mrs Claus in their busy home as they prepare for the big day, entertaining children with 45 minutes of sing-a-longs, Christmas stories, interactive wonderment and Christmas songs aplenty. Santa has a Christmas book for every child to take away to read on Christmas Eve. Show times and tickets: tickets.41monkgate.co.uk.

At night, York Stage vocal talent, accompanied by Adam Tomlinson and his band, dishes up a Festive Feast of Christmas songs, ranging from the traditional to modern pop, plus lashings of musical theatre favourites.

On song will be Katie Melia, Jess Main, Tracey Rea, Matthew Clarke, Cyanne Unamba-Oparah, Carly Morton, Finn East, Jack Hooper, Hannah Shaw, Stuart Hutchinson and York Stage debutant Jess Parnell. Box office: tickets.41monkgate.co.uk.

Mike Paul-Smith: Musical director of Down For The Count at the Royal Hall, Harrogate

Christmas in full swing: Down For The Count, Swing Into Christmas, Royal Hall, Harrogate, December 16, 7.30pm

MIKE Paul-Smith trained as a doctor but is now principal conductor of London vintage orchestra Down For The Count, specialists in bringing jazz’s Swing Era back to life, in this case with a festive focus.

Paul-Smith and arranger Simon Joyner re-create the music of Nat King Cole, Billie Holiday, Ella Fitzgerald, Frank Sinatra and many more in a luscious 30-piece orchestral setting, evoking Capitol Studios recordings. Cue original arrangements of The Christmas Song (Chestnuts Roasting) and It’s Beginning To Look A Lot Like Christmas, alongside Let’s Face The Music And Dance and S’Wonderful. Box office: 01423 50211 or harrogatetheatre.co.uk.

Reopening of the week: Victorian Christmas at York Castle Museum, Eye of York, until January 7 2024

Story Craft Theatre’s Cassie Vallance and Jane Bruce with their Museum Mice at York Castle Museum

YORK Castle Museum’s Victorian Kirkgate street has reopened for a magical Yuletide experience full of activities and performances for all ages.

Highlights include Chris Cade’s Scrooge shows; a Victorian green-clad Father Christmas; carol singing on Sundays, and Janet Bruce and Cassie Vallance’s Story Craft Theatre bringing cute Museum Mice to life with puppets, games and family fun, followed by a craft activity on several weekdays. To book tickets: https://beta.yorkmuseumstrust.org.uk/york-castle-museum/admission-tickets

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Nina Wadia finds the kooky in Fairy Sugarsnap in Jack And The Beanstalk pantomime at York Theatre Royal

Wanderful: Nina Wadia’s Fairy Sugarsnap with her arty joke of an artichoke wand in York Theatre Royal’s pantomime, Jack And The Beanstalk

NINA Wadia was confused. Growing up in India and Hong Kong, pantomime was a foreign country to her.

“When I came to the UK from Honk Kong to study classical theatre at the London Theatre School in Wandsworth, I was new to this country,” recalls the EastEnders and Good Gracious Me star.

“I went for an audition for my first ever professional job in Robin Hood at Theatre Royal Stratford East, but I thought pantomime was some form of mime! I auditioned like all the other actors, and when they said, ‘have you got a song?’, I blagged it and said ‘of course’. ‘Do you dance?’. ‘Yes, I tap,’ I said, but I was thinking, ‘why do I need to do this when it’s a mime show?’, as I just didn’t know the pantomime tradition.”

Song and dance? “What kind of mime is that,” she asked. Explanation forthcoming, she was cast as Friar Tuck, and now, more than 30 years later, she will be making her York Theatre Royal tonight (8/12/2023) as the poster face of Jack And The Beanstalk, playing Fairy Sugarsnap.

In the box seating: Nina Wadia at York Theatre Royal

She is forever grateful to Theatre Royal Stratford East, in particular Philip Hedley, artistic director from 1979 to 2004, and his associate director, Jeff Teare. “It’s the most incredible theatre that opens the door for ethnic actors,” says Nina, who will turn 55 during the panto run on December 18.

“It was very hard being an ethnic actor, and if you think of pantomime, I don’t think you’d go to a brown actor in those days. I loved that it was such an open theatre to look at actors regardless of their colour and think if you have potential, they will help develop that.

“Jeff saw something in me, the kind of thing that has made my career: the kind of energy I have, but also the willingness to learn, which I still have, whereas a lot of young actors seem overly confident now.

“I really want to express that to young people coming into the business, where they can stand out at drama school and think they know it all, by I always find that by the end of playing a role I know more than when I started.”

Nina Wadia: Mother, actress, comedian, producer, presenter and charity campaigner

Nina points to her role as Zainab Masood in the BBC’s London soap opera EastEnders from 2007 to February 2013. “I never watched EastEnders before being in it,” she admits. “I signed up for six months but ended up staying on and on, and I got to knowZainab over those six and a half years – and I really liked her.

“They hired me to bring some comedy to EastEnders, and I was the first actor to win an award for best comedy performance in EastEnders. What was really interesting was I was told they wanted me to create a character like Wendy Richards’ Pauline Fowler but funny, so I watched her, and she was so grumpy that I found her funny! Anyway, I found the way to make Zainab funny was to make her very blunt.”

Nina’s gift for her comedy had marked her out from her pantomime bow as Friar Tuck, the beginning of a seven-year involvement with Theatre Royal Stratford East.  “The show was brilliant and the writer Patrick Prior was the real thing. Playing Friar Tuck, I was one of the four ‘merry men’, with a pillow at the front, a pillow at the back and a skull cap put on top of my very long hair. Very glamorous!” she says.

“I had the best actresses to work with straightaway, sharing the dressing room with all the ‘merry men’, all played by women.”

Fairy versus villain: Nina Wadia’s Fairy Sugarsnap with pantomime baddie James Mackenzie’s Luke Backinanger in Jack And The Beanstalk

She loved the pantomime humour. “I laughed so much, having grown up with British humour in Hong Kong: Blackadder, Morecambe & Wise and Some Mothers Do ’Ave ’Em. On. On the American side, there was the stand-up of Joan Rivers, Robin Williams and Eddie Murphy, so I was drawn to the combination of crazy antics and really raw, rude comedy that I wasn’t supposed to watch but I loved, especially Eddie Murphy.”

Nina’s subsequent career has embraced everything, from radio drama company regular to soap opera , BBC Asian sketch comedy in Goodness Gracious Me to 2021 Strictly Come Dancing contestant, TV roles as Aunty Noor in Citizen Khan and Mrs Hussein in Still Open All Hours to video game voiceover artist and narrator for the animated series Tweedy And Fluff on Channel 5’s Milkshake. Charity campaigner too, honoured with an OBE.

Profiling herself on social media as Mother, Actress, Producer and Presenter, Nina loves to embrace every medium, her latest addition being her online satirical political character, the Conservative councillor and constituency candidate Annie Stone. “She’s a mixture of Suella Braverman and Priti Patel: vile but believable. She’s on TikTok, Instagram and X and she now has proper followers at #VoteAnnieStone!”

From tonight, Nina will be delivering rhymes, mirth and magic as Fairy Sugarsnap in Jack And The Beanstalk. “I was expecting a silly costume. I described it to my husband [Raimond Mirza] and said they’ve dressed me as an aubergine pretending to be an artichoke,” she says. “I’ve made her more kooky than usual, given her more depth, as much as you can give her depth!”

