Tag: York Theatre Royal

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What’s On in Ryedale, York and beyond. Hutch’s List No. 23, from Gazette & Herald

The artwork for the 2025 York Festival of Ideas, making waves until June 13

A FESTIVAL full of bright ideas leads off Charles Hutchinson’s recommendations for cultural sustenance and enlightening entertainment.

Festival of the week: York Festival of Ideas, running until June 13

YORK Festival of Ideas 2025 explores the theme of Making Waves in more than 200 mostly free in-person and online events designed to educate, entertain and inspire. 

Led by the University of York, the festival features world-class speakers, performances, exhibitions, tours, family-friendly activities and much more. Topics range from archaeology to art, history to health and politics to psychology. Browse the programme at yorkfestivalofideas.com.

New Adventures in Matthew Bourne’s The Midnight Bell, on tour at York Theatre Royal. Picture: Johan Persson

Dance return of the week: New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

IN 1930s’ London, ordinary people emerge from cheap boarding houses nightly to pour out their passions, hopes and dreams in the pubs and fog-bound streets of Soho and Fitzrovia. Step inside The Midnight Bell, a tavern where one particular lonely-hearts club gather to play out their lovelorn affairs of the heart: bitter comedies of longing, frustration, betrayal and redemption. 

Inspired by the work of English novelist Patrick Hamilton, Matthew Bourne’s The Midnight Bell returns to York Theatre Royal, where it first played in October 2021, with a 14-strong cast of New Adventures’ actor-dancers, music by Terry Davies and set and costume design by Lez Brotherston. Box office: 01904 623568 or yorktheatreroyal.co.uk

The poster artwork for NE Theatre York’s fully staged concert performances of Carousel

Musical of the week: NE Theatre York in Carousel, Tempest Anderson Hall, Museum Gardens, York, tomorrow to Saturday, 7.30pm plus 2.30pm Saturday matinee

STEVE Tearle directs NE Theatre York in fully staged concert performances of Rodgers and Hammerstein’s Carousel with an 18-piece orchestra conducted by Joe Allen. The cast for this tale of hope, redemption and the power of love will be led by Kit Stroud as Billy Bigelow; Rebecca Jackson as Julie Jordan; Maia Beatrice as Carrie Pepperidge; Finlay Butler as Mr Snow and Perri Ann Barley as Aunt Netty. 

Cue such R&H classics as June Is Burstin’ Out All Over, If I Loved You, When I Marry Mister Snow, Blow High, Blow Low and the iconic Liverpool and Celtic terrace anthem You’ll Never Walk Alone. Box office: ticketsource.co.uk/netheatre-york.

King Creosote’s Kenny Anderson: Serving up a Storm In A Teacup at The Crescent, York

Scottish visitor of the week: Please Please You and Brudenell Presents host King Creosote, The Crescent, York, tomorrow, 7.30pm

KING Creosote follows up 2024’s springtime tour Any Port In A Storm with his Any Storm In A Teacup travels from April to June this year, again with a mix of modular synths, his back catalogue from 50 studio albums and his November 2023 album I Des, the first King Creosote recording in seven years.

As ever, Scotsman Kenny Anderson’s performance will be marked by his singular voice, allied to roguish, roving, ever-evolving, gorgeous songs in the key of Fife. Box office, for returns only: thecrescentyork.com.

Lady Nade: Paying tribute to Nina Simone. Picture: Joseph Branston

Celebration of a legacy: Lady Nade Sings Nina Simone, Helmsley Arts Centre, Saturday, 7.30pm,

KNOWN for paying homage to those who have influenced her journey  profoundly, Lady Nade holds Nina Simone in high regard  for leaving behind a legacy of liberation, empowerment, passion and love through her extraordinary body of work.

As a black woman, Lady Nade acknowledges Simone’s trailblazing role in paving the way for artists of her generation. Her high-energy performance is a heartfelt dedication to recreating the transformative sound that blended popular tunes of the era into a distinctive fusion of jazz, blues, gospel, and folk music. Box office: 01439 771700 or helmsleyarts.co.uk.

Pink Floydian: Showcasing the golden era of progressive rock at Milton Rooms, Malton

Tribute gig of the week: Pink Floydian, Milton Rooms, Malton, Saturday, 7.30pm

PINK Floydian’s immersive experience transports fans back to the golden era of progressive rock in a two-and-a-half hour show that takes in the Syd Barrett, Roger Waters and David Gilmour eras.

From the lush landscapes of Shine On You Crazy Diamond to the haunting refrain of Great Gig In The Sky to the anthemic Comfortably Numb and Wish You Were Here, Pink Floydian undertake a magical journey through Pink Floyd’s illustrious recording career. Box office: 01653 696240 or themiltonrooms.com.

Rachel Anderson’s Dolly Gallagher Levi, centre, and the ensemble in Pickering Musical Society’s Hello, Dolly! Picture: Robert David Photography

Goodbye to musicals: Pickering Musical Society in Hello, Dolly!, Kirk Theatre, Pickering, June 10 to 14, 7.30pm plus 2.30pm Saturday matinee

PICKERING Musical Society is preparing to raise the curtain on its final full-scale musical production, after more than a century, citing rising production costs and falling membership.

Set in the energetic bustle of 1890s’ New York, Jerry Herman’s Hello, Dolly! follows the irrepressible Dolly Gallagher Levi (society favourite Rachel Anderson) – a witty matchmaker, meddler and “arranger of things” – as she decides to find a match for herself. Box office:  01751 474833 or kirktheatre.co.uk or in person from the box office on Tuesdays, 11am to 1pm.

Christopher Simon Sykes’s photograph of Mick Jagger in concert on the Rolling Stones’ Tour of the Americas in 1975, on show at Sledmere House from June 13

Exhibition launch of the week:  On Tour With The Rolling Stones 1975, A 50th Anniversary Exhibition of Photographs by Christopher Simon Sykes, Sledmere House, Sledmere, near Driffield,  June 13 to July 6, except Mondays and Tuesdays, 10am to 5pm

IN June 1975, Christopher Sykes, of Sledmere House, joined the Rolling Stones Tour of the Americas, known as T.O.T.A ’75: his first rock’n’roll itinerary as a snapper after specialising in photographing stately home interiors.

“You know going on tour is not like country life, Chrissie,” advised Mick Jagger on his first day of accompanying the Stones on their three-month tour of North America and Canada, playing 40 shows in 27 cities. The photos were used in a tour diary published the following year, and this exhibition showcases a selection of the best of the behind-the-scenes and stage pictures in the Courtyard Room. Tickets: sledmerehouse.com.

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Dominic heads back North for New Adventures in his York Theatre Royal debut in Matthew Bourne’s The Midnight Bell

Dominic North in New Adventures’ 2025 production of Matthew Bourne’s The Midnight Bell, on tour at York Theatre Royal. Picture: Johan Persson

NEW Adventures return to York Theatre Royal from Wednesday to Saturday with Matthew Bourne’s The Midnight Bell.

Last staged in York in October 2021, this award-winning work is on a 17-week tour from May 15, also visiting the Alhambra Theatre, Bradford, from September 30 to October 4.

Inspired by the novels of Patrick Hamilton, such as Twenty Thousand Streets Under The Sky and Hangover Square, The Midnight Bell is set in 1930s’ London, where ordinary people emerge from cheap boarding houses nightly to pour out their passions, hopes and dreams in the pubs and fog-bound streets of Soho and Fitzrovia.

Step inside The Midnight Bell, a tavern where one particular lonely-hearts club gather to play out their lovelorn affairs of the heart in bitter comedies of longing, frustration, betrayal and redemption. 

Bourne says of his 14-strong cast: “This is, without doubt, the finest company of quintessential New Adventures actor/dancers ever assembled for a single production. Together they represent nearly 30 years of critically acclaimed performances and created roles in my work.

“In fact, it would be hard to imagine a cast more perfectly suited to the challenging world of Patrick Hamilton and his exploration of the darker reaches of the human heart.”

“I’ve been lucky with injuries and not really looking my age,” says New Adventures dancer Dominic North, aged 42

Reece Causton, Glenn Graham, Daisy May Kemp, Andy Monaghan, Liam Mower, Bryony  Pennington and National Dance Awards Outstanding Female Modern Performance winner Michela Meazza return from the original cast. 

Making their Midnight Bell debuts alongside them are “some of New Adventures’ most beloved stars of the last 25 years”, Cordelia Braithwaite, Dominic North, Edwin Ray, Danny Reubens, Ashley Shaw and Alan Vincent, joined by rising star Hannah Kremer, last seen as Juliet in Romeo And Juliet.

