Tag: York Theatre Royal

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Who’s performing in York St John University’s TakeOver – In The Limelight festival at York Theatre Royal, May 13 to 18?

Verve: Presenting a dance triple bill at TakeOver – In The Limelight

THE 12th TakeOver festival at York Theatre Royal is in the hands of York St John University for the fourth year, taking the theme of In The Limelight from May 13 to 18.

In this annual town-and-gown collaboration, third-year drama students are put in charge of the theatre and programming its events for a week, with support and mentoring from professionals. 

“TakeOver is a fantastic opportunity for students to experience running and taking part in a theatre festival that is entirely unique,” says Ruby, a student on the producing team. “We’re able to learn so many new skills and create something that we can really be proud of.” said Ruby, a student on the producing team. 

Among the highlights will be the May 16 performance of Scottish author and poet Hollie McNish, reading from her latest book Lobster And Other Things I’m Learning To Love, wherein she addresses questions of friendships, flags and newborns as she shines her poetic lens on “all those things we have been taught to hate, and which we might learn to love again”. Joining her on the 7.30pm bill will be fellow poet Micheal Pedersen, reading from his books The Cat Prince and Boy Friends.  

To “see where dance is right now, and where it might go next”, the Verve: Triple Billat 7.30pm on May 18 presents a bold programme featuring new commissions by artistic directorMatteo Marfoglia and choreographer Joy Alpuerto Ritter,alongside a reworking of People Used To Die by the international collective(LA)HORDE. 

Verve is the postgraduate company of Northern School of Contemporary Dance in Leeds. Each year, the company commissions choreographers from all over the world to create an artistically distinct, physically daring and engaging programme of dance work. 

Hollie McNish: Reading from her book Lobster And Other Things I’m Learning To Love on May 16

Festival Programme

May 13

Opening ceremony; free snacks and drinks available for all guests.

7.30pm, Upper Foyer, This is York Pecha Kucha, Volume 30: Bearing Fruit, in collaboration with York Creatives. Rapid-fire talks from more than seven speakers on a range of topics created to leave you feeling entertained, educated and inspired. 

May 14

Full day of shows and activities, starting with two York St John companies.

11am, Studio: Bounce Back: Interactive children’s theatre experience introducing the audience to the world of fairytale.

12 noon, Studio: Final Girls: Multi-media performance set in a forest where a group of unlikely people try to survive, the best they can, against an unknown entity.

Followed by dance trail that will take the audience around the city of York before returning to the theatre.  

6pm, Studio: Peachy & Me:  Performer Beverly Bishop invites family audiences into a world of storytelling, music, magic and comedy, as she appears as both herself and her clown alter-ego to overcome the complexities of the modern world.

7.30pm, main house: Out Of Character Theatre Company in Afterlife.In this York-made piece, strangers find themselves in a waiting room between life and death where they must go through their past lives to choose their forever.  

The TakeOver – In The Limelight logo for the 2024 festival

May 15

11am, main house: Misery Loves will be sharing their production of The Women Of Whitechapel, a newly devised musical that re-tells the stories of Jack the Ripper’s victims with the focus on finding out who these women really were.

12 noon, main house: Blushed’s show Our Fault, Never Their Fault follows two characters as they experience the journey of becoming a woman, highlighting the good, bad and little embarrassing parts that go alongside growing up.  

7.30pm, main house: Pinch Punch Improvisation use audience suggestions to help their four characters unmask the murderer before they are all killed in the improv whodunit Locomotive For Murder. 

May 16

11am, Studio: York St John company Glass Broom perform their post-apocalyptic show End,where five people are trapped in a house together. Tensions runs high as the characters are forced to find a way to survive with each other.

12 noon, main house: Fellow York St John company Tradesman present Life Of The Party,where agroup of collaborators explores essential themes through the lens of absurdist theatre, aiming to question the themes of the human condition. 

6pm, Studio: York company Pop Yer Clogs Theatre perform Alice In Wonderland Abridged, Lewis Carroll’s timeless tale ofAlice encountering many weird and wonderful characters in subterranean land where every time is tea time and nothing is ever as it seems.

7.30pm, main house: Hollie McNish reads from her book Lobster And Other Things I’m Learning To Love. 

May 17

11am and 1pm, main house: Two dance routines created by York St John student Izzy Cryer. The first, Unholy,tells a story of cheating and betrayal, performed ina commercial style; the second, the lyrical Survivor, focuses on survival and standing together as one.

12 noon, Studio: York St John company M.A.D. say “fate, you can’t escape it”, asking how will it leave us? Alone or somehow forced together? Let’s find out what fate will throw at us this time in The Red Thread (a show suitable for age 18 plus. 

Alexander Flanagan Wright, left, and Phil Grainger: Performing Helios in the closing show on May 18

7.30pm, main house: A talk by Colin Sutton, a police officer for 30 years, who served as the head of a Metropolitan Police murder squad for the last nine of them. His show, The Real Manhunter, gives a guide to his career, how policing has changed, what it feels like to chase a serial killer and how he made the step from policing to storytelling. 

May 18Alexander

At 7.30pm, on the main house stage, Verve: Triple Bill of modern dance routines.

At 7.45pm, in the Studio, Alexander Flangan Wright and Phil Grainger present the third in their trilogy of Greek dramas in words and music, Helios.

Opportunities to be involved throughout the week:  

May 13, 2pm: Heels workshop, focusing on a style of dance that inspires confidence and is aimed at any level of experience. 5pm: Year 10 students from Joseph Rowntree School present a show based on social media and lockdown.

Throughout the week, tours include an afternoon tea experience. An open mic event takes place on May 14 at 4pm; a fashion show will be held on May 16 at 1pm; adult cocktail classes on May 17 at 2pm; a dance workshop for five to ten-year-olds, based on The Lion King, on May 18 at 2pm.

For the full programme, head to: yorktheatreroyal.co.uk/be-part-of-it/children-and-young-people/takeover/. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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More Things To Do in Ryedale, York and beyond as the week ahead takes shape. Hutch’s List No. 14, from Gazette & Herald

Sculptor Tony Cragg with his bronze work Outspan in the Great Hall at Castle Howard. Picture: Charlotte Graham

SCULPTURES and Tess in the country, free events at the double, nun fun on the run,  courtroom tensions and a funny mummy send Charles Hutchinson out and about.

Sculptures of the week: Tony Cragg at Castle Howard, near Malton, until September 22

SCULPTOR Tony Cragg presents the first major exhibition by a leading contemporary artist in the house and grounds of Castle Howard. On show are new and recent sculptures, many being presented on British soil for the first time, including large-scale works in bronze, stainless steel, aluminium and fibreglass.