Nina Wadia waves a wand over Jack And The Beanstalk at York Theatre Royal from today (8/12/2023) until January 7 2024. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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More Things To Do in York and beyond from November 18. Here’s holidaying Hutch’s List No. 47 for 2023, from The Press, York

Who’s next as the death count rises in Lucy Bailey’s production of Agatha Christie’s And Then There Were None, on tour at the Grand Opera House, York. Picture: Manuel Harlan

AND then there were thrillers, music, spoken word and comedy gigs, a cricket legend show and smooth crooner tribute for Charles Hutchinson to recommend.  

Thriller of the week: Agatha Christie’s And Then There Were None, Grand Opera House, York, November 22 to 25, 7.30pm plus 2.30pm Wednesday and Saturday matinees

AFTER Pick Me Up Theatre’s September staging at Theatre@41, Monkgate, here comes Lucy Bailey’s “genuinely terrifying” touring production of Agatha Christie’s best-selling 1939 crime novel, starring, among others, Andrew Lancel as William Blore, David Yelland as Judge Wargrave and Sophie Walter as Vera Claythorne.  

Ten strangers – eight guests and a butler and his housekeeper wife – are lured to a solitary mansion off the coast of Devon. When a storm cuts them off from the mainland, the true reason for their presence on Soldier Island becomes horribly clear. Box office: atgtickets.com/york.

Spanish sarcasm of the week: Ignacio Lopez, YO1 Live Lounge, York Barbican, November 18, 8pm

SPANISH export Ignacio Lopez, from Live At The Apollo, The Now Show and Stand-Up Sesh, scrutinises his immigrant upbringing and family tree in a show about clashing cultures and never fitting in. 

Sharing his biggest failures with a globe-trotting story of music, comedy and admin cock-ups, exotic outsider comedian Ignacio skewers Britain and Spain with an armada of stand-up sarcasm, silliness and songs. Box office: yorkbarbican.co.uk.

Simon Brodkin: Screwed Up revelations from prankster at Grand Opera House, York

Comedy times two at Grand Opera House, York: Simon Brodkin, Screwed Up, November 18, 8pm; Lucy Beaumont, The Trouble & Strife, November 19, 8pm

THE most viewed British comedian of all time on TikTok, notorious prankster and Lee Nelson creator Simon Brodkin rips into celebrity culture, social media, the police, Putin, Prince Andrew and Jesus in his new stand-up show, Screwed Up. Nothing is off limits, from his mental health to his five arrests and his family.

An award-winning stand-up (and actress) before she met Leeds comedian and now husband Jon Richardson, Hull-born Lucy Beaumont lets slip on her rollercoaster world through a surrealist lens. Box office: atgtickets.com/york.

Not just cricket: Henry Blofeld discusses “flannelled fools” and much besides at York Theatre Royal

Chat show of the week: An Audience With Henry Blofeld, York Theatre Royal, November 20, 7.30pm

TEST Match Special alumnus Henry Blofeld, 84, will discuss rather more than the art of cricket commentary. “If you think you’re going to learn how to play a forward defensive, you’ll be sadly disappointed,” he forewarns.

Instead, expect his colourful life story in a tongue-in-cheek show, full of after-dinner anecdotes and meandering digressions where Blowers pokes fun at himself and his TMS gaffes and his subjects veer from intergalactic travel to horticulture to mountaineering. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The Trials Of Cato: Twisting folk into new shapes at Pocklington Arts Centre

Folk gig of the week: The Trials Of Cato, Pocklington Arts Centre, Thursday, 8pm

2019 BBC Radio 2 Folk Award winners The Trials Of Cato pay homage to the folk tradition while twisting old bones into something febrile and modern, combining stomping tunes and captivating stories.

Formed in Beirut, Lebanon, the Welsh/English band have been based in Britain since 2016, releasing the albums Hide And Hair in 2018 and Gog Magog, named after the mythical giant of Arthurian legend and a Cambridgeshire hilltop, last year. Mandolin player and vocalist Polly Bolton has joined the trio after leaving The Magpies. Support act will be Annie Dressner, once of New York City, now of Cambridgeshire. Box office: 01759 301547 or pocklingtonartscentre.co.uk

Jess Gardham: On Navigators Art & Performance’s Basement Sessions bill at The Basement, City Screen Picturehouse, York

Underground movement of the week: Navigators Art & Performance, The Basement Sessions, The Basement, City Screen Picturehouse, York, November 25, doors, 7pm

YORK creative hub Navigators Art & Performance launches the Basement Sessions series of Music, Spoken Word and Comedy – Live, Local and Loud! with a bill of performers from the York area and “a few surprises up the sleeve”.

In the line-up are punk/post-punk/alt. rock/indie band What Fresh Hell, playing their farewell gig; pop, soul and acoustic singer-songwriter Jess Gardham; comedian John Pease; performance artist Carrieanne Vivianette, exploring the legacies of radical women through voice, movement and improvisation, and jazz-turned-punk Battle of the Bands finalists Attacker TV. Box office: bit.ly/nav-base-1 or on the door.

Stepping out of the shadow: Atila Huyesin celebrates the music of Nat King Cole at the NCEM, York

Tribute show of the week: Atila Huseyin in King For A Day: The Nat King Cole Story, National Centre for Early Music, York, November 26, 7pm

ATILA Huseyin combines live music, narration and projected archive images and footage in his concert celebration of one the 20th century’s greatest vocalists and entertainers, Nat King Cole. of the Twentieth Century: Nat King Cole.

Accompanied by world-class musicians, Huseyin performs such favourites as Nature Boy, Unforgettable and When I Fall in Love alongside stylish reworkings of his lesser-known gems. Box office: 01904 658338 or ncem.co.uk.

Chris McCausland: Warming up at Selby Town Hall for a year of travels on his 2024 Yonks! tour

Looking ahead: Chris McCausland, Yonks!, Grand Opera House, York, November 10 2024

LIVERPUDLIAN comedian Chris McCausland will follow up his 140-date Speaky Blinder tour with 104 shows on his Yonks! travels in January to May and September to December 2024. Why Yonks? “I’ve been called an ‘overnight success’, even though I’ve been doing this for yonks,” he reasons after more than two decades on the stand-up circuit.

This year, McCausland, 46, has hosted his own travel series, Wonders Of The World I Can’t See, on Channel 4. His Work In Progress show at Selby Town Hall on Wednesday (8pm) has sold out. Box office: atgtickets.com/york.

In Focus: Joseph Rowntree Theatre Company Autumn Theatre Festival, Joseph Rowntree Theatre, York, November 21 to 25

Helen ‘Bells’ Spencer: Leading the musical theatre workshop for age 16 upwards at Joseph Rowntree Theatre Company Autumn Theatre Festival

THE Joseph Rowntree Theatre Company will raise funds for the JoRo with a participatory four-day theatre festival that kicks off with Pirates Of Penzance: Come & Sing on Tuesday at 7pm and closes with a concert performance of the much loved Gilbert & Sullivan opera on Saturday at 3.30pm. This is an opportunity to throw yourself into G&S over a week of fulfilling fun.