Guiseley-born Dominic North, a stalwart member of Bourne’s company for 22 years, is undertaking his first new New Adventures role in “ten years, maybe eight, definitely a while”, playing Bob, the bartender.

“I took it for granted that knowing shows I could count the music, but I’d only seen The Midnight Bell a couple of times, and it was nice to have that adrenaline feeling, thinking ‘what is this?’? It was like being new again with loads of old friends around me.”

The Midnight Bell finds 42-year-old Dominic performing in a New Adventures tour of mid-scale theatres for the first time in 13 years, after taking on such parts as Edward in Edward Scissorhands on and off over a decade.

In the spotlight: Dominic North in The Midnight Bell. Picture: Johan Persson

“I think it’s the multiple lead stories, not just one story, that make The Midnight Bell such a hit with audiences. Everyone in the ensemble has their story to show what they can do, and that makes it exciting and dramatic,” he says, as he looks forward to his debut York Theatre Royal appearance in a career that has taken him to Japan at least seven times, Korea, five, Australia and the United States too.

“It’s such a cool show with so much intricateness and cleverness, and I’m just glad I’ve got to do it. In particular I love the lip-synching to the amazing songs, which gives the show comic relief.”

He has special memories of his lead role in Edward Scissorhands. “I first did it at the age of 24 at the Sydney Opera House. I’d probably be nervous to first do it now, but back then you’re young and naive, going to Japan for four months and Korea for a month, whereas now I’d be petrified!”

Working with Bourne for more than two decades has stretched him “massively”. “I think when I started I was very much a dancer-dancer; I didn’t see myself as an actor, but when I understudied The Prince in Swan Lake at 22 , I had to learn on the job very quickly,” says Dominic, who took his first steps at NYDZA dance classes at Bingley railway station four days week until the age of 18 before attending the Central School of Speech and Drama.

“You realise it’s not just about dance, but helping the audience to understand what they’re seeing through the storytelling in the dancing.”

Dominic is based in London with his young family – he has two daughters – but still has a flat in Guiseley and family in Menston and Horsforth too. He is in fine fettle at 42. “I’ve been lucky with injuries and not really looking my age and still being able to play diverse roles on stage,” he says.

Dominic North, centre, in New Adventures’ production of Matthew Bourne’s Edward Scissorhands. Picture: Johan Persson

“It helps that this company is good at seeking to sustain careers, and that’s a shift in the dance world from ten years ago. There are dancers in this cast who are in their 50s, and when I did Edward Scissorhands, we had dancers in their 40s and 50s too.

“It’s nice to reflect the different ages, rather than putting 20-year-olds in wigs and facial hair, as we’ve realised that experience is key to our performances and doing our job.”

He loves performing in Bourne’s works for New Adventures. “It’s so rewarding,” says Dominic. “We’re lucky that we’re so loved; everywhere we sell out. We’re so fortunate that we can tour around the globe, because there’s no language barrier with dance, but we never take our following for granted.

“Working with Matthew is a dream, getting to work with him closely on creating new roles. He gets things out of you that would never imagine to be possible, and he does it in a very modest way. He couldn’t be further from how directors are depicted in films.”

New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, June 4, 7.30pm; June 5, 2pm, 7.30pm; June 6, 7.30pm; June 7, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Age guidance: 14 plus. Content warning: Scenes of a sexual nature, including sexual violence and mental distress, smoking on stage (e-cigarettes), haze and flickering lights (not strobe). 

Here Sir Matthew Bourne discusses The Midnight Bell, novelist Patrick Hamilton, working with composer Terry Davies and the universal truths of loneliness

Choreographer and director Sir Matthew Bourne. Picture: Hugo Glendinning

When did you become aware of the work of Patrick Hamilton?

“His most famous works, and the ones that kept him financially secure throughout his life, were actually two very successful plays, Rope (1929) and Gaslight (1938), and it was through the film versions of these plays that I first became aware of Hamilton as a writer.

“In fact I toyed with the idea of staging Rope as a play some years ago, having seen the famous Hitchcock movie. The novels came later for me and they represent a very different world to the plays.

“I think Hamilton was consciously trying to write something with popular appeal for his theatre work and he succeeded in creating two of the most commercially successful melodramas of their day.

“However, the novels tell a different story, born out of mostly bitter personal experience and failed relationships. Painfully honest, but also beautifully observed and even finding humour in these mesmerising tales of lonely lives looking for love.”

What aspects of his novels appealed to you as a storyteller?

“I think initially I just fell in love with these characters and the truthful way that Hamilton gets to the heart of them. Hamilton’s world could be seen as the flip-side of his close contemporary, Noel Coward, whose witty and glamorous world of cocktails and high society was the epitome 1930s’ fashion and imagery.

“Hamilton, on the other hand, wrote about the working man (and woman), born out of years of observation and social interaction at his favourite location – the rather unglamorous London pub. The characters are therefore very relatable and their ‘voices’ ring true.

“For many years, I have held the belief that dance can tackle, in depth, unconventional and complex relationships, rather than the standard boy/girl romances that dance often favours, and these characters and stories require us to ‘dig deep’ and find a non-verbal language to do them justice.

“You can learn so much about 1930s’ attitudes to sex and relationships through Hamilton’s novels and I must admit that much of it was revelatory and unexpected.

“Hamilton has been called ‘a connoisseur of alcoholic behaviour’ and this aspect appeals greatly to me as a non-verbal storyteller as it suggests ‘altered states’ and even ‘gin-soaked’ fantasies that are particularly useful when exploring the inner life of a character.

The poster artwork for the New Adventures tour of Matthew Bourne’s The Midnight Bell

“The Midnight Bell is the name of one of Hamilton’s early novels that went to make up the trilogy entitled Twenty Thousand Streets Under The Sky. However, rather than a straightforward adaptation, this is a devised piece inspired by the world in which Hamilton’s various novels take place.”

How did you go about this creative process?

“I made a devised piece in 2001 called Play Without Words, which looked at various British movie classics of the 1960s, such as The Servant and Look Back In Anger amongst many others. From this I created a kind of ‘mash-up’ of stories and characters from different movies that dealt with changing attitudes to class and culture of that time.

“I think that I was looking for another fascinating era to apply this very free approach to when I hit on the idea of exploring the very particular world of Patrick Hamilton in the 1930s.

“The main novels that we have explored in the piece are Twenty Thousand Streets Under The Sky (1929-1934), Hangover Square (1941), The Slaves Of Solitude (1947) and the Gorse Trilogy (1952-1955), taking characters and situations from all the novels and sometimes even suggesting relationships with characters from different novels!

“So, as you will see, we weave six interconnecting stories or relationships throughout the piece, without telling the full story of each novel, but rather creating a kind of ‘essence’ of Hamilton’s world. The only thing that they all do have in common is that they are all regulars or employees of The Midnight Bell pub that gives our show its title.

“As I said earlier, much of Hamilton’s work was deeply personal and became the source from which he created his finest and most individual work, so it was with some trepidation that I have taken the liberty to include a touching gay story amongst our Soho tales.

“The homosexual ‘underworld’ was not as hidden as you might expect at this time, despite regular police raids of known gay haunts. There is much evidence that gay pick-ups and cruising, through a complex series of coded signs and signals, would be a regular occurrence at the very pubs that Hamilton regularly frequented in Fitzrovia.

“Indeed, I also unearthed some research in letters that Hamilton wrote in later life that suggested a very liberal and, for the time, uncharacteristically open attitude towards homosexuality.”

How did you collaborate with Terry Davies on the original musical score for The Midnight Bell?

“It’s always exciting to be able to commission a score from Terry,  who has written such varied scores for New Adventures in the past such as Lord Of The Flies, Dorian Gray and his memorable jazz-inspired score for Play Without Words.

A scene from the 2021 tour of Matthew Bourne’s The Midnight Bell that visited York Theatre Royal. Picture: Johan Persson

“Finding a musical language for a new work is always challenging to begin with and the relationship with a composer is so important as you need to share as much of your vision for the piece as possible, so that the musical world can properly come from the chosen source material.

“However, the first thing that I said to Terry was that I didn’t want a 1930s’ ‘pastiche’ score. I wanted a contemporary score that reflected the emotion and inner life of the characters, the themes of loneliness, furtive relationships, erotic obsession, drunken oblivion and bittersweet longing.

“Terry also loved the Hamilton books and our work together has been driven by a desire to be true to the atmosphere of the novels and characters.  We have, though, added the odd period ‘surprise’ in our score that reflects the words and music that our characters may have been listening to at that time.”