Inside the house are works in bronze and wood, glass sculptures and works on paper in the Great Hall, Garden Hall, High South, Octagon and Colonnade. Tickets: castlehoward.co.uk.

Let us pray: Landi Oshinowo’s Deloris Van Cartier, left, and Sue Cleaver’s Mother Superior in Sister Act, on tour at Grand Opera House, York

Musical of the week: Sister Act, Grand Opera House, York, until Saturday, 7.30pm plus 2.30pm matinee, Saturday

SUE Cleaver takes holy orders in a break from Coronation Street to play the Mother Superior in Sister Act in her first stage role in three decades. Adding Alan Menken songs to the 1992 film’s storyline, the show testifies to the universal power of friendship, sisterhood and music in its humorous account of disco diva Deloris Van Cartier’s life taking a surprising turn when she witnesses a murder.

Placed in protective custody, in the disguise of a nun under the Mother Superior’s suspicious eye, Deloris (Landi Oshinowo) helps her fellow sisters find their voices as she unexpectedly rediscovers her own. Box office: atgtickets.com/york.

One of Stephen G Bird’s artworks in his Helmsley Arts Centre exhibition

Exhibition of the week: Stephen G Bird, Helmsley Arts Centre, Helmsley, until June 28

NORTH Yorkshire artist Stephen G Bird works in a variety of painting and drawing media.  His pictures begin with extensive observational drawing in urban and rural landscapes. Once back in his studio, he creates pictorial and allegorical narratives from memory and imagination. Themes include tales from myth and legend and the comedy and tragedy of the everyday. “Life is dark but also funny,” he says.

Lila Naruse’s Memory Tess in Ockham’s Razor’s circus theatre production of Tess at York Theatre Royal. Picture: Kie Cummings

“Bold new vision” of the week: Ockham’s Razor in Tess, York Theatre Royal, tonight to Saturday, 7.30pm

CIRCUS theatre exponents Ockham’s Razor tackle a novel for the first time in a staging of Thomas Hardy’s Tess Of The D’Urbervilles that combines artistic directors Charlotte Mooney and Alex Harvey’s adaptation of the original text with the physical language of circus and dance.

Exploring questions of privilege, class, consent, agency, female desire and sisterhood, Tess utilises seven performers, including Harona Kamen’s Narrator Tess and Lila Naruse’s Memory Tess, to re-tell the Victorian story of power, loss and endurance through a feminist lens. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The Funny Mummy: One-woman comedy show about the bonkers world of parenting

Comedy gig of the week: The Funny Mummy, Helmsley Arts Centre, Saturday, 7.30pm

THE Funny Mummy, alias Alyssa Kyria, delivers a one-woman comedy show about “the bonkers world” of parenting. “From pregnancy to playdates, WhatsApp groups to school runs, if you’re a parent, and you need a laugh, then this show is for you,” she advocates.  

Kyria, co-creator of Bring Your Own Baby Comedy, performs across the country and has appeared on the BBC, ITV and Sky. Her comedy, music videos and sketches have gone viral on Netmums and Facebook. Box office: 01439 771700 or helmsleyarts.co.uk.

The Twisty Turns: Country songs new and old at Milton Rooms, Malton

Free gig of the week: Lazy Sunday Sessions, The Twisty Turns and Joey Wing, Studio Bar, Milton Rooms, Malton, Sunday, 3pm to 5pm

The Milton Rooms’ new Lazy Sunday Sessions programme continues this weekend with a double bill headlined by Ryedale country band The Twisty Turns, who combine their own compositions, influenced by country, folk, country blues and bluegrass, with traditional country songs and rip-roaring fiddle tunes.

In the line-up are Benjamin Gallon, who provides acoustic guitar, vocals and “anteloping”; Jenny Trilsbach, on double bass, vocals and “foxiness”, and Jerry Bloom, on fiddle and “frogmanship”. Singer Joey Wing supports. Entry is free.

Butterwick Alpaca Retreat’s alpacas at the Love Local day at Nunnington Hall. Picture: National Trust

Free celebration of the week: Love Local, Nunnington Hall, Nunnington, near Helmsley, Sunday, 10.30am to 5pm; last entry at 4.15pm

HELPING to raise awareness and “show off how brilliant Ryedale and the surrounding area is”, artists, craftspeople, businesses, charities, and community groups create this family event at the National Trust property.

Visitors can taste fresh Yorkshire produce, buy goods from Ryedale makers and crafters and enjoy free admission to the country house, gardens and the last day of the From The Earth exhibition by East Riding Artists’ group of painters, potters and creatives.

Taking the vote: The murder trial jurors in Reginald Rose’s Twelve Angry Men at Grand Opera House, York

Jury service: Twelve Angry Men, Grand Opera House, York, May 13 to 18, 7.30pm plus 2.30pm Wednesday and Saturday matinees

IN its 70th anniversary touring production, Reginald Rose’s knife-edge courtroom thriller Twelve Angry Men resonates with today’s audiences with its intricately crafted study of human nature. Within the confines of the jury deliberating room, 12 men hold the fate of a young delinquent, accused of killing his father, in their hands. 

What looks an open-and-shut case soon becomes a dilemma, wherein Rose examines the art of persuasion as the jurors are forced to examine their own self-image, personalities, experiences and prejudices. Tristan Gemmill, Michael Greco, Jason Merrells, Gray O’Brien and Gary Webster feature in Christopher Haydon’s cast. Box office: atgtickets.com/york.

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More Things To Do in York and beyond as the diary takes shape for May 4 onwards. Hutch’s List No. 19, from The Press, York

Sculptor Tony Cragg with his bronze work Outspan in the Great Hall at Castle Howard. Picture: Charlotte Graham

FROM landscape sculptures to community cinema screenings, a circus company’s novel assignment to a soap star’s heavenly musical role, Charles Hutchinson’s week ahead is taking shape.

Exhibition of the week: Tony Cragg at Castle Howard, near York, until September 22

SCULPTOR Tony Cragg presents the first major exhibition by a leading contemporary artist in the house and grounds of Castle Howard. On show are new and recent sculptures, many being presented on British soil for the first time, including large-scale works in bronze, stainless steel, aluminium and fibreglass.

Inside the house are works in bronze and wood, glass sculptures and works on paper in the Great Hall, Garden Hall, High South, Octagon and Colonnade. Tickets: castlehoward.co.uk.

The Lapins: Celebrating travel, exploration and adventure in music at the Unitarian Chapel, St Saviourgate, York

World premieres of the week: York Late Music, Unitarian Chapel, St Saviourgate, York, Mike Sluman, oboe, and Jenny Martins, piano, Saturday (4/5/2024), 1pm; The Lapins, Saturday (4/5/2024), 7.30pm

MIKEY Sluman highlights the range of the oboe family – oboe, oboe d’amore, cor anglais and bass oboe – in his lunchtime programme of Lutoslawski, Talbot-Howard and Poulenc works and world premieres of Desmond Clarke’s Five Exploded Pastorals and Nick Williams’s A Hundred Miles Down The Road (Le Tombeau de Fred).