JRTC will hold an open rehearsal for next February’s production of Kander & Ebb’s musical murder mystery Curtains on Wednesday at 7pm: a chance to sit in the stalls and peek at how a show is put together, hopefully with no spoiler of whodunit!

Musical director and actor James Robert Ball will lead the Youth Musical Theatre Workshop for seven to 15-year-olds on Thursday at 7pm, when he will look at such theatre skills as vocal technique and acting through song while working on a number that attendees will have the option of performing during the interval of the Saturday Night Musical Theatre Quiz.

JRTC principal actress Helen ‘Bells’ Spencer will oversee Friday’s 7pm Musical Theatre Workshop for age 16 plus, featuring audition skills and top tips, acting through song and vocal techniques. Again, participants can sing in the interval at Saturday’s quiz.

A Tech Demo & Backstage Tour will be held at 2pm on Saturday, when participants can venture behind the scenes and meet the tech team for demonstrations of light and sound equipment.

The festival will conclude with Saturday’s aforementioned quiz night: a chance to play for prizes and bragging rights as teams of up to four are challenged to show their musical theatre knowledge.

Tickets cost £5 per event, £12 for three or £16 for full festival access at josephrowntreetheatre.co.uk.

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REVIEW: Watford Palace Theatre in The Merchant Of Venice 1936, at York Theatre Royal until Saturday ***

Tracy-Ann Oberman’s East End pawnbroker and single mother Shylock in The Merchant Of Venice 1936, set in Cable Street, London, with Oswald Mosley’s Blackshirts on the march

NOTHING will stop The Merchant Of Venice being a problem play, and that’s the problem. Especially against the backdrop of the hell of the Gaza Strip. Suella Braverman’s P45. The English Defence League on the attack. Peaceful Armistice Day protests in London and beyond, demanding a ceasefire, or was that antisemitism?

Amid this tempest, Jewish actress Tracy-Ann Oberman and director Brigid Larmour’s new adaptation of Shakespeare’s vituperative play arrives in York: a city with the darkest stain of history from the Jewish massacre at the site of Clifford’s Tower on March 16 1190, but with a new chapter opened after this autumn’s arrival of Rabbi Dr Elisheva Salamo as the spiritual leader of the York Liberal Jewish Community.

Is The Merchant Of Venice antisemitic, cursed by Shakespeare’s depiction of moneylender Shylock as English literature’s most archetypal Jewish character? “I think its legacy is antisemitic. So yes, I suppose it is an antisemitic play,” Oberman told the Guardian during rehearsals for this Watford Palace Theatre production in February.

Henry Goodman, who won an Olivier Award for his Shylock in Trevor Nunn’s 1999 National Theatre production, said in the same piece: “I think it depicts antisemitism, but is not antisemitic because it humanises.”

Abigail Graham, Jewish director of The Globe’s “radical” 2022 production, defined the play thus: “It’s not a play about antisemitism,” the Guardian quoted her. “It’s about the intersection between white supremacy, capitalism, patriarchy, antisemitism and racism”.  

Why this preamble? You could make a case for each assessment, but ultimately the argument over whether The Merchant Of Venice is antisemitic will never be decided by any one production.

Ultimately, Graham has it right in referring to the intersection, one that now defines British or, more to the point, English discomfort at our colonial past and its continuing impact.

Let’s call The Merchant Of Venice an “uncomfortable” play, one where Shakespeare has Portia destroy Shylock in court, for the moneylender to slink away never to be heard again, only for a jocund ending to follow with fun and games over wedding rings as if we had strayed into one of his summer-lit comedies.

Unlike Shylock, Oberman and Larmour are not content to let it end there, instead adding a coda to round off the 1936 setting amid the rising tide of Oswald Mosley’s British Union of Fascist Blackshirts, on the march through Cable Street in London’s East End on October 4 that year.

All Larmour’s cast strip off glad rags and fascist appareil to stand with Oberman’s Shylock, behind her banner They Shall Not Pass “We are stronger, prouder and safer together,” is her message, as she urges all the audience to its feet. (Well, that’s one way to ensure a standing ovation as sems to be becoming increasingly obligatory at theatre shows.)

Not everyone obliged, perhaps uneasy that the problems highlighted by this problematic play are more complicated, more nuanced, than that.

Shakespeare’s play has “always fascinated and repulsed” Oberman. “I don’t like it. I’ve never liked it,” she said. Does anyone “like it”, however? It is not Hamlet, nor King Lear, more questions than answers, but she wanted to “reclaim Shylock”, not to play Shylock for sympathy, nor shy away from the villainy, but to show why Shylock “becomes the monster that they make her” in the face of Jewish persecution.

Traditionally a male role, Oberman has taken inspiration from her great-grandmother’s hardy, dignified East London generation to depict Shylock as a Cable Street pawnbroker and single mother with an errant daughter (Grainne Dromgoole’s Jessica), played as righteous, resolute, rigorous and wronged.

This adds gender and misogyny to the degradation of the spat-upon Shylock at the hands of Raymond Coulthard’s sneering Antonio, dressed all in Mosley black, as he mocks her demand for her pound of flesh on failing to meet the terms of his bond.

Liz Cooke’s design depicts Shylock’s Cable Street home in drab, brutalist grey brick. By contrast, Portia’s film-noir high society elegance is denoted by a marble floor, a white curtain and silk dresses; Antonio’s business world by a chandelier.

Greta Zabulyte’s matching black and white video design begins with Mosley mid-speech, to be followed by fascist posters, newspaper headlines and period footage, all leading up to the Battle of Cable Street. Sarah Weltman’s sound design of smashed windows and loud, threatening voices and Erran Baron Cohen’s piano compositions shadow what is unfolding with haunting inevitability. The Star of David is highlighted on the wall, but Jew Dog is scrawled on Shylock’s door.

As mentioned earlier, one problem in The Merchant Of Venice is the contrasting tones: the chortling comedy of Portia’s hapless suitors seeking to win  her hand, topped off by Gavin Fowler’s outwardly charming Bossanio, as if in a Noel Coward or Oscar Wilde comedy of manners, but the visceral, shocking hatred of Shylock, as exemplified by the thuggish excesses of Xavier Starr’s Gratiano. You can but choke on the comedy.

The transition of York-born Hannah Morrish’s Portia – my other character is a Portia too – typifies this dichotomy. Aloof but irresistibly attractive society belle, all-hours socialite, scheming aristocrat, as if she were the seventh Mitford sister, but then she becomes, as Oberman has indelicately put it, an effing bitch in her chilling courtroom humbling of Shylock.

This is a high-quality production, from design to vocal delivery, if fast-moving rather than moving, with well edited dialogue and a modernity to its theatricality and tone.

Does Obeman “reclaim Shylock” in what she calls her legacy heritage project? The play, the central character, Shakespeare’s motives, will still divide opinion, and new horrors will always inform them, but what Oberman and Larmour highlight is how unlikeable everyone is in The Merchant Of Venice. Until that unifying coda, but when will such a coda head over the horizon? Not any time soon.

Watford Palace Theatre in The Merchant Of Venice 1936, York Theatre Royal, until Saturday, 7.30pm nightly plus Box office: 01904 623568 or yorktheatreroyal.co.uk.