Alongside Terry Davies, you have also gathered many of your creative team and even some of the original dancers from Play Without Words, your last fully devised piece from 20 years ago. How come?

“New Adventures is a family that sticks together. As a team, we love creating together and The Midnight Bell is set in a period that we have not worked on before. It’s also a very unglamorous, nicotine-stained, fog-bound, slightly seedy world that we are delving into and that is inspiring us all too…

“…Sometimes it’s finding the beauty in a battered old armchair or the golden fractured light coming through the stained glass of a tavern window that creates a memorable image. It’s certainly a gift for Lez Brotherston (set and costumes) and Paule Constable (lighting design) to be able to revel in such a richly atmospheric world that swiftly changes location and mood whilst keeping six different scenarios going!

“This is certainly a totally collaborative project and I was thrilled to have such an incredibly generous and talented cast to create with, including some dancers who have been with me for over 20 years, along with some of our brightest young talent.

“This is a piece where they need all their skills as non-verbal storytellers and where the acting is as important as their formidable movement skills.”

Hamilton’s novels were written primarily in the first half of the last century and you have set your piece in the early 1930s. What does The Midnight Bell have to say to the audiences of today?

“One of the reasons that many New Adventures productions can be revived again and again is that they deal in universal and timeless truths. Of course, there is a place for work that directly addresses very contemporary concerns and issues but this work does inevitably date much more quickly.

“I prefer to make work that finds its relevance through the making of the piece and the people who make it; work that can resonate in a different way many years after its premiere. It’s why our Swan Lake is always relevant with its story of a young man looking for love; that story never dates. It’s why our Romeo And Juliet will always be relatable to an audience who remember what it was like to fall in love for the first time.

“I originally created this piece as we were slowly emerging from the pandemic, which saw many of us isolated from loved ones and missing that social contact that we so thrive on. Four years on, we continue to deal with some of those universal truths of loneliness and the need to connect … it seems like a trip to the Midnight Bell could be the perfect way to spend an evening?”

* IN Conversation With Matthew Bourne will follow the 7.30pm performance on June 6, facilitated by York Theatre Royal chief executive Paul Crewes, with BSL Interpreted and Audio Described services provided.

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More Things To Do in York and beyond as ideas burst out of festival to make waves. Hutch’s List No. 24 from The Press, York

York Festival of Ideas: More than 200 events

FESTIVALS full of ideas and comedy lead off Charles Hutchinson’s recommendations for cultural sustenance and enlightening entertainment.

Festival of the week: York Festival of Ideas, today to June 13

YORK Festival of Ideas 2025 explores the theme of Making Waves in more than 200 mostly free in-person and online events designed to educate, entertain and inspire. 

Led by the University of York, the festival features world-class speakers, performances, exhibitions, tours, family-friendly activities and much more. Topics range from archaeology to art, history to health and politics to psychology. Browse the programme at yorkfestivalofideas.com.

Pocklington Comedy Festival: The headline show will be hosted by Kiri Pritchard-McLean, centre, tonight

Comedy event of the week:  Pocklington Comedy Festival, Pocklington Arts Centre, today, from 12 noon

KIRI Pritchard-McLean hosts tonight’s 8pm bill of Chris Cantrill, Joe Kent-Walters as alter ego Frankie Monroe, eccentric owner of The Misty Moon working men’s club in Rotherham, Seeta Wrightson, from Bradford,  and Lee Kyle.

Earlier today, in the studio, look out for work-in-progress Edinburgh Fringe previews of Seeta Wrightson’s It’ll Be Allrightson On The Night (12 noon); Chris Cantrill’s On Your Marks (1.30pm); Frankie Monroe’s Dead Good (3pm) and Newcastle’s Louise Young (4.30pm).

This afternoon’s Family Comedy Show, introduced by Lee Kyle, features the comically chaotic antics of York magician Just Josh (aka Josh Benson) and mischievous Hull duo Jeddy Bear & Gary. Box office: pocklingtonartscentre.co.uk.

Kaiser Chiefs: Chief attraction at Temple Newsam, Leeds, today. Picture: Cal McIntyre

Yorkshire gig of the week: Kaiser Chiefs, Temple Newsam, Leeds, today, gates open at 1pm

LEEDS indie rock titans Kaiser Chiefs mark the 20th anniversary of March 2005 debut album Employment with a homecoming celebration. Employed on the bill too are: Ellur, 1.50pm; Hotwax, 2.45pm; We Are Scientists, 3.40pm; The Coral, 4.50pm; The Cribs, 6.05pm, and Razorlight, 7.20pm.

Kaiser Chiefs will be on stage from 8.50pm to 10.30pm with a special guest appearance by the Championship trophy won by Leeds United on May 4. Tickets update: still available at gigandtours.com; ticketmaster.co.uk or livenation.co.uk.

Rachel Croft: Heading back to York to play The Crescent. Picture: Michelle Fredericks

Welcome back: Rachel Croft, The Crescent, York, tonight, doors 7.30pm

AFTER re-locating from York to London, singer-songwriter Rachel Croft returns north to promote her vinyl EP A Mind Made Of Sky as part of a summer series of tempestuous shows across the UK. Expect drama, energy and thunderous alt-rock songs from Rachel “as you’ve never seen her before”. Stereo Cupid and Flat Number Two support. Box office: thecrescentyork.com.

Strictly between us: Dance couple Aljaž Škorjanec and Janette Manrara promise A Night To Remember at York Barbican

Strictly show of the week: Aljaž And Janette: A Night To Remember, York Barbican, Sunday, 7.30pm  

STRICTLY Come Dancing husband-and-wife duo Aljaž Škorjanec and Janette Manrara team up in their new show with their live big band, fronted by boogie-woogie maestro Tom Seals and an ensemble cast of dancers and singers.

Strictly regular Aljaž and It Takes Two and Morning Live host Janette take to the York Barbican dancefloor to perform routines to music from the Great American songbook to modern-day classics. Box office: yorkbarbican.co.uk.

Stephen Smith in One Man Poe. Picture: Cat Humphries

Edinburgh Fringe 2024 Best Horror Solo Show winner: One Man Poe, Theatre@41, Monkgate, York, Sunday, 6pm

USING Edgar Allan Poe’s original text from the 1840s, actor-director Stephen Smith brings to life the most terrifying examples of the gothic genre from the pioneering Godfather of Gothic Horror.

In Act One, The Tell-Tale Heart, a madman strives to convince you of his sanity, while explaining the meticulous details of a murder he committed. Then, in The Pit And The Pendulum, a prisoner seeks to escape the various torture devices of the Spanish Inquisition.

In Act Two, arguably Poe’s darkest tale and definitely not one for the faint hearted, The Black Cat, documents an alcoholic’s last confession on the eve of his death. Last comes the poem that made Poe famous: The Raven. In the midnight hour, as an elderly man laments the loss of his love, an ominous visitor is heard tapping on his chamber door. Box office: tickets.41monkgate.co.uk.

New Adventures in the 2025 tour of Matthew Bourne’s The Midnight Bell, on tour at York Theatre Royal next week. Picture: Johan Persson

Dance return of the week: New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, June 4 to 7, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

IN 1930s’ London, ordinary people emerge from cheap boarding houses nightly to pour out their passions, hopes and dreams in the pubs and fog-bound streets of Soho and Fitzrovia. Step inside The Midnight Bell, a tavern where one particular lonely-hearts club gather to play out their lovelorn affairs of the heart; bitter comedies of longing, frustration, betrayal and redemption. 

Inspired by the work of English novelist Patrick Hamilton, Matthew Bourne’s The Midnight Bell returns to York Theatre Royal, where it first played in October 2021, with a 14-strong cast of New Adventures’ actor-dancers, music by Terry Davies and set and costume design by Lez Brotherston. Box office: 01904 623568 or yorktheatreroyal.co.uk

Steve Tearle: Directing NE Theatre York in Rodgers and Hammerstein’s Carousel

Musical of the week: NE Theatre York in Carousel, Tempest Anderson Hall, Museum Gardens, York, June 5 to 7, 7.30pm plus 2.30pm Saturday matinee

STEVE Tearle directs NE Theatre York in fully staged concert performances of Rodgers and Hammerstein’s Carousel with an 18-piece orchestra conducted by Joe Allen. The cast for this tale of hope, redemption and the power of love will be led by Kit Stroud as Billy Bigelow; Rebecca Jackson as Julie Jordan; Maia Beatrice as Carrie Pepperidge; Finlay Butler as Mr Snow and Perri Ann Barley as Aunt Netty. 