The Lapins examine ideas of space, place and time in an evening programme that extols the joys of travel, exploration and adventure through the music of Brian Eno, Stockhausen and Erik Satie, the world premiere of James Else’s A Tapestry In Glass and the first complete performance of Hayley Jenkins’s Gyps Fulvus. Tickets: latemusic.org or on the door.

The poster for The Groves Community Cinema festival at Theatre@41, Monkgate, York

Film event of the week: The Groves Community Cinema, Theatre@41, Monkgate, York, May 5 to May 11  

THE third Groves Community Cinema film festival promises a wide variety of films, from cult classics and music to drama and animated fun. Supported by Make It York and City of York Council, the event opens with Sunday’s Arnie Schwarzenegger double bill of The Terminator at 6.30pm and T2 Judgement Day at 8.45pm.

Monday follows up Marcel The Shell With Shoes at 2.30pm with Justine Triet’s legal drama Anatomy Of A Fall at 6.30pm; Tuesday offers Ian McKellen’s Hamlet at 7.30pm; Wednesday, Yorkshire Film Archives’ Social Cinema, 6.30pm, and Friday, cult classical musical Hedwig And The Angry Inch, 8pm. To finish, next Saturday serves up the animated Spider-Man: Into The Spider-Verse at 2.30pm and Jonathan Demme’s concert documentary Talking Heads: Stop Making Sense at 7.30pm. Box office: tickets.41monkgate.co.uk.

Steve Cassidy: Performing with his band and friends at the JoRo

Nostalgic gig of the week: Steve Cassidy Band & Friends, Joseph Rowntree Theatre, York, Sunday (5/5/2024), 7.30pm

VETERAN York frontman Steve Cassidy leads his band in an evening of rock, country and ballads, old and new, with songs from the 1960s to 21st century favourites in their playlist.

Cassidy, a three-time winner of New Faces, has recorded with celebrated York composer John Barry and performed in the United States and many European countries. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Let us pray: Landi Oshinowo’s Deloris Van Cartier and Sue Cleaver’s Mother Superior in Sister Act, on tour at Grand Opera House, York

Musical of the week: Sister Act, Grand Opera House, York, May 6 to 11, 7.30pm plus 2.30pm, Wednesday and Saturday

SUE Cleaver takes holy orders in a break from Coronation Street to play the Mother Superior in Sister Act in her first stage role in three decades. Adding Alan Menken songs to the 1992 film’s storyline, the show testifies to the universal power of friendship, sisterhood and music in its humorous account of disco diva Deloris Van Cartier’s life taking a surprising turn when she witnesses a murder.

Placed in protective custody, in the disguise of a nun under the Mother Superior’s suspicious eye, Deloris (Landi Oshinowo) helps her fellow sisters find their voices as she unexpectedly rediscovers her own. Box office: atgtickets.com/york.

Lila Naruse’s Memory Tess in Ockham’s Razor’s circus theatre production of Tess at York Theatre Royal. Picture: Kie Cummings

“Bold new vision” of the week: Ockham’s Razor in Tess, York Theatre Royal, May 8 to 11, 7.30pm

CIRCUS theatre exponents Ockham’s Razor tackle a novel for the first time in a staging of Thomas Hardy’s  Tess Of The D’Urbervilles that combines artistic directors Charlotte Mooney and Alex Harvey’s adaptation of the original text with the physical language of circus and dance.

Exploring questions of privilege, class, consent, agency, female desire and sisterhood, Tess utilises seven performers, including Harona Kamen’s Narrator Tess and Lila Naruse’s Memory Tess, to re-tell the Victorian story of power, loss and endurance through a feminist lens. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Jah Wobble & The Invaders Of The Heart: Night of dub, funk and world music at Pocklington Arts Centre

Funkiest gig of the week: Jah Wobble & The Invaders Of The Heart, Pocklington Arts Centre, May 9, 8pm

SUPREME bassist Jah Wobble’s two-hour show takes in material from his work with John Lydon in Public Image Ltd and collaborations with Brian Eno, Bjork, Sinead O’Connor, U2’s The Edge, Can’s Holger Czukay, Ministry’s Chris Connelly and Killing Joke’s Geordie Walker.

Born John Wardle in 1958, he was renamed by Sex Pistol Sid Vicious, who struggled to pronounce his name correctly. Wobble combines dub, funk and world music, especially Africa and the Middle East, in his songwriting. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

“Charming nonsense”: Steven Lee’s There Was An Old Lady Who Swallowed A Fly at the SJT, Scarborough

Half-term show announcement of the week: There Was An Old Lady Who Swallowed A Fly, Stephen Joseph Theatre, Scarborough, May 28, 2.30pm

FIRST written as a song in 1953, There Was An Old Lady Who Swallowed A Fly was a chart-topping hit for singer and actor Burl Ives before being adapted into a best-selling book by Pam Adams a few years later, one still found in schools, nurseries and homes across the world.  

To mark the nursery rhyme’s 50th anniversary, children’s author Steven Lee has created a magical musical stage show for little ones to enjoy with their parents that combines the charming nonsense of the rhyme with his own “suitably silly twists”. Box office: 01723 370541 or sjt.uk.com.

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Phoenix Dance Theatre to perform Belonging: Loss. Legacy. Love triple bill at York Theatre Royal tonight and tomorrow

Terms Of Agreement: Marcus Jarrell Willis’s first work for Phoenix Dance Theatre

PHOENIX Dance Theatre will perform artistic director Marcus Jarrell Willis’s first work for the Leeds company as part of the Belonging: Loss. Legacy. Love triple bill at York Theatre Royal tonight and tomorrow.

Terms Of Agreement is the Texas-born choreographer’s third work of his Terms & Conditions series. Featuring original written compositions by Tomos O’Sullivan and music by popular artist, this one focuses on the more ethereal, spiritual and kismet perspectives to unravel the eternal question: what is true love? “Further to understanding this, once you have negotiated the terms, will you accept the agreement?” he asks.

“Building upon the resounding success of Phoenix Dance Theatre’s last tour, which fittingly reflected on the company’s remarkable 40th anniversary, Phoenix is directing its focus forwards. Marking this latest chapter for the company we are embarking on a tour of new choreographic works, including two world premieres,” says Marcus, who took up his post last October.

“I am thrilled to be contributing my own creation to this versatile programme, and it has been a privilege for me working with our exceptionally gifted dancers to craft my first work for Phoenix.”