 

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More Things To Do in York & beyond from Nov 11. Hutch’s List No. 46, from The Press

Tracy-Ann Oberman’s Cable Street pawnbroker and single mother Shylock in the 1936 East End with fascism on the rise. Picture: Mark Senior

POLITICAL dramas, a heap of big comedy names, a newly revived Eighties’ band and a belated American debut will keep Charles Hutchinson out and about.

Controversial play of the week: The Merchant Of Venice 1936, York Theatre Royal, Tuesday to Saturday, 7.30pm, plus 2pm Thursday and 2.30pm Saturday matinees

WATFORD Palace Theatre’s ground-breaking touring production of Shakespeare’s The Merchant Of Venice has been adapted and directed by Brigid Larmour from an original idea by co-creator and actress Tracy-Ann Oberman.

As the tide of fascism swells in 1936, Oberman’s Shylock is a strong-willed single mother who runs a pawnbroking business from her house in Cable Street, where Oswald Mosley’s Blackshirts will soon march. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Ross Noble: Geordie surrealist in his natural habitat in Jibber Jabber Jamboree at Grand Opera House, York

Comedy at the treble at Grand Opera House, York: Dave Gorman, Monday, 7.30pm; Ross Noble, Wednesday, 8pm; Paul Smith, 7.30pm

DAVE Gorman’s Powerpoint To The People show aims to demonstrate that a powerpoint presentation need not involve a man in a grey suit standing behind a lectern and saying “next slide please”. Far more important things demand analysis, he urges.

Geordie surrealist Ross Noble returns to York on his 21st tour, Jibber Jabber Jamboree, for another journey into inspired, improvised nonsensical comedy with detours galore. Paul Smith’s Joker gig, full of audience interaction and everyday true stories, has sold out. Box office: atgtickets.com/york.

Fame Hasn’t Changed Me, by Susan Bower, from Kentmere House Gallery’s winter exhibition

Exhibition launch of the week: Not Black Friday But Colour Friday!, Kentmere House Gallery, Scarcroft Hill, York, until December 22

ORIGINAL art by more than 70 artists features in the Christmas exhibition at Kentmere House Gallery. “Among them is Jonathan Hooper, a Leeds painter deservedly becoming recognised, winning awards and now showing in London and at the Millenium Gallery in Sheffield,” says gallery owner and curator Ann Petherick.

“Then there’s Susan Bower, a Marmite painter – most love her, a few don’t! Look out for Andrew Morris’s delightful view of Knaresborough’s marketplace. We have new work arriving all the time.” Open any day, 11am to 5pm; ring 01904 656507 or 07801 810825 or take pot luck. 

Kirkgate, Leeds, by Jonathan Hooper, from Kentmere House Gallery’s winter show

Tribute show of the week: The Chicago Blues Brothers, Cruisin’ For A Bluesin’ Tour, Grand Opera House, York, November 12, 7.30pm

JOIN Jake and Elwood, The Sweet Soul Sisters and the amazing CBB Band for a hand-clapping, foot-stomping, hard-hitting night of soul, rhythm & blues, country and Motown. Expect exuberant spirit, irresistible energy and even a few surprises. Box office: atgtickets.com/york.

Raqhael Harte as Sophie Goodman, Mick Liversidge as Phil Goodman and Ian Giles as Ratko Ilich in Lumar Productions’ premiere of Sea Stones. Picture: Chris Mackins

Premiere of the week: Lumar Productions in Sea Stones, Theatre@41, Monkgate, York, Tuesday to Saturday, 7.30pm plus 2.30pm Saturday matinee

AFTER eight novels and a regular column in The York Press, Tim Murgatroyd has written his debut play, an emotional, suspenseful night of the soul when four people are brought together in a lonely house by the sea.

Two fathers. Two daughters. Each confronted with the consequences of the past as a high tide is turning and tests to their relationships are escalating. Tests that might cost them not only their dearest hopes and loves, but their very lives. “The truth can set you free. Or drown you,” says Murgatroyd. Box office: tickets.41monkgate.co.uk.

Phil Grainger, left, and Alexander Flanagan Wright: Performing Orpheus at Rise@Bluebird Bakery, Acomb

Double act of the week: Wright & Grainger in Orpheus, Rise@Bluebird Bakery, Acomb, York, Wednesday, 7pm to 9pm

ALEXANDER Flanagan Wright and Phil Grainger’s Greek myth adaptation in spoken word and song heads to Rise after Adelaide Fringe award-winning success in Australia and at the Edinburgh Fringe, as well as back home at Stillington Mill.

Dave is turning 30. Eurydice is a tree nymph. Bruce Springsteen is on the karaoke. Cue a tale of dive bars, side streets, ancient gods and how far you would go for love. Box office: bluebirdbakery.co.uk/rise.

Long time coming: Ben Folds will stride into the Grand Opera House for his overdue York debut on Thusday

Gig of the week: Ben Folds, What Matters Most Tour, Grand Opera House, York, Thursday, 7.30pm

AT 57, North Carolina pianist, songwriter, author and podcast host Ben Folds plays his debut York show in support of What Matters Most, his first studio album since 2015.

At the only Yorkshire gig of his nine-date British and Irish tour, Folds will be combining his new material with songs from his 35-year career. Guitarist and singer Lau Noah, from Catalonia via New York, is the support act. Box office: atgtickets.com/york.

Snake Davis: Sax to the max at Pocklington Arts Centre

Jazz gig of the week: Snake Davis & Friends, Pocklington Arts Centre, Thursday, 8pm

JAZZ At PAC presents Snake Davis, saxophonist to the stars, from Paul McCartney, James Brown, Tina Turner and Eurythmics to Take That, Amy Winehouse, M-People and Lisa Stansfield.

First making his mark in York band Zoot & The Roots, Davis plays not only the saxophone family, but  flutes, whistles and an ancient Japanese wind instrument, the Shakuhachi, too. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Haircut 100: Wearing their favourite shirts at York Barbican on Friday

Fantastic day to see: Haircut 100, York Barbican, Friday, 8pm

NICK Heyward’s short-lived Brit-funk band Haircut 100 are back together after more than 40 years, following up May’s Pelican West 40th anniversary shows in London and Oxford with the 15-date Haircut 100% Live tour that ends in York, their only Yorkshire location.

“We are coming back with a tour to beat all tours this autumn,” says Beckenham-born Heyward, now 62. “All the hits that you love [Favourite Shirts (Boys And Girls), Love Plus One, Fantastic Day et al] and new tracks that we are bursting to share with you.” The support act will be Brighton band of brothers Barbara. Box office: yorkbarbican.co.uk.

The tour poster for Only Fools And Horses The Musical, bound for York next year

Lovely jubbly look-ahead: Only Fools And Horses The Musical, Grand Opera House, York, November 5 to 9 2024

DIRECT from a four-year sold-out West End run, Only Fools And Horses The Musical is heading to York in Paul Whitehouse and Jim Sullivan’s show, based on John Sullivan’s record-breaking 1980s’ BBC comedy.

Directed by Caroline Jay Ranger, it features a script and original score by John’s son and Whitehouse, bringing Peckham rogues Del Boy, Rodney, Grandad, Cassandra, Raquel, Boycie, Marlene, Trigger, Denzil, Mickey Pearce, Mike the Barman and the Driscoll Brothers to the stage with wide-boy humour and 20 songs. Bonnet de douche! Box office: atgtickets.co.uk.