Cue such R&H classics as June Is Burstin’ Out All Over, If I Loved You, When I Marry Mister Snow, Blow High, Blow Low and the iconic Liverpool and Celtic terrace anthem You’ll Never Walk Alone. Box office: ticketsource.co.uk/netheatre-york.

King Creosote’s Kenny Anderson: Serving up a Storm In A Teacup at The Crescent, York

Scottish visitor of the week: Please Please You and Brudenell Presents host King Creosote, The Crescent, York, June 5, 7.30pm

KING Creosote follows up 2024’s springtime tour Any Port In A Storm with his Any Storm In A Teacup travels from April to June this year, again with a mix of modular synths, his back catalogue from 50 studio albums and his November 2023 album I Des, the first King Creosote recording in seven years.

As ever, Scotsman Kenny Anderson’s performance will be marked by his singular voice, allied to roguish, roving, ever-evolving, gorgeous songs in the key of Fife. Box office, for returns only: thecrescentyork.com.

In Focus: International collaboration of the week: Say Owt presents chamæleon,  So Many Ways To Move, Fulford Arms, Fulford Road, York, Sunday, 5.30pm

chamæleon: Collaboration of Palestinian poet Farah Chamma and Brazilian electronic musician Liev at the Fulford Arms on Sunday

SAY Owt, York’s champions of raucous performance poetry and sizzling spoken word, play host for the first time to an Arabic artist and South American musician, Palestinian poet  Farah Chamma and Brazilian electronic soundscape producer Liev, on Sunday.

In their poetic and political collaboration as chamæleon, Chamma and Liev explore the intersection between spoken word and musical texture, diving into the unknown to search for belonging and identity in So Many Wayes To Move.

Since 2014, Say Owt has hosted poets from Sweden, Nigeria, the United States and Canada, now adding Brazil and Palestine to that list. chamæleon have performed in Portugal, Holland, Spain and the United Arab Emirates and this weekend they make their York debut in their only performance in the UK outside London on their 2025 travels.

So Many Ways To Move encapsulates their belief in the power of art not only to reflect the times but also to move with them. “We see art as a force of transformation, a channel for resistance and renewal,” say chamaeleon. “By weaving together sound, text and imagery, we illuminate our shared experiences and struggles.”

Farah Chamma: “Speaking truth to power from festivals to demonstrations”

Farah Chamma’s performances are described as “vital and urgent, speaking truth to power from festivals to demonstrations”. “If ever words could tear down the gates of power, it would be those spoken by Farah. Besides her native Arabic, she also writes and performs in English and French and speaks German, Spanish and Portuguese,” Say Owt states

Chamma holds a master’s degree in Performance and Culture from Goldsmiths, University of London and a BA in Philosophy and Sociology from the Sorbonne in Paris.

Based in Brazil, multi-instrumentalist and electro-organic music producer Liev uses his research to “dive into the intersectionality between machine and human-made sounds”.

Within his body of work, everyday noises and the human voice – mostly in spoken word pieces – are the raw material that ends up mixed with more complex machine and AI-generated sounds, birthing soundscapes and music that delves into the contemporary human experience.

Sunday’s support acts will be Nadira Alom and electro riot grrl act Doberwoman. Box office: https://www.fatsoma.com/e/5b1ew8fs/la/jt04.

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Gary Oldman’s return to York Theatre Royal stage in Krapp’s Last Tape ‘could not have gone better’, says chief exec Paul Crewes

Gary Oldman and chief executive Paul Crewes survey the York Theatre Royal auditorium on the Slow Horses star’s visit in February 2014. Picture: Gisele Schmidt

GARY Oldman’s “coming home” to York Theatre Royal after 45 years for “the completion of a cycle” in directing, designing and starring in Krapp’s Last Tape could not have gone any better.

More than 18,000 tickets sold for the April 14 to May 17 residency; every performance sold out; 700 bookers from overseas; 60 per cent of the audience attending a Theatre Royal show for the first time; Policeman Sting, Slow Horses co-star Freddie Fox and clothes designer Paul Smith among the Gary Oldmania throng.

Hundreds of minutes spent signing autographs and posing for photos  post-show by the Stage Door after every show bar the matinees; 100 bananas munched on stage, Gary’s chomping progress charted on a banana counter on a dressing-room mirror.

Then add screen star Gary being photographed with Theatre Royal staff in the auditorium on the last Friday; Gary leading a session with York Theatre Royal Youth Theatre members the day before; Gary writing farewell cards to staff; Gary enjoying his visits to Bettys, The Ivy and the Minster Gate Bookshop.

“Gary told me that it was one of the highlights of his career,” says delighted Theatre Royal chief executive Paul Crewes, whose first meeting with Oldman 14 months earlier set in motion Oldman’s first stage appearance since Caryl Churchill’s Serious Money  at the Royal Court Theatre, London,  in 1987.

Gary Oldman in Samuel Beckett’s melancholic monodrama Krapp’s Last Tape on his return to the York Theatre Royal stage after 45 years: a case of two men in their 60s and their memories. Picture: Gisele Schmidt

“They [Gary and his wife Gisele Schmidt] had a wonderful time here and were a joy to have in the building. They loved being in the theatre, they loved being in the city, and we knew we weren’t just selling a name but a very high standard piece of theatre.  ”

Oldman’s career had begun in 1979 in his debut professional season in the Theatre Royal repertory ranks, culminating in  his pantomime appearance as the Cat in Dick Whittington And His Wonderful Cat. He contests dame Berwick Kaler’s recollection that the Cat fainted three times, by the way. “Not true,” he told Crewes.

“It all started with me taking Gary up to the roof when we did a tour of the building in February 2014. That triggered his thought that he should do a show here, and then it took months and months to feed it to fruition, growing from the seed of an idea to what you saw on stage,” says Paul.

Now that the posters, the security team, the Krapp’s Last Tape T-shirts, have gone, Paul reflects: “It was great to work with him over that time – and it was good for the theatre to get people locally, nationally and internationally to come to the Theatre Royal. That can only benefit our profile within the industry, with actors, as we’re not just thinking about projects now, but projects in 2026 and 2027. The more profile we get, the more opportunities will come with that.

The poster artwork for York Theatre Royal’s production of Krapp’s Last Tape starring returnee Gary Oldman

“We also had national coverage of Emma Rice’s company, Wise Children, opening the world premiere of her adaptation of Alfred Hitchcock’s North By Northwest here earlier this year.

“Both Gary and Emma’s teams left here extremely happy with the organisation and the staff, and that’s one of the things we’re most proud of.”

One key decision was to put the quality of audience experience before maximum commercial gain. “We didn’t sell the gallery seating, because we felt that 570 seats was the right amount artistically,” reveals Paul.

“A commercial producer would have sold all the seats, but Gary and I made the decision to forego the gallery so that people could see him on stage as close as they could.”

Gary Oldman in the stalls on his exploratory visit to the York Theatre Royal in 2024. Picture: Gisele Schmidt

Krapp’s Last Tape attracted 33 reviews at the last count, from The New York Times to Tatler, but Oldman restricted himself to only one newspaper interview. “Part of that was retaining the mystery of it all, through the play saying why he was here, rather than telling people all about why he was here. He wanted to concentrate on the work, and he took it all very seriously,” says Paul.

That included Oldman working his way through the potassium overload of more bananas than a Grand Slam-chasing tennis player.  “The way Gary talked about it psychologically is that he would go out for a meal and have no puddings, so the bananas were like his dessert,” says Paul.

Just as Oldman was meticulous in his preparation, so was the Theatre Royal. “We spent a lot of time on the planning. Lots of nuances had to be really thought through, and I don’t think it could have gone any better: looking after Gary, looking after the audiences; working out how to bring a global film star to York Theatre Royal,” says Paul. “He enjoyed it, we enjoyed it, everyone enjoyed it – and we had the boost of selling out before opening the run.”

Gary Oldman, front centre, and York Theatre Royal staff gather in the stalls on the last Friday of his Krapp’s Last Tape residency. Picture: Charlie Kirkpatrick

Even then, you could not be sure that a production would be deemed an artistic success. “That’s the joy and the risk of theatre. The interpretation that Gary brought to the play was really well thought through. Locating it in an attic, it was clear where Krapp was and why he was there.

“Normally Samuel Beckett’s play is not so naturalistic. Often it has just a desk and a few items, but here it was an attic, as full of clutter as memories. Edward Beckett, Beckett’s nephew, came to see it in the first week or two and was very positive – and he’s seen a lot of them!”