Phoenix Dance Theatre performing Dane Hurst’s Requiem. Picture: Drew Forsyth

Terms Of Agreement forms part of a “powerfully visceral and thought-provoking triple bill exploring the nuances of human experience by three exciting international dance makers”: world premieres by Miguel Altunaga and Marcus Jarrell Willis, complemented by the Leeds company’s first touring performances of former artistic director Dane Hurst’s Requiem (Excerpts).

South African choreographer Hurst’s Requiem is a “powerful reimagining of Mozart’s awe-inspiring choral masterpiece in an emotional response to the grief experienced by so many around the world during the pandemic”.

The work was premiered at Leeds Grand Theatre last year as part of Leeds 2023: Year of Culture in a co-production with Opera North and South African partners Jazzart Dance Theatre and Cape Town Opera.

In his first stage commission for Phoenix, Afro-Cuban choreographer Miguel Altunaga premieres his daring new work, Cloudburst, set to a new score by composer David Preston. 

World premiere: Phoenix Dance Theatre in Miguel Altunaga’s Cloudburst

Altunaga first collaborated with Phoenix in 2022 to create the dance film EBÓ as part of the company’s inaugural digital programme. Now, in a continuation of that work, Cloudburst explores mankind’s relationship to tribe and community, mythology and spirituality, ritual and surrealism, and how choices made by our ancestors shape our culture as well as our very being.

“I believe that this mixed bill will speak to every audience member at each theatre we visit,” says Marcus. “The emotions we feel during the different stages of our life and the questions we ask about our past, present, and future shape who we are and inform our sense of belonging.

“The sentiments expressed through these three works will resonate differently with each individual present in the audience, allowing space for both an impactful and memorable experience.”

York Theatre Royal is the final venue of Phoenix’s first British tour since 2022. Tickets for performances at 7.30pm tonight and 2.30pm and 7.30pm tomorrow are on sale at 01904 623568 or yorktheatreroyal.co.uk.

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More Things To Do in Ryedale, York and beyond comedy & climate change. Here’s Hutch’s List No. 13, from Gazette & Herald

Vera Chok’s Lauren and Jay McGuiness’s Ben in a scene from 2:22 – A Ghost Story, on tour at Grand Opera House, York, this week

JUST a normal week? No, paranormal, more like, as a ghost story pumps up the spooks. Fear not, a hope-filled musical, dances of love, loss and legacy and soul, folk and funk gigs are Charles Hutchinson’s picks too.  

New ghost to haunt “Europe’s most haunted city”: 2:22 – A Ghost Story, Grand Opera House, York, spooking until Saturday, 7.30pm fright-nightly; 2.30pm today (1/5/2024) and Saturday; 3.30pm, Friday

JENNY believes her new London home is haunted, hearing a disturbance every night at the same time, but husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben.

Belief and scepticism clash, but something feels strange and frightening, and that something is drawing closer, so they decide to stay up… until 2:22 in the morning… and then they’ll know in The Battersea Poltergeist podcaster Danny Robins’s paranormal thriller, wherein secrets emerge and ghosts may, or may not, appear. Fiona Wade, George Rainsford and Vera Chok join The Wanted singer Jay McGuiness in Matthew Dunster & Isabel Marr’s cast. Box office: atgtickets.com/york.

Come From Away: Award-winning musical of hope, humanity and unity on tour at Leeds Grand Theatre

Musical of the week: Come From Away, Leeds Grand Theatre, running until May 11, 7.30pm plus 2.30pm Thursday and Saturday matinees

IRENE Sankoff and David Hein’s four-time Olivier Award-winning musical tells the remarkable true story of 6,579 air passengers from around the world being grounded in Canada in the wake of 9/11. Whereupon the small Newfoundland community of Gander invites these ‘come from aways’ into their lives with open hearts.

As spirited locals and global passengers come together to forge friendships, we meet first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter in a celebration of hope, humanity and unity. Box office: 0113 2430808 or leedsheritagetheatres.com.

The poster for Alexander O’Neal’s farewell tour, Time To Say Goodbye, bound for York Barbican on Friday

Farewell tour of the week: Alexander O’Neal, Time To Say Goodbye, York Barbican, Friday, 7.30pm

AFTER nearly five decades, Mississippi soul singer Alexander O’Neal is hitting the road one final time at 70 on his Time to Say Goodbye: Farewell World Tour, accompanied by his nine-piece band.

O’Neal will be undertaking a journey through his career with the aid of never-before-seen-photos, testimonies and tributes, all set to the tune of such hits as Criticize, Fake and If You Were Here Tonight. Box office: yorkbarbican.co.uk.

Phoenix Dance Theatre in Dane Hurst’s Requiem, part of the Belonging: Loss. Legacy. Love programme at York Theatre Royal. Picture: Drew Forsyth

Dance show of the week: Phoenix Dance Theatre in Belonging: Loss. Legacy. Love, York Theatre Royal, Friday, 7.30pm; Saturday, 2.30pm and 7.30pm

YORK Theatre Royal is the final venue on Leeds company Phoenix Dance Theatre’s first British tour since 2022 with a visceral triple bill of works by international dance makers Dane Hurst, Miguel Altunaga and Phoenix artistic director Marcus Jarrell Willis.

Belonging: Loss. Legacy. Love opens with South African choreographer and former Phoenix artistic director Hurst’s reimagining of Mozart’s Requiem in response to pandemic-induced grief. Two world premieres follow: Afro-Cuban choreographer Altunaga’s first Phoenix commission, the daring Cloudburst, and Texas-born Jarrell Willis’s Terms Of Agreement. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The Milton Rooms’ poster for the Comedy vs Climate workshops this weekend in Malton

Workshop of the week: Comedy vs Climate Change, Milton Rooms, Malton, Saturday and Sunday

THIS weekend Comedy vs Climate Change hosts a brace of workshop projects for 18 to 30-year-olds from North Yorkshire with the aim of raising awareness of climate issues and funds for environmental causes, as well as finding hope in climate humour that shapes a greener, better and fairer future.

Saturday’s 2pm to 5pm session provides an introduction to stand-up and joke writing; Sunday’s 10am to 1pm session focuses on improv and character development. Both use humour to explore environmental issues based around local rivers. Ring 01653 696240 or go to themiltonrooms.com to book a place.

Jah Wobble & The Invaders Of The Heart: Playing dub, funk and world music at Pocklington Arts Centre

Funkiest gig of the week: Jah Wobble & The Invaders Of The Heart, Pocklington Arts Centre, May 9, 8pm

SUPREME bassist Jah Wobble’s two-hour show takes in material from his work with John Lydon in Public Image Ltd and collaborations with Brian Eno, Bjork, Sinead O’Connor, U2’s The Edge, Can’s Holger Czukay, Ministry’s Chris Connelly and Killing Joke’s Geordie Walker.