Sarah Millican: Fully booked run at York Barbican

Recommended but sold out already

THREE nights, three sell-outs for South Shields humorist Sarah Millican at York Barbican from November 14 to 16 on her Late Bloomer tour, where she discusses Sarah then and now, dinners and lady gardens at 8pm nightly. Come along, laugh at her, with her, beside her, reads the invitation.  

Zeus: Once the ancient Greek god of the sky, lightning, thunder, law and order; now a champion dog with a lead role in York Theatre Royal’s pantomime Jack And The Beanstalk

In Focus: Best dog in show: Zeus the collie collars role in Jack And The Beanstalk

YOUNG Kennel Club Crufts trophy winner Zeus has won a lead role in this winter’s pantomime at York Theatre Royal.

The six-year-old Border Collie, from York, will make his stage debut alongside EastEnders star Nina Wadia, returnee panto dame Robin Simpson and CBBC’s Raven star James Mackenzie in Jack And The Beanstalk from December 8 to January 7 2024.

A theatre spokesperson says: “Zeus’s amazing audition gave us all paws for thought. He’s a natural stage performer whose dogged determination to win the role was a real tail-wagging moment.”

Already Zeus is a winner on the canine stage with three Young Kennel Club Crufts trophies to his credit. Those closest to him say he is very agile and loves to play but has an “off switch”and likes to wind down too.

Pantomime director Juliet Forster was delighted to hear that Zeus is “very eager to please, playful and up for learning” as she will be training him for his acting debut.

Zeus loves cream cheese, squeezy cheese too, and sometimes has carrots for breakfast. He eats at the table and even has his own chair. His favourite toys are balls and he has a collection of soft toys.

Zeus enjoys rounding up horses but not, as you might expect from a Border Collie, rounding up sheep. He is, however, best friends with two sheep, Maisie Midnight Fluffington and Wallace.

Pull the udder one: Anna Soden goes solo as Dave the Cow in Jack And The Beanstalk

He is yet to meet cows but will have his first close encounter with the bovine world in the rehearsal room as one of his co-stars will be Dave the Cow.

Dave is a rare breed of pantomime cow. “You’d almost think Dave is human,” says York actor and musician Anna Soden, who will inhabit the role on her own, rather than the usual two people squeezed uncomfortably into a cow costume.

Writer Paul Hendy, director of York Theatre Royal’s producing partner Evolution Productions, says: “In 19 years of writing and producing pantomimes, we’ve never had a human cow before. We wanted to do something different and director Juliet Forster was very open to that. It makes more opportunities in the show for the cow. It’s a much bigger part than usual. Dave is very much one of the gang.

“Our company is called Evolution for a reason: we are constantly evolving. One of the reasons pantomime has survived for 150 years or more is that it changes. There has to be a formula but within that you have to be original.”

Evolution is producing three Jack And The Beanstalk pantomimes around the country this winter. York has Dave; the shows at The Grove, Dunstable (starring EastEnders’ Steve McFadden, by the way), and Theatre Severn, Shrewsbury, will have a more traditional cow.

Meanwhile, the Theatre Royal’s legendary pantomime cow Patrica is heading for pastures new this Christmas with a role in Bridlington Spa Theatre’s pantomime, Beauty And The Beast.

Patricia’s career has taken in television appearances in The Crystal Maze with pantomime stalwart Christopher Biggins and Bargain Hunt, as well as starring in her own series of moo-vies on You Tube.

York Theatre Royal presents Jack And The Beanstalk, December 8 to January 7 2024. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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EastEnders star Tracy-Ann Oberman plays Shylock in Fascist East End version of The Merchant Of Venice at York Theatre Royal

Tracy-Ann Oberman’s Shylock in The Merchant Of Venice 1936, on tour at York Theatre Royal . Picture: Mark Senior

EASTENDERS, Doctor Who and Friday Night Dinner star Tracy-Ann Oberman will play Shylock in a ground-breaking version of Shakespeare’s The Merchant Of Venice on tour at York Theatre Royal from November 14 to 18.

Developed in association with HOME Manchester and with support from the Royal Shakespeare Company, The Merchant Of Venice 1936 has been adapted and directed by Brigid Larmour from an idea by co-creator Oberman.

Their thought-provoking and timely reimagining relocates the action to an electrifying new setting: London in 1936. 

“It has a been a lifelong dream of mine to bring this play to the stage in a new way, reimagining Shylock as one of the tough, no-nonsense Jewish matriarchs I grew up around in Brent,” says London-born actress, playwright and narrator Oberman, 57, as she “takes this important, sharp, sexy and heartfelt production around the country”.

“I’m delighted this project is finally happening and look forward to sparking debate and enlightening people about a pivotal but largely forgotten part of British history – just how close the establishment were to Oswald Mosley and his British Union of Fascists.”

In Watford Palace Theatre’s touring production, the capital city is on the brink of political unrest, fascism is sweeping across Europe and Mosley’s fascists are threatening a paramilitary march through the Jewish East End. Strong-willed single mother Shylock, Shakespeare’s anti-hero, runs a pawnbroking business from her house in Cable Street, where Mosley will march.

The poster for Watford Palace Theatre’s touring production of The Merchant Of Venice, starring Tracy-Ann Oberman as Shylock

When charismatic, anti-Semitic aristocrat Antonio comes to her for a loan, a high-stakes deal is struck. Will Shylock take her revenge? Who will pay the ultimate price?

“The women in my family were as tough as nails,” says Tracy-Ann, recalling her great-grandmother and aunts, women with nicknames such as Machine-Gun Molly and Sarah Portugal, who arrived in London from anti-Semitic eastern Europe at the turn of the last century to build a life and make a living against the odds.

Oberman’s family history helped her to unlock Shakespeare’s most controversial play. Her relatives survived the Battle of Cable Street in London’s East End in 1936, when the Jewish community was targeted by Mosley’s Blackshirts, only to be confounded when the non-Jewish community stood by their Jewish neighbours.

In The Merchant Of Venice 1936, Oswald Mosley inspires Antonio (Raymond Coulthard), the sneering merchant who takes a loan from Shylock, while heiress Portia (Hannah Morrish) becomes “a beautiful glacial Mitford type – awful”, whose “quality of mercy” courtroom speech bears the mark of hypocrisy, not humanity.  

Oberman’s single mother Shylock is fiercely committed, both to her independence and to her daughter. “I have one daughter,” she says. “It’s an intense relationship!”

The Merchant Of Venice had always fascinated and repulsed her, and this production duly sat in her head for years as she researched, planned and waited for lockdowns to pass.

Tracy-Ann Oberman’s Shylock: “A woman backed into a corner by all these men, with the palpable hatred and misogyny”. Picture: Mark Senior

Now that her female Shylock has come face to face with audiences at last, she says: “The thing that surprised me most was the court case. Just how powerful it was to see this woman backed into a corner by all these men, with the palpable hatred and misogyny. It was electric. You could cut the atmosphere in the auditorium with a knife. That was a revelation.”

Playing Shylock as a woman does not soften the character, emphasises Oberman. “I didn’t want to make her a victim or change her role in the story,” she says, before adding: “Maybe I underestimated the impact of a female Shylock. There are a couple of very shocking moments that really upset audiences.