As for the future, Paul says: “For me, it’s only ever about ambition, and you’re never going to be successful with all the shows you do, but you have to be ambitious in what you want to present.

“We have to make theatre as exciting as we can. Having Gary here was like winning the lottery, but what we have to do is keep the momentum going. Everything we do has to have the same energy and enthusiasm. We want all the work we are producing to be of a standard that’s recognised nationally and potentially internationally too.”

What happened when Gary Oldman met York Theatre Royal Youth Theatre

Gary Oldman meets members of York Theatre Royal Youth Theatre on May 15. Picture: Millie Stephens

ASPIRING actors from York Theatre Royal Youth Theatre enjoyed a special visit from Gary Oldman in the last week of his Krapp’s Last Tape residency.

The young performers, aged 11 to 18, had a once-in-a-lifetime opportunity on May 15 to meet the Academy Award-winning actor, hear him discuss his acting experiences and ask him questions about his career.

Oldman started his professional career at York Theatre Royal in 1979 and returned 45 years later to support British regional theatre by performing in Samuel  Beckett’s monodrama from April 14 to May 17.

When reflecting on his decision to go back to York Theatre Royal, Oldman said: “Without a local theatre, young people will never get the chance to see theatre. And we need young people if theatre is to thrive.

Gary Oldman at his session with York Theatre Royal Youth Theatre. Picture: Millie Stephens

“I hope this production of Krapp’s Last Tape whets the appetite, giving those new to the theatre a completely revelatory experience. And who knows? It may encourage them to visit the theatre again. And again. They may even invite a friend. And hopefully a devoted theatregoer or two will emerge.”

Sophie Jade Howell, head of York Theatre Royal Youth Theatre, said: “Meeting Gary Oldman was such a wonderful opportunity for the young people in our youth theatre. They were absolutely delighted to have this chance to hear such interesting insights and behind- the-scenes stories from an iconic actor who has so much experience. Everyone had such a brilliant afternoon and left feeling so inspired.”

York Theatre Royal Youth Theatre offers opportunities for young performers aged five to 19 to take part in fun weekly drama sessions. Aiming to improve confidence and develop performance and team-building skills, the sessions are run both at York Theatre Royal and venues around the city.

The summer term is running now. Autumn details will be announced on York Theatre Royal’s social media channels and newsletter over the coming months. Find out more information at: https://www.yorktheatreroyal.co.uk/be-part-of-it/children-and-young-people/youth-theatre/.

Gary Oldman giving advice at his meeting with York Theatre Royal Youth Theatre members. Picture: Millie Stephens

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What’s on in Ryedale, York and beyond. Hutch’s List No. 21, from Gazette & Herald

Simon Withyman’s photograph of an urban fox from the British Wildlife Photography Awards exhibition at Nunnington Hall. Picture copyright: British Wildlife Photography Awards/Simon Withyman

GO wild in the country, have  fun at the fete or make a date with dramatic dancing, recommends Charles Hutchinson.  

Exhibition of the week: British Wildlife Photography Awards, Nunnington Hall, Nunnington, on show until July 13

THE British Wildlife Photography Awards exhibition celebrates the diversity of British wildlife and wild spaces through a collection of inspirational photographs and films, while raising awareness of British biodiversity, species and habitats. Normal admission prices apply, with free entry to National Trust members and under fives. Tickets: nationaltrust.org.uk/visit/yorkshire/nunnington-hall.

Mick Liversidge, left, and Chris Pomfrett in a scene from York Actors Collective’s York premiere of Tiger Country

Hospital drama of the week: York Actors Collective in Tiger Country, Theatre@41, Monkgate, York, 7.30pm, tonight to Friday; 2.30pm and 6pm, Saturday

NINA Raine’s doctors-and-nurses drama, last performed at Hampstead Theatre, London, in 2014, is revived by Angie Millard’s company York Actors Collective.

This fast-paced play considers doctors’ dilemmas as a range of clinical and ethical issues come under the spotlight in a busy hospital. Professionalism and prejudice, turbulent staff romances, ambition and failure collide as Raine depicts an overburdened health service and the dedicated individuals that keep it going. Box office: tickets.41monkgate.co.uk.

May half-term event of the week: Fun At The Fete, Nunnington Hall, Nunnington, until Sunday, 10.30am to 5pm daily; last admission 4pm

BE transported to the fun of a village fete with themed games throughout the gardens. Families can compete against each other in hoopla, tin can alley, stilt walking and more besides.

For children who prefer a more relaxed day out, a creative hub is set up in the cutting garden for drawing and painting, while inside the house they can  create their own mini-maypole wand to take home. Normal admission applies, with free entry for National Trust members and under fives. Tickets: nationaltrust.org.uk/visit/yorkshire/nunnington-hall.

Nick Mohammed’s alter-ego, Mr Swallow, in Show Pony, cantering into the Grand Opera House next week and in the autumn. Picture: Matt Crockett

Comedy gig of the week: Nick Mohammed Is Mr Swallow in Show Pony, Grand Opera House, York, tonight and October 23, 7.30pm

COMEDIAN, writer, Ted Lasso regular and Taskmaster loser Nick Mohammed transforms into his alter-ego, Mr Swallow, in Show Pony, a new show that will “cover everything from not having his own sitcom to not having his own sitcom… and everything in between (critical race theory). As per – expect magic, music and a whole load of brand-new mistakes”.  Box office:  atgtickets.com/york.

Jenny Don’t And The Spurs: Country meets garage at Pocklington Arts Centre. Picture: Chris Hogge

Country cowpunk gig of the week: Jenny Don’t And The Spurs, Pocklington Arts Centre, tonight, 8pm

AFTER playing Norway, Sweden, Finland and Denmark, the Portland, Oregon garage, country, honky-tonk and rock’n’roll band Jenny Don’t And The Spurs bring their European tour to Pocklington for one of only four English shows, kitted out as ever with rhinestones on their custom outfits, handcrafted by Jenny herself.

As heard on June 2024 album Broken Hearted Blue, her songwriting is influenced by the contrasting landscapes of the Pacific Northwest and Southwestern desert, with her band of drummer Buddy Weeks bass player Kelly Halliburton and lead guitarist Christopher March merging their garage-rock origins with country driving tempos, gritty fuzz tones and outlaw attitude. London-based Californian country singer Savannah Gardner supports. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

Sir Tim Rice: Mulling over a life in musicals at the Grand Opera House, York

Musical knight of the week: Sir Tim Rice, My Life In Musicals – I Know Him So Well, Grand Opera House, York, tomorrow, 7.30pm

LYRICIST supreme Sir Tim Rice reflects on his illustrious career at the heart of musical theatre, sharing anecdotes behind the songs, both the hits and the misses, complemented by stories of his life and live performances by leading West End singers and musicians, led by musical director Duncan Waugh. Box office: atgtickets.com/york.

Freida Nipples: Baps And Buns Burlesque at Bluebird Bakery in Acomb

Cabaret night of the week: Freida Nipples presents Baps And Buns Burlesque, Rise@Bluebird Bakery, Acomb Road, Acomb, York, Friday, 7pm to 11pm

YORK’S queen of burlesque, Freida Nipples, returns to Rise with her latest selection of sensational cabaret artists, from drag queens to acrobats. Prompt booking is advised as her Baps And Burlesque shows have a habit of selling out, in keeping with her burlesque nights at York Theatre Royal Studio, The Basement at City Screen and Impossible York.

“Prepare yourselves for an evening of debauchery and glamour in Acomb,” says Freida. “The big question is: are you ready for it?!” Box office: bluebirdbakery.co.uk/rise.

New Adventures in the 2021 production of Matthew Bourne’s The Midnight Bell, returning to York Theatre Royal next week. Picture: Johan Persson

Dance return of the week: New Adventures in Matthew Bourne’s The Midnight Bell, York Theatre Royal, June 4 to 7, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

IN 1930s’ London, ordinary people emerge from cheap boarding houses nightly to pour out their passions, hopes and dreams in the pubs and fog-bound streets of Soho and Fitzrovia. Step inside The Midnight Bell, a tavern where one particular lonely-hearts club gather to play out their lovelorn affairs of the heart; bitter comedies of longing, frustration, betrayal and redemption. 