Born John Wardle in 1958, he was renamed by Sex Pistol Sid Vicious, who struggled to pronounce his name correctly. Wobble has combined elements of dub, funk and world music, especially Africa and the Middle East, in his songwriting and has written books on music, politics, spirituality and Eastern philosophy too. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Gigspanner Trio: Led by fiddler Peter Knight at Helmsley Arts Centre

Folk gig of the week: Gigspanner Trio, Helmsley Arts Centre, May 10, 7.30pm

IN the wake of his departure from Steeleye Span, fiddle player Peter Knight has turned his full attention to the Gigspanner Trio, a ground-breaking force on the British folk scene.

Knight, who first performed with the fledgling Steeleye line-up in 1970, is joined in his trio by percussionist Sacha Trochet and guitarist Roger Flack. Together, they combine self-penned material with arrangements of music rooted in the British Isles and beyond. Box office: 01439 771700 or helmsleyarts.co.uk.

There Was An Old Lady Who Swallowed A Fly: On tour at Stephen Joseph Theatre, Scarborough

Half-term show announcement of the week: There Was An Old Lady Who Swallowed A Fly, Stephen Joseph Theatre, Scarborough, May 28, 2.30pm

FIRST written as a song in 1953, There Was An Old Lady Who Swallowed A Fly was a chart-topping hit for singer and actor Burl Ives before being adapted into a best-selling book by Pam Adams a few years later, one still found in schools, nurseries and homes across the world.  

To mark the nursery rhyme’s 50th anniversary, children’s author Steven Lee has created a magical musical stage show for little ones to enjoy with their parents that combines the charming nonsense of the rhyme with his own “suitably silly twists”. Box office: 01723 370541 or sjt.uk.com.

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More Things To Do in York and beyond the paranormal before 2:22 in the morning. Hutch’s List No. 18, from The Press

Vera Chok and Jay McGuiness in a scene from 2:22 – A Ghost Story, haunting the Grand Opera House, York, from Tuesday

JUST a normal week? No, paranormal, more like, as a ghost story pumps up the spooks. Fear not, a Led Zeppelin legend, country-town teen days, a hope-filled musical and dances of love, loss and legacy are Charles Hutchinson’s picks too.  

New ghost to haunt “Europe’s most haunted city”: 2:22 – A Ghost Story, Grand Opera House, York, Tuesday to Saturday, 7.30pm fright-nightly; 2.30pm Wednesday and Saturday; 3.30pm, Friday

JENNY believes her new London home is haunted, hearing a disturbance every night at the same time, but husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben.

Belief and scepticism clash, but something feels strange and frightening, and that something is drawing closer, so they decide to stay up… until 2:22 in the morning… and then they’ll know in The Battersea Poltergeist podcaster Danny Robins’s paranormal thriller, wherein secrets emerge and ghosts may, or may not, appear. Fiona Wade, George Rainsford and Vera Chok join The Wanted singer Jay McGuiness in Matthew Dunster & Isabel Marr’s cast. Box office: atgtickets.com/york.

Robert Plant’s Saving Grace: Playing Harrogate Royal Hall on Tuesday

Gig of the week outside York: Robert Plant’s Saving Grace, Harrogate Royal Hall, Tuesday, 8pm

ERSTWHILE Led Zeppelin singer and lyricist Robert Plant, now 75, leads the folk, Americana and blues co-operative Saving Grace, featuring Suzi Dian (vocals), Oli Jefferson (percussion), Tony Kelsey (mandolin, baritone, acoustic guitar, and Matt Worley (banjo, acoustic/baritone guitars, cuatro), on their 15-date Never Ending Spring itinerary. South Carolina singer-songwriter Taylor McCall supports. Box office: 01423 502116 or harrogatetheatre.co.uk.

Country matters: Henry Madd’s Henry and Marc Benga’s Jake in Land Of Lost Content at Theatre@41, Monkgate, York

Touring play of the week: Henry Madd’s Land Of Lost Content, Theatre@41, Monkgate, York, Sunday, 7.30pm

NIC Connaughton, the Pleasance’s head of theatre, directs Land Of Lost Content, Henry Madd’s autobiographical insight into friendship, adolescence, forgiveness and life not going to plan in an empowering coming-of-age story about the trials of growing up in a small country town and its ongoing effects on two estranged mates.

Henry (Madd) and Jake (Marc Benga) were bored friends who grew up in Ludlow, where friendships were forged in failed adventures, bad habits and damp raves as they stumbled through teenage days looking for something to do. Then Henry moved away. Now he is back, needing to face up to the memories and the people he left behind. Box office: tickets.41monkgate.co.uk.

Come From Away: Award-winning musical of hope, humanity and unity on tour at Leeds Grand Theatre

Musical of the week: Come From Away, Leeds Grand Theatre, Tuesday to May 11, 7.30pm plus 2.30pm Thursday and Saturday matinees

IRENE Sankoff and David Hein’s four-time Olivier Award-winning musical tells the remarkable true story of 6,579 air passengers from around the world being grounded in Canada in the wake of 9/11. Whereupon the small Newfoundland community of Gander invites these ‘come from aways’ into their lives with open hearts.

As spirited locals and global passengers come together to forge friendships, we meet first female American Airlines captain, the quick-thinking town mayor, the mother of a New York firefighter and the eager local news reporter in a celebration of hope, humanity and unity. Box office: 0113 243 0808 or leedsheritagetheatres.com.

Claire Morley: Directing York Shakespeare Project in Sunday’s rehearsed reading of John Fletcher’s The Tamer Tamed. Picture: S R Taylor Photography

Battle of the sexes, round two: York Shakespeare Project in The Tamer Tamed, Creative Arts Centre Auditorium, York St John University, tomorrow (28/4/2024), 5pm

YORK Shakespeare Project complements this week’s run of Shakespeare’s The Taming Of The Shrew at Theatre@41, Monkgate, with a rehearsed reading of John Fletcher’s Jacobean riposte to the Bard’s most controversial comedy, directed by Claire Morley.

In Fletcher’s sequel, the widowed Petruchio has a new wife and a new challenge as he discovers that he is not the only one who can do the taming. Fletcher borrows characters from Shakespeare and Ben Jonson and a key plot device from Ancient Greek dramatist Aristophanes’s Lysistrata for his exploration of marriage and relationships. Box office: parrabbola.co.uk or yorkshakes.co.uk.

The poster for Alexander O’Neal’s farewell tour, Time To Say Goodbye, bound for York Barbican on May 3

Farewell tour of the Week: Alexander O’Neal, Time To Say Goodbye, York Barbican, May 3, 7.30pm

AFTER nearly five decades, Mississippi soul singer Alexander O’Neal is hitting the road one final time at 70 on his Time to Say Goodbye: Farewell World Tour, accompanied by his nine-piece band.