“In an early scene, Antonio comes to borrow money, and Shylock describes him spitting on her and kicking her like a dog. When that behaviour is directed at a woman, it heightens the anti-Semitism.

“I think people also see a woman with her rage and anger. She loses her daughter, her money – she loses everything. And when you tell somebody that they’re a monster for long enough, they become that monster.”

The play speaks as much to the present as of the past. “At a time when we are looking at Britain’s involvement in colonialism and the slave trade, I think we also have to look at Britain’s flirtation with fascism,” says Tracy-Ann.

“Oswald Mosley and King Edward VIII, both great friends of Hitler, came close to power – we dodged a bullet. The great message of the play is about the pulling together of all communities. We’re better together, we’re stronger together, especially at times of huge financial and political insecurity. The past shows us what happens when we look inwards: we become very nationalistic and try to pit minorities against each other. We have to be vigilant.”

“We’re better together, we’re stronger together, especially at times of huge financial and political insecurity,” says Tracy-Ann Oberman as she tours the country in The Merchant Of Venice 1936. Picture: Mark Senior

Oberman dreams of the Battle of Cable Street being taught as part of the British civil rights movement. “Mosley had been sending his Blackshirts down into Cable Street, smashing doors, breaking windows, attacking synagogues and people on the streets, putting up the most horrific leaflets straight out of Hitler’s playbook,” she says,

“But my great grandmother always reminded me that their neighbours – their Irish neighbours, the Afro-Caribbean community, the dockers, the working classes – all stood together. That was a beautiful moment.”

Oberman acknowledges how personal this project is to her but audience reactions testify to common ground. “What has been very moving is how many people want to stay and talk at the end,” she says.

“A lot of people talk about their own family’s immigrant experience. Young political people want to talk about the Battle of Cable Street, and people who’d never seen a Shakespeare play about why they’d found it so accessible.

“One man came in with about 20 fascist newspapers from the 1930s that he’d found in his father’s loft, which we’ve used as part of our graphics. There were big conversations: is the play anti-Semitic? Was Shakespeare? Lots of really interesting conversations.”

One factor behind Oberman’s wish to stage The Merchant of Venice 1936 was teachers telling her of their anxiety over discussing this contentious play in their classrooms. This has led to the touring production being accompanied by educational work, mounted in tandem with the activist group Stand Up To Racism.

“At a time when we are looking at Britain’s involvement in colonialism and the slave trade, we also have to look at Britain’s flirtation with fascim,” says Tracy-Ann Oberman

The education team has not only visited schools and prepared a pack to support teachers, but “we’ve also created an online world which people can look at before or after seeing the play,” says Tracy-Ann. “It’s an incredible resource talking about the play, the 1930s, the history of anti-Semitism and racism, Oswald Mosley, everything you could want.”

After a diverse career on stage, taking in the RSC and National Theatre, iconic soap status as Dirty Den’s nemesis, Chrissie Watts, in EastEnders and TV comedy roles as Auntie Val in Friday Night Dinner and Mrs Purchase in Toast Of London, Oberman stands centre stage as the distaff Shylock.

“I can honestly say that when I went into this, it was never with an ego about playing Shylock, it was about wanting to tell the story. I just put my soul into it,” she says. “Every single bit of it has been a complete joy. It’s been more than a piece of theatre – for me, it’s been a mission. And it’s lived up to all my expectations.”

Audience tears and standing ovations have greeted The Merchant Of Venice 1936. “While they might not have liked my Shylock, they certainly understood why she wants that ‘pound of flesh’,” says Tracy-Ann.

“She stands in the courtroom with her handbag, with everything stacked against her. A lot of people know that feeling, believing the law is on their side, but discovering it’s only on the side of people that have power.”

The Merchant Of Venice 1936, York Theatre Royal, November 14 to 18; 7.30pm; 2pm, Thursday, 2.30pm, Saturday. Box office: 01904 623568 or at yorktheatreroyal.co.uk.

Copyright of The Press, York

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More Things To Do in York and beyond for November 4 onwards. Here’s Hutch’s List No. 45 for 2023, from The Press

Tous Love Me, directed by Victor Claramunt, showing at the Aesthetica Short Film Festival 2023

FIVE days of short films lead off a week long on Latin pop and school rock musicals, plus science and sticks, dance moves and festive designs, as Charles Hutchinson reports.

Festival of the week: Aesthetica Short Film Festival, York city centre, November 8 to 12

THE 13th edition of York’s Aesthetica Short Film Festival combines 300 films and 15 venues in a five-day showcase of worldwide independent film that champions emerging creative talent.

Guest programmes explore the climate crisis, Black British cinema and LGBTQ+ experiences. Look out too for the Aesthetica Games Lab, in celebration of video game culture, plus multiple masterclasses, networking sessions, kids’ workshops, AI workshops and the VR Lab’s selection of 360 (degree) and immersive film experiences. York residents can save 50 per cent each day with the York Days Discount. Full programme and tickets: asff.co.uk.

Shower After Swimming, linocut by Anita Klein, from the Comfort And Joy exhibition at Pyramid Gallery, York

Exhibition launch of the week: Comfort And Joy, Pyramid Gallery, Stonegate, York, November 4, 11am to 3pm, until mid-January 2024

PYRAMID Gallery’s Christmas show, Comfort And Joy, combines paintings, prints, ceramics, sculpture and glass. Look out for needlepoint by Dinny Pocock, jewellery by Joy McMillan and sculpture by Paul Smith, Lynn Muir, Helen Martino, Peter Hayes, Eva Mileusnic, Gwen Vaughan, Fidelma Massey and Louise Connell, among others.

On show too will be paintings and original prints by Sarah Williams, Anita Klein, Lesley Birch, Eliza Southwood, Emma Whitelock, Trevor Price, Mychael Barratt and Hilke Macintyre, porcelain origami by Kate Buckley, plus glass by Keith Cummings, E&M Glass, Hannah Gibson, Tracey Knowles, Will Shakspeare, Morag Reekie, Jo Kenny and more besides. Attending today’s launch will be Smith, Birch, McMillan, Whitelock and Knowles.

York illustrator Elliot Harrison

Inspired event: York Artists & Designer Makers’ Annual Christmas Show, York Cemetery Chapel, Cemetery Road, York, November 4 and 5, 10am to 5pm

YORK artists and designers return to York Cemetery Chapel this weekend for their Inspired festive showcase. Adrienne French will be exhibiting paintings; Jo Bagshaw and Richard Whitelegg, jewellery; Elliot Harrison, illustrations; Catherine Boyne-Whitelegg, pottery; John Watts and Wilf Williams, furniture; Petra Bradley, textiles; Sally Clarke, prints, and Simon Palmour, photography.

Safia Bartley’s Filomina in Tutti Frutti and One Tenth Human’s The Lightbulb Princess at York Theatre Royal

Science show of the week: Tutti Frutti and One Tenth Human in The Lightbulb Princess, Theatre@41, Monkgate, York, November 5, 2pm

LEEDS company Tutti Frutti Productions and Lancaster’s One Tenth Human team up for a magical, fun-filled 50-minute extravaganza for children aged four and upwards that explores the science behind electricity.