Inspired by the work of English novelist Patrick Hamilton, Matthew Bourne’s The Midnight Bell returns to York Theatre Royal, where it first played in October 2021, with a 14-strong cast of New Adventures’ actor-dancers, alongside the Olivier and Tony award-winning team of Terry Davies (music), Lez Brotherston (set and costume design), Paule Constable (lighting design) and Paul Groothuis (sound design). Box office: 01904 623568 or yorktheatreroyal.co.uk

Strictly between us: Aljaž Škorjanec and Janette Manrara look forward to A Night To Remember at York Barbican

Strictly show of the week: Aljaž And Janette: A Night To Remember, York Barbican, Sunday, 7.30pm  

STRICTLY Come Dancing husband-and-wife duo Aljaž Škorjanec and Janette Manrara team up in their new show with their live big band, fronted by boogie-woogie maestro Tom Seals and an ensemble cast of dancers and singers.

Strictly regular Aljaž and It Takes Two and Morning Live host Janette take to the York Barbican dancefloor to perform routines to music from the Great American songbook right up to modern-day classics. Box office: yorkbarbican.co.uk.

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TakeOver 2025 celebrates disco as York St John University arts students stage festival at York Theatre Royal for five days

Northern Rascals in Sunny Side at York Theatre Royal on Thursday. Picture: Ellywel Photography

FINAL year students from York St John University are taking over York Theatre Royal for five days of creative activities for the whole family with the theme of disco.

As part of TakeOver 2025, students of musical theatre, drama and acting are creating performances within their theatre company, with each show varying so that every day is a different experience. Professional theatre companies are welcomed to the Theatre Royal too.

The disco theme will revel in vibrant colours and funky beats in a celebration of music, movement and talented performers. Audience members will be encouraged to join in on these dazzling disco events by bringing out the sequins and platform shoes.

This is the third year that York St John University has collaborated with York Theatre Royal on the TakeOver festival.

What’s in store on the disco floor?

TODAY

Goldilocks And The Three Bears Workshop: A drama-filled adventure, De Grey House, 2pm to 3.30pm

IN a session inspired by Goldilocks And The Three Bears, this workshop is suitable for five to 11-year-old children, whether they have done a drama workshop or not, and will explore movement and vocalisation to help develop the skills of a performer. Using storytelling and games as a tool for creativity, the children will gain valuable experience in performance-making.

Opening ceremony, York Theatre Royal foyer and patio, 6pm to 8pm

WELCOME to Takeover 2025 with ribbon cutting and music.

Battle Of The Bands, York Theatre Royal Studio, 8.30pm to 10.30pm

EPIC showdown between bands as they battle for victory and the title of TakeOver’s 2025 champions.

WEDNESDAY

Fulford School Show, York Theatre Royal Studio, 10.30am

OVER  the past few weeks, Fulford School students have been exploring different musicals, learning harmonies and studying the work of famous musical theatre choreographers to create a small showcase for friends and family.

Joesph Rowntree School Show, York Theatre Royal Studio, 12.30pm

LED by York St John University students Darcy and Emily, Joseph Rowntree Theatre students sing and dance their way through a medley of songs from Matilda The Musical,showcasing their hard work and abilities. “See you here, revolting children,” they say.

Cabaret, York Theatre Royal lower foyer, 1pm to 2.30pm

PREPARE to be entertained as you dance and sing your way into the afternoon.

She Speaks presents Systematic Reflections, York Theatre Royal main house, 7.30pm

SET in a mental health institution, Systematic Reflections follows five women as they decide to try to escape, but can they do so without being caught?

The show discusses themes surrounding anxiety, depression, eating disorders and more mental health topics. Age guidance: 14 plus. Content guidance: Eating disorders, anxiety, depression and mental health.

Popodyssey: A journey to find a home, a father and our place in this mad, complex world, at York Theatre Royal on Saturday. Picture: Ellywel Photography

As You Dislike It , York Theatre Royal main house, 7:30pm

INSPIRED by Shakespeare’s comedy As You Like It, As You Dislike It explores the values of feminism and relationships through the use of humour and absurdity. Age guidance: 16 plus. Content guidance: Mild graphic language and mild sexual language.

Call Of The Ram presents Totally Royally F*****, York Theatre Royal main house, 7.30pm

WHEN a man of a meagre disposition finds himself down on his luck and in need of a break, outside forces push him to reconcile with his siblings in the hope he can somehow put his life back on track. This musical comedy extravaganza will “leave you feeling totally, royally, satisfied”. Age guidance: 18 plus. Content guidance: Strong language and sexual references.

Matt Price presents Raging Bill, York Theatre Royal Studio, 8pm

STAND-UP comedian Matt Price spent 18 months training to win a trophy to honour the memory of his grandad, Raging Bill Price, after he found boxing trophies in his attic.

The show is not about boxing – there is a lot more to it than that – but you will want to know what happens next. Most amateur fighters have their first fight within a few months, whereas it took Matt a year and a half before he was “ready.”

How and why does a painfully shy 21-year-old man go to a boxing gym and spend so long pursuing a sport for which he has zero talent? Why does he hate Humpty Dumpty but love karaoke?

Raging Bill is a humorous show about getting back up when life has hit you hard. Years later, having been through some ups and downs, Price learns something about himself that you will not forget. “But you will love it,” he promises.

THURSDAY

Play In A Day, York Theatre Royal Billiard Room, 10am to 1pm, free entry

ONE-DAY workshop, offering the chance to learn new skills and make a play in a day.

Free Origami Workshop, York Theatre Royal foyer, 2pm to 3.30pm, free entry, age five plus

ARE you interested in origami-style crafts? Whether you are an origami enthusiast or a complete beginner, everyone is welcome. Join this free session where the workshop hosts will run through some basic designs with step-by-step guidance. Bring your friends too to enjoy a stress-free afternoon and learn a new skill at the same time.

Northern Rascals in Sunny Side, York Theatre Royal main house, 7pm

K is struggling, at 18, living in a world where everyone but himself is rushing full steam ahead. Instead, he is trapped in a small English Everytown; a self-proclaimed “rain-soaked paradise” in the bottom of a Yorkshire valley. A town of two sides: old versus new, indigenous versus gentrified. Still nowhere fits K.

In a last attempt to understand and reconnect, he revisits the pivotal moments of his life but is left paralysed at the prospect of a future in which his voice cannot be heard.

“Where do young men stand in a world that seems to have no place for them,” asks Sunny Side, a raw and powerful portrayal of the modern young male experience, touring in partnership with Andy’s Man Club and informed by the voices of more than 750 young people across the UK.

Combining contemporary dance, theatre and spoken word, this socially urgent work from Northern Rascals explores the pain and loneliness that shape the journey from adolescence to adulthood.

Age guidance: 14 plus. Content guidance: Sunny Side explores sensitive and potentially distressing topics related to mental health, loneliness and societal pressures faced by young people. Haze and flashing light are used.

Clownpocalypse: Tragic, horrifying tale of 4½ clowns trying to stay alive in the zombie apocalypse at York Theatre Royal on Thursday

[insert company name here] presents Clownpocalypse, York Theatre Royal Studio, 7:30pm

RUN.  AHHHH!!!! This is not a show. This is the true, tragic, horrifying tale of 4½ clowns trying to stay alive in the zombie apocalypse with their new (suspiciously green and hungry) friend. 

It just so happens that the only safe place left is the York Theatre Royal Studio…oh no, guess you have to buy a ticket now. Age guidance: 14 plus. Content guidance: Clowns, loud noises, balloons.

Club For Hero’s presents The Face, York Theatre Royal Studio, 7.30pm

COME inside club Elysium! Experience things you never have before through fashion, music, dance and personalities of the club staff and regulars. Follow as stars rise from the darkest depths and see the people that make it happen! The beautifully unconventional are celebrated here. Could Elysium be your paradise? Age guidance: 16 plus. Content guidance: Homophobic language, violence, swearing and mild sexual references.

Daisy Chain presents Under My Skin, York Theatre Royal Studio, 7.30pm

THIS evocative theatre show intertwines Daisy Chain’s original artwork with powerful spoken word and poetry to explore the multifaceted themes of beauty, womanhood and friendship.

Delving deep into what lies beneath the surface, Under My Skin examines the experiences that shape our identities and emotions.

“Together with the audience, we will gaze at the beauty that surrounds us, questioning the routines we adopt to enhance our appearances and the societal influences that drive these choices,” say Daisy Chain cast members Amy Sparke, Sophie Budd, Catherine Dale and Gemma Gudgeon.

This immersive experience invites you to reflect on your own perceptions of beauty and the intricate tapestry of thoughts and feelings that connect us all.

Age guidance: 14 plus. Content guidance: Discussions of womanhood, touching on themes related to body dysmorphia, self-image and anxiety that may be triggering for some audience members.