O’Neal will be undertaking a journey through his career with the aid of never-before-seen-photos, testimonies and tributes, all set to the tune of such hits as Criticize, Fake and If You Were Here Tonight. Box office: yorkbarbican.co.uk

Phoenix Dance Theatre in Dane Hurst’s Requiem, part of the Belonging: Loss. Legacy. Love programme at York Theatre Royal. Picture: Drew Forsyth

Dance show of the week: Phoenix Dance Theatre in Belonging: Loss. Legacy. Love, York Theatre Royal, May 3, 7.30pm; May 4, 2.30pm and 7.30pm

YORK Theatre Royal is the final venue on Leeds company Phoenix Dance Theatre’s first British tour since 2022 with a visceral triple bill of works by international dance makers Dane Hurst, Miguel Altunaga and Phoenix artistic director Marcus Jarrell Willis.

Belonging: Loss. Legacy. Love opens with South African choreographer and former Phoenix artistic director Hurst’s reimagining of Mozart’s Requiem in response to pandemic-induced grief. Two world premieres follow: Afro-Cuban choreographer Altunaga’s first Phoenix commission, the daring Cloudburst, and Texas-born Jarrell Willis’s Terms Of Agreement. Box office: 01904 623568 or yorktheatreroyal.co.uk.

The Cult: Marking 40th anniversary with the 8424 tour this autumn. Picture: Jackie Middleton

Gig announcement of the week: The Cult, The 8424 Tour, York Barbican, October 29

SINGER Ian Astbury and guitarist Billy Duffy mark the 40th anniversary of The Cult, the Bradford band noted for their pioneering mix of post-punk, hard rock and melodramatic experimentalism, by heading out on The 8424 Tour.

Once dubbed “shamanic Goths”, Astbury and Duffy will perform songs from The Cult’s 11-album discography, from 1984’s Dreamtime to 2022’s Under The Midnight Sun, in a set sure to feature She Sells Sanctuary, Rain, Love Removal Machine, Wild Flower and Lil’ Devil. Box office: yorkbarbican.co.uk.

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REVIEW: Tilted Wig Productions in The School For Scandal, York Theatre Royal, until Saturday **

Alex Phelps’s Joseph Surface, left, and Joseph Marcell’s Sir Peter Teazle in Tilted Wig’s The School For Scandal. Picture: Anthony Robling

WHEN The School For Scandal premiered at Drury Lane in 1777, the audience laughed so loudly that a passer-by thought the building was collapsing.

Roll forward to 2024, when Sean Aydon’s 1950 setting of Richard Brinsley Sheridan’s comedy of manners fails to bring down the house. “They’re finding themselves funnier than we are,” came one barb of Dorothy Parker bite over the interval drinks.

It had looked so promising, from the stellar casting of The Fresh Prince Of Bel-Air butler Joseph Marcell as the lordly Sir Peter Teazle to the programme design in the style of the Town & Country high society fashion magazine. Anthony Tittle, editor in chief, Henry Tattle, editor at large, Ted Talk, production director; you get the picture. Never judge a play by its programme cover, however.

“We felt that what our audiences needed more than anything was an evening of pure fun,” reckoned Aydon in the wake of the pandemic gloom. “An evening of aural and visual pleasure without a moment of darkness…”

Darkness is indeed absent from Sarah Beaton’s set and costume designs. A plethora of peach drapes, three peach ceiling lamps, and blue-and-white checkerboard floor tiles rather than regulation black and white, set the tone, but that mood board is muted. Peach is not peachy but pallid.

Out go 18th century wigs and ruffles that “can feel like a barrier”, reasons Aydon, but equally “it didn’t feel right to set it in the modern day as the world of the play has very different rules to our own, particularly with regards to marriage as a financial agreement”.

Wanting to retain a sense of Sheridan’s gossip-driven milieu being one of wealth, style and the height of fashion, Aydon settled on the mid-20th century as a “great place aesthetically”, whose vibrant colours and evocative textures could be appreciated “while knowing we are not in our 21st century world”.

For all the witty detail, such as the three phones on a row of plinths that emphasise the ever-bubbling babble of society chit-chat, the new setting remains a barrier to the highly mannered 18th century comedy being funny.

No feeling is more deflating on a night at the theatre than a comedy failing to spark, when laughs are as muted as those peach drapes. Audiences have to connect, to bond, to care, to warm to characters, but The School For Scandal is all surface – and not only in having three characters by that surname – and surface is not enough.

Snappy dialogue matters more than a snappy dress sense. Compare and contrast with Richard Bean’s revitalisation of Carlo Goldoni’s 1746 Italian comedy The Servant Of Two Masters, relocated to 1963 Brighton as One Man, Two Guvnors with a scabrous new script.

It did everything that Aydon craves for Tilted Wig’s The School For Scandal: “Theatre is important for many reasons: it can challenge us, provoke us, shock us, teach us to question the world around us. But it can also provide deep and unadulterated joy.” True for that Bean feast of comic chaos, but not here.

Sheridan’s names for his “outrageous characters”, from Snake to Weasel, Backbite to Careless, Lady Sneerwell to Mrs Candour, promise more than they deliver in this slow-moving account of Sir Peter Teazle (Marcell) believing that his young wife, the country maid Lady Teazle (Lydea Perkins), is playing away from home, as Lady Sneerwell’s scandalmongers spread the word. Not true, but if he thinks she is, why not give it a go, she decides.

Characters come and go, come and go again, the words pile up, the laughs don’t, as Aydon’s wish for us to “celebrate the joy of being alive” is unfulfilled, for all the striving of Marcell’s Sir Peter, Garmon Rhys’s Charles Surface/Benjamin Backbite and Emily Jane McNeill’s Lady Sneerwell.  

There is one exception to this frustrating experience. Having delighted York audiences previously in Shakespeare’s Rose Theatre’s Twelfth Night and York Theatre Royal & Tilted Wig’s Around The World In 80 Days, Alex Phelps parades his comic craft once more with delicious timing, peacock elegance and physical  comedy chops worthy of a Chaplin, Wisdom or Wall, both as the manipulative, hypocritical Joseph Surface and in a tipsy, scene-stealing cameo as Bumper.

An Act Two scene with Phelps’s Joseph, Sir Peter and Lady Teazle, involving a chaise longue, a screen and a cupboard, is the one moment of “unadulterated joy”. Elsewhere, alas, Sheridan’s top of the fops comedy feels dated, and it hasn’t dated well.