Kai’s sister Ray is determined that Mum will enjoy a perfect Christmas. It may be way too early, but already she has Kai and Ali hunting everywhere for decorations. When they find tree-top sparkly fairy Filomina, an unexpected adventure begins, one where they will need your help in a show full of electrifying storytelling and original songs. Box office: tickets.41monkgate.co.uk.

Anton Du Beke: Chat and cha cha cha at York Theatre Royal

Song and dance of the week: An Evening With Anton Du Beke And Friends, York Theatre Royal, November 6, 7.30pm

STRICTLY Come Dancing legend and judge Anton Du Beke sashays into York with his live band, guest singer Lance Ellington and dancers for a fab-u-lous evening of song, dance and laughter. The ballroom king will be combining songs and dances that have inspired him with behind-the-scenes stories from his many years on Strictly. Box office: 01904 623568 or yorktheatreroyal.co.uk.

La Bamba! leaps into the air at Grand Opera House, York, from Tuesday. Picture: Pamela Raith

New musical of the week: La Bamba!, Grand Opera House, York, Tuesday to Saturday, 7.30pm; Wednesday and Saturday, 2.30pm

NOT to be confused with the 1987 film of the same name or Richie Valens’ teenage hit from 1958, La Bamba! is a new musical fiesta of passion, pride and Latin pop anthems starring Strictly Come Dancing champion Pasha Kovalev, The Wanted’s Siva Kaneswaran and rising star Inês Fernandez, choreographed by Strictly’s Graziano Di Prima.

Follow young Los Angeles dreamer Sofia as she takes her first steps toward stardom and witnesses the power of music to unite communities. Box office: atgtickets.com/york.

Stick Man: Freckle Productions head to York Theatre Royal with Julia Donaldson’s story

Children’s show of the week: Freckle Productions in Stick Man, York Theatre Royal, Tuesday, 4.30pm; Wednesday, 10.30am, 1.30pm and 4.30pm

WHAT begins as a morning jog becomes a misadventure for Stick Man: a dog wants to play Fetch, a swan builds a nest with him, and he even ends up atop a fire. How will Stick Man return to the family tree in time for Christmas?  

Adapting Julia Donaldson’s book, Freckle Productions combine puppetry, songs, live music and funky moves in the 55-minute performance. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Emma Dickinson and Jonny Holbek rehearsing with the York Light Youth ensemble for the York amateur premiere of School Of Rock

Are you ready to rock? York Light Youth in School Of Rock, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm and 2.30pm Saturday matinee

YORK Light Youth’s tenth anniversary show is the York premiere of the technically and musically challenging musical School Of Rock, combining young performers aged ten to 17 and York Light Opera Company adults.

Based on the 2003 film, the storyline follows Jonny Holbek’s Dewey Finn, a failed wannabe rock star, who vows to turn his clueless prep school students into a rock band to enter Battle of the Bands. Along the way, Dewey finds romance, self-worth, a proper job, while initiating the children and their parents in the beauty of rock. Box office: josephrowntreetheatre.co.uk.

Recommended but fully booked

QUEEN of British soul Beverley Knight’s York Barbican concert on Thursday has sold out, as has indie pop trio Scouting For Girls’ gig there the next night.  

In Focus: Gigs of the week: Teenage Fanclub on tour in Leeds and Sheffield with new album Nothing Lasts Forever in tow

Teenage Fanclub: Heading for Leeds and Sheffield on tour. Picture: Donald Milne

GLASGOW indie legends Teenage Fanclub follow up September’s release of 11th full-length studio album Nothing Lasts Forever with a 12-date November tour, taking in Yorkshire gigs in Leeds on Wednesday (sold out) and Sheffield on November 12

On songs looking for positives while faced with the grim realities of the 21st century, songwriters and guitarists Raymond McGinley and Norman Blake are joined by Francis Macdonald on drums, Dave McGowan on bass and Euros Childs on keyboards.

Light is a recurring theme, both as a metaphor for hope and as an ultimate destination further down the road. That said, although McGinley and Blake found themselves covering similar ground, it was pure coincidence.

McGinley says: “We never talk about what we’re going to do before we start making a record. We don’t plan much other than the nuts and bolts of where we’re going to record and when.

“That thing about light was completely accidental; we didn’t realise that until we’d finished half the songs. The record feels reflective, and I think the more we do this thing, the more we become comfortable with going to that place of melancholy, feeling and expressing those feelings.”

Blake reflects: “These songs are definitely personal. You’re getting older, you’re going into the cupboard getting the black suit out more often. Thoughts of mortality and the idea of the light must have been playing on our minds a lot.

“The songs on the last record were influenced by the break-up of my marriage. It was cathartic to write those songs. These new songs are reflective of how I’m feeling now, coming out of that period.

“They’re fairly optimistic, there’s an acceptance of a situation and all of the experience that comes with that acceptance. When we write, it’s a reflection of our lives, which are pretty ordinary.

“We’re not extraordinary people, and normal people get older. There’s a lot to write about in the mundane. I love reading Raymond Carver. Very often there’s not a lot that happens in those stories, but they speak to lived experience.”

While the vocals and finishing touches on Nothing Lasts Forever were added at McGinley’s place in Glasgow, the music was recorded in an intense ten-day period in the bucolic Welsh countryside at Rockfield Studios, near Monmouth, in late August.

This environment led to a record full of soft breezes, wide skies, beauty and space. “We like to get something out of where we go, and you can definitely hear a stamp of Rockfield on the record,” says McGinley.

“We recorded our album Howdy there in the late ’90s. Prior to that, I’d been a bit reluctant to go as everyone seemed to record there, especially if you were signed to Creation, but I thought I’d go and have a look at the place. “

McGinley continues: “When I went down there, I loved the fact that there’s no memorabilia about anyone who’s ever been in the studio. The only visual musical reference is a picture of [pioneering space age record producer} Joe Meek on their office wall.

Teenage Fanclub’s artwork for their 11th studio album, Nothing Lasts Forever

“Anyway, over 20 years after our first visit, we decided to go back. When you’re there, it feels like your place. We’re really rubbish at trying to find words to describe how our music sounds, but maybe because we recorded in Rockfield in late summer, there’s something pastoral about the record.”

Blake, McGinley, Macdonald, McGowan and Childs arrived at the residential studio without a fixed plan. Their confidence and ease with working together meant the record came together quickly. 

McGinley says: “When we got offered ten days in Rockfield, we weren’t ready in our minds but then we just thought, ‘**** it’ and went for it. If you’re sitting around waiting for the stars to align, you can end up never doing anything. We turned up and worked our way through ideas, and came up with some while we were there.

“The song Foreign Land was born in the studio. If we hadn’t gone there at that point through happenstance, that song wouldn’t exist. We like to let things happen. As people, we find a deadline inspiring. We like to put ourselves on the spot and see what happens. We usually get away with it. This record is the cliche of the blank canvas, which thankfully we managed to fill.”

Blake adds: “We’ve all been playing together for such a long time. In the past, whoever had written the song would have been the director. ‘This is how I’m hearing the drums, if you could play the bass like this’…We don’t do that now.

“Raymond or myself would just bring in the idea and people would listen and play what works with it. We’d play for a couple of hours and that would be the arrangement. There’s a trust that comes from knowing each other such a long time, a kind of telepathy. Everyone knows where they fit in the puzzle.”