FRIDAY

 A Tale of Us, York Theatre Royal Studio, from 10am, 12 noon and 3pm

A CELEBRATION of the wonders, joys and challenges of becoming a new parent, blending drama and multi-sensory playtime in a relaxed environment. The experience includes a guided stay-and-play session.

Seven presents Void, York Theatre Royal main house, 7.30pm 

WHAT remains when memory fades?  Where does the part of ourselves that has been lost go? What is to become of the body we once lived in? Seven answers these questions in Void. Age guidance: 11 plus. Content guidance: Contains the theme of memory loss, which may be upsetting.

Symfoney presents Off Script, York Theatre Royal main house, 7.30pm

MUSICAL theatre comedy Off Script focuses on the students of Ivison Performing Arts Academy, their teacher, Miss Kelly, and their final show, exploring  their complex relationships with one another, as well as exploiting the flaws of the performing arts industry as a whole. Age guidance: 14 plus. Content guidance: Strong language and adult topics.

The poster for TakeOver 2025 at York Theatre Royal

Ariel Hebditch in Skeleton Out Of The Closet, York Theatre Royal Studio, 8pm

AFTER winning the Women in Comedy Festival’s Best Newcomer Award 2024, Ariel Hebditch is back, reeling from her disappointing job interview with Death. This time, your resident asexual goth takes you through her own personal haunted house.

From werewolves to vampires to the devil herself, Ariel brings you a night of queer joy and the decidedly more-hard-to-come-by gothic joy as your ‘humerus’ entertainer promises you the time of your death.

Stage Fright, York Theatre Royal lower foyer, 9pm, free entry

STEP into the shadows for a chilling, interactive ghost hunt where nothing is what it seems. Guided by paranormal investigators, you will explore a haunted theatre filled with secrets ready to be exposed and scare actors waiting to blur the lines between reality and nightmare. Are you brave enough to face what is lurking backstage?

SATURDAY

Mud Pie Arts presents Beetles and Bees Tales, York Theatre Royal Studio, 11am

WHOSE side will you take when Cora, the crafty cuckoo bumblebee, sneaks her way into Queen Red-tail’s nest? Will you dare to stand up to the Brutus, the invading bark beetle, as he devours every forest in his way? Find out with Mud Pie Arts.

“Together, we will act out these bold tales of bombastic beasties!” says spinner of yarns Jenna Drury. “May half-term is the perfect time to go bug hunting, so come along to learn more. Expect all-join-in storytelling, riddles, games and post-show doodling on an epic scale.”

Jazz Dance Workshop, Billiard Room, York Theatre Royal, 3pm to 4.30pm

THIS beginner’s jazz dance class, Feeling Good, is for anyone aged 30 years and above. The class will entail a warm-up to boost the energy, followed by some basic Jazz technique in smaller groups, travelling from the corner, ending with a short jazz dance to Nina Simone’s Feeling Good.

SEND Disco Youth Session 11-17, York Theatre Royal Studio, 5.30pm to 6.30pm

GROOVE out your best moves at this electrifying disco: a dazzling evening filled with funky beats, vibrant lights and non-stop dancing. Whether you are a disco diva or boogie master, this is the place to let loose and shine.

Put on your best disco attire and prepare for unforgettable fun with friends. Focused on inclusivity and fun, this will be a memorable experience for everyone.

SEND Disco Adult Session 17+, York Theatre Royal Studio, 7pm to 8.30pm

See details above.

Popodyssey, York Theatre Royal main house, 7:30pm

LOVE Island, an inflatable Trojan horse and a thirst trap bot dressed up like a nymph: welcome to this epic storytelling show where ancient Greece collides with modern pop culture in a high-energy reworking of Homer’s Odyssey, told through text and movement.

Popodyssey is a journey to find a home, a father and our place in this mad, complex world of fake lips, telling fake news in deep fake utopias. Age guidance: 14 plus. Content warning: Infrequent swearing; discussion of war and violence; mild/subtle reference to sex, alcohol and drug use.

For more information on the 2025 TakeOver festival, visit: https://www.yorktheatreroyal.co.uk/be-part-of-it/children-and-young-people/takeover/. Box office: 01904 623568 or yorktheatreroyal.co.uk.

What remains when memory fades? Find out in Seven’s show Void at TakeOver 2025 on Friday

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How Miles Salter turned Love Bites rejection into debut play One Step Beyond, a story of marriage, midlife and Madness

Ready to go One Step Beyond: left to right, Liz Quinlan, Chris Meadley, Stuart Green, director Jon Mills, Jess Murray and Pamela Gourlay

YORK poet, songwriter, journalist, podcaster and festival director Miles Salter is adding playwriting to his cultural tool bag.

His debut short play, One Step Beyond, will be staged by York Settlement Community Players in a sold-out run at the Black Swan Inn, Peasholme Green, York, from tonight (26/05/2025) to Wednesday.

“It started life as a short monologue several years ago. It’s a bit Nick Hornby meets John Godber. I like the humour in it. All men are a bit nerdy about something. I enjoyed writing it. I think it’s good fun,” says Miles in a aptly short summation. 

One Step Beyond is being directed by Harrogate filmmaker, scriptwriter, prop and set designer and promo video producer Jon Mills in his directorial debut under YSCP’s nurturing project The Direct Approach.

Meet Steve and Kerry: married for a long time, but Steve’s vinyl collection, Madness to the max,  may tear them apart. Luckily they have a counsellor…and Steve’s friend Boring Ryan on hand to help them out. It must be love, love, love.

Steve (played by Stuart Green) is “a man in his 40s or 50s, depending on how many pints he’s had. Content and uncomplicated,” says Miles. “Kerry (Pamela Gourlay) is a woman in her 40s or 50s, depending on how much sleep she’s had. Pin-sharp and unfulfilled.

“Boring Ryan (Chris Meadley), Steve’s friend, is that mate we all have but we’re not sure why. Counsellor Marcia(Liz Quinlan) is a professional listener who can still – just – see the bright side.

“Our fifth character, Jen (Jess Murray), runs a ceramics class. She exudes warmth and calm, like a Zen hot-water bottle.”

Seeds were seen for One Step Beyond in 2021 when invited Miles was among more than 200 York artists who applied for £1,000 love letter commissions to be staged at York Theatre Royal in Love Bites on May 17 – the first day theatres could reopen after lockdown restrictions were first lifted  – and May 18 in a celebration of the creative talent across the city.

“I wrote a ten-minute piece, originally called It Must Be Love, about a bloke talking about his midlife crisis, his wife and his love of Madness, ” he recalls. “Juliet [Theatre Royal creative director Juliet Forster] said ‘close, but no cigar’.”

Hey you! Don’t watch that, watch this! It’s the heavy-heavy-monster sound of a brand new play, Miles Salter’s One Step Beyond

Rejection did not deter him. “Last year I went to one of Settlement’s summer sessions, where I saw a play about two people watching their child in the park and it turns out one is a ghost. Anyway, after that, I started writing It Must Be Love about Steve and Kerry.

“He’s obsessed with Madness; she’s a control freak. Their marriage has lost its spark and energy, and so they go to see a therapist, Marcia, who’s rational and almost like a Greek chorus, connecting the action and saying ‘when are you two going to wake up?’.

“It’s fun, not particularly profound, and it’s very influenced by John Godber’s plays and Nick   Hornby’s writing.

“At first I wondered if I was being a bit unoriginal, but I decided I wasn’t! Everything is influenced by something else, isn’t it. The play has as many laughs as possible in there, and it abides to that thing of not taking yourself too seriously.”

Miles quoutes a  “very good piece of advice” he received. In a nutshell, “Make’em laugh. Make’em cry. Make’em wait.” “Every good writer understands that. When I write, I don’t want it to be too dark or too light. That’s what life is: funny and ridiculous, but also sad and melancholy and beautiful – and that’s what you’ll find in my poetry too.

“Life is a crazy, strange mixture. One moment you’re sad, and then you’ll hear a funny story and you’re laughing your head off. My play reflects that.”

One Step Beyond takes its title from Madness’s 1979 debut album and second hit single, but it also nods to another meaning of that phrase. “One of the things about therapy is that it’s quite a brace thing to do. A lot of people avoid it. Only a relatively small number of men will go to counselling or therapy.

“It occurred to me, that thing of going one step beyond what you think you’re capable of. Be brave, go for it, whereas if we don’t try things, we can get terribly stuck in our little worlds, which is kind of sad. As the therapist says. ‘it’s sad people when people give up, it’s too easy to do that’.”

You could say that writing One Step Beyond was a case of doing exactly that by taking the step beyond after Miles missed out on selection for Love Bites. Once bitten, but not twice shy.