Tilted Wig in tandem with Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, until Saturday; 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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REVIEW: Steve Crowther’s verdict on The Rake’s Progress, English Touring Opera, York Theatre Royal, April 20

Jerome Knox, left, Trevor Elliott Bowes, Frederick Jones and Nazan Fikret in English Touring Opera’s The Rake’s Progress. Picture: Richard Hubert Smith

STRAVINSKY’S The Rake’s Progress is a great opera and English Touring Opera’s production was very good indeed, but it wasn’t without its problems.

I thought one of the issues would be quality of sound delivered by the ETO orchestra in the Theatre Royal pit. Not a bit of it. The short opening prelude, introduction really, was rhythmically razor sharp, every instrumental detail crystal clear both here and throughout the entire work.

Of course, this is not a surprise given the quality of the players, but conductor Jack Sheen must take much of the accolades; he was superb. And young. And clearly one to be watched.

Polly Graham’s direction was highly intelligent, but busy. I know it is a fine line between breathing life into a form in which stasis is the norm. But there was just too much movement at times and for no seemingly obvious purpose.

I had problems with April Dalton’s design at the start of the First Act; it was too full both physically and metaphorically. The detail overload included a maypole, Punch and Judy pantomime box and singers with masks. OK I get it. The masks reference Greek Theatre which, like Stravinsky’s neo-classical opera, represents distance, objectivity.

Jerome Knox and Fredereick Jones with the Ensemble in English Touring Opera’s The Rake’s Progress. Picture: Richard Hubert Smith

This also alludes to the Greek tragedies: the character flaw and what dramatically unfolds with a bit of catharsis at the end: the devil makes work for idle hands.

But why the Punch & Judy reference? Well, this was a traditional seaside, working-class puppet show. The devil and hangman Jack Ketch make an appearance and (deep breath) the character Mr Punch was begotten from the commedia dell’arte Neopolitan character, Pulcinella; the title of Stravinsky’s ballet.

What I did admire about Ms Graham’s direction and Ms Dalton’s design was that they took chances. It was memorable. And I suspect that many of the issues mentioned above would not have been so critical in a larger theatre space.

The opening scene between Tom Rakewell (tenor Frederick Jones) and Anne Trulove (soprano Nazan Fikret) takes place at a May Day festival. The balance between soloist and an excellent chorus was not good. It was particularly difficult to hear Nazan Fikret that clearly, especially in her lower register.

Having said that, Ms Fikret sang superbly throughout. She has a lovely tone and there was real feeling and convincing dramatic conviction. However, I thought the image of her dressed in Wagnerian battle mode to rescue Tom was a bit naff; it is supposed to be salvation through love, through goodness.

Nazan Fikret’s AnneTrulove in English Touring Opera’s The Rake’s Progress. Picture: Richard Hubert Smith

A lot of Ms Graham’s casting did work really well, not least the image of Tom and Shadow as alter egos. The black-and-white dress, even in the shadow boxing match. Jerome Knox (baritone) was an utterly convincing Shadow, dripping with elegant charm and seductive malevolence.

Another standout performer was mezzo- soprano Lauren Young as the bearded lady Baba. She was confident, funny and compassionate. Quite a remarkable achievement for a woman with a two-foot beard.

Amy J Payne proved to be a very seductive Mother Goose; that provocative, surrealist costume was alarming to say the least.

The take on turning water into wine, here stone into bread, as a means to end famine, and offer a path to redemption and recapture Anne’s heart, was very effective as were the consequences of this folly in the auction which included Baba herself. There is a cruel price to pay. After a year and a day and a game of cards, Tom is left half alive and half dead: Shadow’s curse is insanity.

Frederick Jones, utterly brilliant throughout, sang the final Bedlam scene with such heartbreaking tenderness. Not a dry eye in the house, I expect. Then, like Mozart’s Figaro, the soloists and chorus re-enter the stage to reassure us it’s only make-believe, to be mindful of idle hands and have a safe journey home. Oh yes, and that “good or bad, all men are mad”.

Review by Steve Crowther

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REVIEW: Martin Dreyer’s verdict on English Touring Opera, Manon Lescaut, York Theatre Royal, April 19

English Touring Operas in Manon Lescaut. Picture: Richard Hubert Smith

THE secret to this strange production lay in a programme note by its director, Jude Christian. Anyone who had not read it would have been floundering.

After a perfectly reasonable summary of the trials undergone by Manon, Ms Christian launched into an angry tirade about the perils facing young women today, including pornography, deep-fakes and treatment at the hands of police, along with a sweeping indictment of the place of women in opera. Much of it was undeniable, but almost completely irrelevant to the piece in hand.

Her anger led her to interpret Puccini’s first two acts as a “surreal nightmare”. The chorus here are in fancy dress at a poolside party, both designed by Charlotte Henery, with water coolers lined around the edge: all are camping it up to the utmost degree, prancing around like animals.

Manon joins them in a blue wig and inappropriately tight dress. “What do you think of my hair?” she asks her brother. “It’s a choice,” he replies. A terrible one.

Christian’s other indiscretion is to list herself as librettist. Presumably this is meant to excuse her paraphrase – not a translation – of Luigi Illica’s original (although he gets no mention anywhere).

The net effect of these hijinks is to hijack Puccini and present us with a comedy, or at least extreme parody, which has exactly the reverse effect to the one intended. How can one take this Manon’s trials seriously, let alone as a reflection of modern woman’s predicament?

Fortunately, the second half is a little more to the point. A young woman (Manon’s alter ego, perhaps) is asleep at her desk and wakes up slowly, reminding us that it’s all been a dream. Manon’s downhill slide thereafter seems inevitable, given that the two men she has had to choose between are obviously unsuitable.

Des Grieux who arrived in a white suit riding a dolphin, with a fuzzy wig, is far too self-interested to be much use in the long term. Geronte, clad in pink, with a gigantic sombrero, is a figure of fun from the start, even if he offers her wealth.

After their voyage, Manon and Des Grieux find themselves in a desert where he is unable to find water. She dies of thirst. Hence, we now realise, the water in abundance at the start: her life has been prolonged irony.

There are plenty of redeeming features in the music. Jenny Stafford’s game Manon never lets up, if occasionally underpowered. Gareth Dafydd Morris as Des Grieux sports an unfailingly resonant tenor that he could use more subtly. But they are never quite on the same wavelength. Edward Jones’s bass lends gravitas to Geronte, despite the director’s apparent intentions.

Adrian Edwards is a happy-go-lucky Lescaut in a French beret, with a baritone ideally suited for English song. Brendon Spiteri leads the choral capers well as Edmondo.

But the heroes of the hour are the orchestra, conducted with confidence and vigour by Gerry Cornelius, who sustains a lively momentum. His woodwinds are exceptionally crisp.

It is just a pity that the director allows righteous anger to rule her emotions and feels the need to steer so clear of what the opera is really about.