The seven-minute acoustic closing track, I Will Love You, looks to a point beyond the fury and polarisation of our modern discourse, to a time when “the bigots are gone/after they apologise/for all the harm that they’ve done”. 

McGinley says: “In many ways, us-and-them-ism has taken over the world. I Will Love You is looking for positivity but it’s being totally fatalistic at the same time. This s**t will exist forever, what are you going to do about it?

“I came up with the line ‘I will love you/until the flags are put down/and the exceptionalists are buried under the ground’ while I was playing the guitar. I started wondering what that was all about and where it might go. It’s looking for positives within a fatalistic, negative view of human nature.”

The full track listing is: Foreign Land; Tired Of Being Alone; I Left A Light On; See The Light; It’s Alright; Falling Into The Sun; Self-Sedation; Middle Of My Mind; Back To The Light and I Will Love You.

Teenage Fanclub play Leeds Brudenell Social Club, Wednesday, doors 7.30pm, sold out; Leadmill, Sheffield, November 12, 7.30pm. Support comes from Sweet Baboo. Box office for Sheffield: leadmill.co.uk.

Special screening: Zomblogalypse, South Bank Community Cinema, Clements Hall, Nunthorpe Road, York, November 17, 8pm

The poster for November 17’s screening of Milestone Films’ Zomblogalypse at South Bank Community Cinema

MANY Zomblogalypse cast and crew members will be in attendance to introduce the screening and discuss the York-made zombie comedy in a Q&A afterwards, following its release by Dark Rift Films, the York film company behind festival crowd-pleaser How To Kill Monsters.

Zomblogalypse co-director Miles Watts says: “We love screening Zomblog with an audience because it’s got that trashy late-night Rocky Horror vibe. Usually it’s a bit tough to watch your own films with a crowd of people because all you see is the mistakes.

“But Zomblog is a different beast because this year marks the 15th anniversary of the original web series that launched this whole thing, and we’ve always had an appreciative and supportive fanbase.”

The cast includes Watts and his Milestone Films co-directors Hannah Bungard and Tony Hipwell, as well as seasoned York actors Victoria Delaney, Andrina Carroll and Dinnerladies’ Andrew Dunn.

Look out for a flash sale of film merchandise including posters and blu-rays of the film, with details of special discounts on the Zomblogalypse Facebook page. Tickets cost £4 on the door from 7:30pm.

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REVIEW: Theatre Royal Bath/Birmingham Rep in Noises Off, York Theatre Royal ****

Double trouble: Daniel Rainford’s Tim Allgood and Matthew Kelly’s Selsdon Mowbray in Noises Off, on tour at York Theatre Royal. Picture: Pamela Raith

THIS revival of Michael Frayn’s beloved fractious farce arrives in York in the wake of Mischief’s Magic Goes Wrong, The Comedy About A Bank Robbery and, twice, The Play That Goes Wrong.

If you loved the madcap malarky of those Mischief-making feats of furiously fast physical theatre, take a step back in time to savour the abiding joys of Frayn’s 1982 comedy, now an avuncular forerunner that still brings the house -and stage – down in 2023, 23 years after being elected one of 100 best plays of the 20th century in the National Theatre’s Millennial retrospective.

Frayn, Guardian feature writer-turned playwright, has tweaked his script for the 40th anniversary tour, now on its second leg with only Matthew Kelly reprising his role from last year’s travels.

He may be spotted off-stage with a walking stick, nursing an injured knee from his exertions on two new hips, but once the performance starts, he “feels like a gazelle” at 73, his burglar character leaping through a broken window again and again.

Frayn revels in taking the Michael out of the fallibility, frailties, foibles and luvvie excesses of the acting profession – sometimes accused of taking itself too seriously – but been-there, done that actors love it. Felicity Kendal was in last year’s company; now Kelly’s old thespian lush, Selsdon Mowbray, is joined by such touring campaign veterans as Liza Goddard, Simon Coates, Lucy Robinson and Dan Fredenburgh (although Mark Middleton is ably deputising for him all week as the increasingly vexed Garry Lejeune).

Frayn puts the worst traditions of touring theatre to the sword, from flings and fallouts to coarse acting and stage calamities, over three acts of a farcically bad play within his very good one. The “bad” is Nothing On, a very British trouser-dropping farce with jokes cornier than a cob and doors galore – seven in all – but no escape from the hapless, hopeless show or tour contract as it hobbles from fraught, fractured rehearsals to a last night from hell after 12 weeks for its cast of has-beens, never-beens and desperate newcomers.

As a pleasingly full house looks on, we join the cast of Nothing On at a technical rehearsal so behind schedule there will be no dress rehearsal, everyone playing catch-up from the off. Oxbridge-educated director Lloyd Dallas (Simon Shepherd, all in black with a splenetic mood to match) is already dreaming of his next engagement (Shakespeare’s Richard III in Wales).

In the meantime, he has trapped himself between the affections of fallow assistant stage manager Poppy Norton-Taylor (Nikhita Lesler) and his new catch, the eager but dim Brooke Ashton (Lisa Ambalavanar). Watch out for her exaggerated arm movements, a show in themselves,

What could possibly go wrong? Anticlockwise, from top, Matthew Kelly, Lucy Robinson, Dan Fredenburgh, Liza Goddard, Daniel Rainford and Lisa Ambalavanar in Michael Frayn’s Noises Off. Picture: Pamela Raith

The tour-funding veteran trouper, scatty Dotty Otley (Liza Goddard, such lovely comic timing throughout), has already seduced self-appointed leading man Garry Lejeune (Mark Middleton).

Lucy Robinson’s eternally bubbly and unflappable Belinda Blair supplies the backstage gossip and tea and sympathy. Simon Coates’s forgetful, flaky luvvie Frederick Fellowes, Kelly’s old soak Selsdon Mowbray and Daniel Rainford ‘s quietly scene-stealing, overstretched stage manager Tim Allgood are in need of the director’s reassurance, another drink and sleep respectively.

Act One, on Simon Higlett’s typical touring stage, is all sweetness and light and mutual support, save for the barbed tongue of the exasperated director. By Act Two, one month into the tour, relationships are strained, gloves off, and now witnessed backstage, the side you never normally see. 

Picking up the pace, Posner’s cast applies manic energy, humorous physicality and expressive comedy skills to the clashing company’s skirmishes as vendettas and alcohol abuse infect the performance. Silence – necessary backstage – is golden in Frayn’s hands as Nothing On staggers on and Ruth Cooper-Brown’s movement and fight direction comes to the sublime fore.

Then, suddenly, a technical hitch for real, as chance would have it in a play full of them, that required the dinner-jacketed stage manager to make an announcement.

Thankfully, the tabs’ malfunction was not the final curtain, and Act Three could proceed.  War is waged on all fronts on the company’s last night in Stockton-on-Tees, the end of the line in every way as Nothing On – seen from the stage again after a round of applause for the rotating stage manoeuvres – becomes a mere side-show to the vituperative settling of scores.

If you have never seen the comic potential in sardines, plates and plates of them, they are yet another reason to savour Noises Off, amid the glorious shenanigans of actors acting up.

Performances: 7.30pm nightly, plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.