English Touring Opera’s Manon Lescaut is on tour until May 27.

Review by Martin Dreyer

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More Things To Do in York and beyond “the carriage ride of your life”. Hutch’s List No. 17 for the spring scene, from The Press

Footsbarn Theatre’s Twelfth Night: First British performances in 15 years in world premiere at York International Shakespeare Festival

BUCKLE up for Austen’s sister act, Shakespeare’s battle of the sexes and Sheridan’s scandalous comedy of manners, plus music, art and poetry in the library, advises Charles Hutchinson.  

Festival of the week: York International Shakespeare Festival, until April 28 

SHAKESPEAREAN Identity is the theme of the sixth York International Shakespeare Festival, now an annual event, run by director Philip Parr. Sponsored by York St John University, it features moving shows, lectures by internationally recognised academics, exhibitions and workshops presented by Shakespeare enthusiasts from all over the world.

Among the highlights will be Footsbarn Theatre’s first British visit in 15 years with Twelfth Night, American actress Debra Ann Byrd’s powerhouse solo show Becoming Othello and York Explore’s exhibition of 300 years of representations of Othello. Tickets and full programme details are available at yorkshakes.co.uk/programme-2024.

Katherine Lea: Making her Hotbuckle Productions debut in Pride & Prejudice at Helmsley Arts Centre

Ryedale play of the week: Hotbuckle Productions in Pride & Prejudice, Helmsley Arts Centre, tonight, 7.30pm

IN artistic director Adrian Preater’s humorous, multi role-playing adaptation of Jane Austen’s 1813 novel, Hotbuckle Productions enter the world of the Bennets.

From headstrong Elizabeth to proud Mr Darcy, rich characterisations abound as five sisters deal with marriage, morality and misconceptions. “Hotbuckle up for the carriage ride of your life” with Joanna Purslow, Tomas Mason and company newcomer Katherine Lea. Box office: 01439 771700 or helmsleyarts.co.uk.

Carl Hutchinson: Storytelling Geordie comic appearing at The Crescent, York

Comedy gig of the week: Carl Hutchinson: Today Years Old, The Crescent, York, tomorrow, 7.30pm

YORK’s Burning Duck Comedy Club presents Geordie comic Carl Hutchinson in his third consecutive back-to-back tour show, Today Years Old. Expect a night of storytelling, rich in observation and physical comedy. Box office: thecrescentyork.com.

Fiddler in the woods: Alice Atang’s Fiddler, Perri Ann Barley’s Golde and Steve Tearle’s Tevye set the scene for NE Theatre York’s Fiddler On The Roof

Musical of the week: NE Theatre York in Fiddler On The Roof, Joseph Rowntree Theatre, York, April 23 to 27, 7.30pm and 2.30pm Saturday matinee

STEVE Tearle directs NE Theatre York in Jerry Bock, Sheldon Harnick and Joseph Stein’s musical, taking the role of Tevye, the humble village milkman, for the third time too in this 60th anniversary production.

When three of Tevye’s five daughters rebel against the traditions of arranged marriages by taking matters into their own hands, mayhem unfolds as he strives to maintain his Jewish religious and cultural creeds, against the backdrop of the Tsar’s pogrom edict to evict all Jews from his Russian village in 1905. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Lydea Perkins’ Lady Teazle and Joseph Marcell’s Sir Peter Teazle in Tilted Wig’s The School For Scandal, on tour at York Theatre Royal next week

Touring play of the week: Tilted Wig, Malvern Theatres and Theatre by the Lake, Keswick, present The School For Scandal, York Theatre Royal, April 23 to 27, 7.30pm plus 2pm Thursday and 7.30pm Saturday matinees

JOSEPH Marcell, fondly remembered as Geoffrey the butler in the American comedy series Fresh Prince of Bel Air, stars in Seán Aydon’s new production of Richard B Sheridan’s comedy of manners The School For Scandal, where gossip never goes out of fashion.

Marcell plays Sir Peter Teazle, who believes his young wife is sleeping with someone else. Not true, but if her husband believes it, maybe she should give it a go. After all, if you are going to cause a scandal, you may as well enjoy it. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Florence Poskitt: Stepping into Kate’s shoes in York Shakespeare Project’s The Taming Of The Shrew

Seventies’ Shakespeare play of the week: York Shakespeare Project in The Taming Of The Shrew, Theatre@41, Monkgate, York, April 23 to 27, 7.30pm plus 2.30pm Saturday

IN a late change of cast, actor-musician Florence Poskitt, from the York musical comedy duo Fladam, is taking over the principal role of Kate in Maggie Smales’s production of Shakespeare’s controversial battle of the sexes, now set in 1970.

A psychedelic world is opening up, promising peace, love and equality, but Kate was born to be wild and wants a voice of her own. The times they are a’changin’ and the old order is dead…or is it? Let battle commence. Box office: tickets.41monkgate.co.uk.

Barrie Rutter: Shaking up Shakespeare at Northern Broadsides and beyond

Breaking down the Bard barrier: Barrie Rutter: Shakespeare’s Royals, York Theatre Royal Studio, April 26, 7.45pm; Ripon Theatre Festival, Ripon Cathedral, July 4, 7.30pm

BARRIE Rutter, founder and former director of Northern Broadsides, celebrates the Bard’s kings and queens – their achievements, conquests and foibles – with tales, anecdotes and memories from a career of playing and directing Shakespeare’s Royals.

Told he could never play a king on account of his Yorkshire accent, Hull-born Rutter, now 77, created his own theatre company in 1992 in Halifax to use the northern voice for Shakespeare’s kings, queens and emperors, not only the usual drunken porters, jesters or fools. Box office: York, 01904 623568 or yorktheatreroyal.co.uk; Ripon, ripontheatrefestival.org.

Kai West’s poster for Bull’s Live At The Library day on May 19, based on the Cluedo board game design

Gig announcement of the week: Bull present Live At The Library, York Explore Library & Archive, Library Square, York, May 19, from 12 noon

YORK Explore and Please Please You team up with York band Bull for a day of music, art and poetry to celebrate Explore York’s tenth birthday and raise funds for York’s libraries. The climax will be a 6.30pm to 10pm gig by Bull, Marnie Glum, Rowan and performance poet Stu Freestone (tickets, tickettailor.com/events/exploreyorklibrariesandarchives/1216274).

Free activities include open mic-style performances run by Bull frontman Tom Beer in the Marriott Room from midday, featuring Gabbie Lord, Maggie, Gilles, She Choir, Filipe, Old Time Rags, Eve Thomas & Co and more,  plus art workshops for all ages hosted by Izzy Williamson (lino printing, 1pm) and Bull bassist and illustrator Kai West (T-shirt design and screen printing, 12 noon to 2pm) in the Garden Room, with donations welcome.