York Settlement Community Players in Miles Salter’s One Step Beyond, Black Swan Inn, Peasholme Green, York, May 26  to 28, 7.30pm. Tickets update: SOLD OUT.

Writer Miles Salter

Miles Salter: the back story

WRITER of poetry, journalism, fiction and songs since 1990, when he first came to York as a student of English Literature and Drama.

His CV includes stints as presenter of The Arts Show on Jorvik Radio and director of York Literature Festival and York Alive festival. Host of York Calling podcast.

Fronts York rock and Americana band  Miles And The Chain Gang.  

Jon Mills: the back story

ORIGINALLYfrom Birmingham. Studied English at University of Leeds before settling in Harrogate.

Background in film-making and scriptwriting. Now rekindled his interest in theatre, creating props and sets for York Settlement Community Players’ productions of Separate Tables and Picasso At The Lapin Agile, along with York Mystery Plays’ A Creation for York and A Nativity for York.

Produced promo videos for YSCP productions. One Step Beyond marks his directorial debut under YSCP’s Direct Approach scheme.

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More Things To Do in York and beyond as laughter returns to waterside landmark. Hutch’s List No. 19, from The York Press

Pease in our time: John Pease tops bill at Patch’s new Funny Fridays comedy forum at the Bonding Warehouse

A NEW comedy night in a bygone location and Shakespeare on a council estate stand out in Charles Hutchinson’s picks for cultural exploration.

Laughter launch of the week: Funny Fridays, Patch, Bonding Warehouse, Terry Avenue, York, May 9, doors 7pm for 7.30pm start

LIVE comedy returns to the Bonding Warehouse for the first time since the days of the late Mike Bennett presenting the likes of Lee Evans and Ross Noble under the Comedy Shack banner. Stand up for Funny Fridays, hosted by York humorist Katie Lingo (alias copywriter Katie Taylor-Thompson) with an introductory price of £6.50.

On her first bill will be Kenny Watt, Tuiya Tembo, BBC New Comedy Awards semi-finalist Matty Oxley, Saeth Wheeler and Edinburgh Fringe Gilded Balloon semi-finalist John Pease. Box office: eventbrite.co.uk/e/funny-fridays-at-patch-tickets.

Sean Heydon: Magical sleight of hand at the Laugh Out Loud Comedy Club tonight

Magical comedy gig of the week: Laugh Out Loud Comedy Club presents Sean Heydon, Big Lou, Oliver Bowler and MC Damion Larkin, The Basement, City Screen Picturehouse, York, tonight, 8pm

LAUGH Out Loud headliner Sean Heydon has performed to A-list celebrities and blue-chip companies, as well as at comedy clubs, with his combination of madcap comedy,  sleight-of-hand magic and illusions for more than 15 years.

Big Lou offers a modern twist on old-school joke telling in the Les Dawson style; comedian, actor and writer Oliver Bowler discusses life experiences on the mean streets of Bolton; regular host and promoter Damion Larkin keeps order. Box office: 01904 612940 or lolcomedyclubs.co.uk.

Anastacia: Playing York Barbican on her Not That Kind 25th anniversary tour

Anniversary tour of the week: Anastacia, Not That Kind Tour, York Barbican, Sunday, 7.45pm

CHICAGO singer-songwriter Anastacia , 56, heads to York on her European tour marking the 25th anniversary of her debut album Not That Kind and its breakthrough hit  I’m Outta Love.

Further singles Not That Kind, Paid My Dues, One Day In Your Life,  Left Outside Alone and Sick And Tired charted too, as did 2001 album Freak Of Nature (reaching number four) and 2004’s chart-topping Anastacia, 2005’s Pieces Of A Dream, 2008’s Heavy Rotation, 2014’s Resurrection and 2015’s Ultimate Collection Her special guest will be Casey McQuillen. Box office: for returns only, yorkbarbican.co.uk.

Newton Faulkner: Unveiling new songs from his upcoming Octopus album at The Crescent, York

“No technological funny business” of the week: Newton Faulkner, Feels Like Home Tour 3, The Crescent, York, Sunday, 7.30pm

LET Reigate singer-songwriter Newton Faulkner describe his York gig: “Folks, I give you the Feels Like Home Tour 3. We’re talking no technological funny business in my set-up. I love switching my focus back to just playing and singing. I also cannot wait to introduce you properly to the new material and my new head.”

Often Faulkner has found himself in his home studio working solo, but not for this next record, nor for this tour. His new phase is full of collaboration, one where “seeing these songs come to life on stage is going to be nothing short of joyous” ahead of the September 19 release of Octopus. Box office: thecrescentyork.com.

Gary Oldman in Krapp’s Last Tape on his return to York Theatre Royal after 45 years. Picture: Gisele Schmidt

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

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

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

York musician Steve Cassidy: Once he worked with John Barry and producer Joe Meek, now he plays with his mates on regular nights at the JoRo

Return of the week: Steve Cassidy Band, Joseph Rowntree Theatre, York, Sunday, 7.30pm

YORK singer, songwriter, guitarist and former head teacher Steve Cassidy will be joined by special guests when he lines up as usual with John Lewis on lead guitar, Mick Hull on bass guitar, ukulele, guitar and vocals, Brian Thomson on percussion and George Hall on keyboards.

Expect rock and country songs, as well as instrumental pieces, selected especially for this evening. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Mark Holgate’s Oberon and Suzy Cooper’s Titania, centre, with Sam Roberts’s Demetrius, left, Amy Domeneghetti’s Helena, Will Parsons’ Lysander and Meg Olssen’s Hermia in York Stage’s A Midsummer Night’s Dream

Reinvented play of the week: York Stage in A Midsummer Night’s Dream, Grand Opera House, York, May 6 to 11, 7.30pm plus 2.30pm Wednesday, Saturday and Sunday matinees

YORK pantomime golden gal Suzy Cooper turns Fairy Queen Titania opposite York-born Royal Shakespeare Company actor Mark Holgate’s Fairy King Oberon in Nik Briggs’s debut Shakespeare production for York Stage.

In his first co-production with the Cumberland Street theatre, Briggs relocates the Bard’s most-performed comedy from the court of Athens to Athens Court, a northern council estate, where magic is fuelled with mayhem and true love’s bumpy path is played out to a new score by musical director Stephen Hackshaw and Nineties and Noughties’ dancefloor fillers, sung by May Tether. Box office: atgtickets.com/york.

Katherine Toy in rehearsals for AKA Theatre’s The Flood, on tour in York, Hull and Leeds. Picture: Cian O’Riain

Premiere of the week: AKA Theatre Company in The Flood: A Musical, Friargate Theatre, York, May 9 and 10, 7.30pm; Godber Studio, Hull Truck Theatre, Hull, May 13, 7pm; Leeds Playhouse Burton Studio, May 14 and 15, 8pm

AKA Theatre Company’s premiere of Lucie Raine and Joe Revell’s musical The Flood blends live music and heartfelt storytelling based on true accounts of facing up to disaster in West Yorkshire in 2015.

 “This is a story about what it means to come together when everything falls apart,” says writer-director Raine, who uses a cast of five actor-musicians. “It’s not just a play. It’s a tribute to resilience and creativity, inspired by Hebden Bridge and its people. It’s a celebration for all communities who have faced adversity and emerged stronger.” Box office: York, ticketsource.co.uk; Hull, hulltruck.co.uk; Leeds, leedsplayhouse.org.uk. 

Scott Bradlee’s Postmodern Jukebox: Putting the retro into today’s hits at York Barbican

Nostalgia for today: Scott Bradlee’s Postmodern Jukebox: Magic & Moonlight Tour 2025, York Barbican, May 7, doors 7pm

AFTER chalking off their 1,000th show, retro collective Postmodern Jukebox are on the British leg of their Moonlight & Magic world tour. Enter a parallel universe where modern-day hits are reimagined in 1920s’ jazz, swing, doo-wop and Motown arrangements. Think The Great Gatsby meets Sinatra At The Sands meets Back To The Future.  Dress vintage for the full effect. Box office: yorkbarbican.co.uk. 

In Focus: York Late Music, Unitarian Chapel, St Saviourgate, York, Stuart O’Hara & Marianna Cortesi, today at 1pm; Trio Agile and Northern School of Contemporary Dance, today at 7.30pm

Stuart O’Hara & Marianna Cortesi

YORK Late Music plays host to two concerts today, the first featuring bass Stuart O’Hara and pianist Marianna Cortesi  this afternoon as Sounds Lyrical presents settings of poets Hugh Bernays, John Gilham, Richard Kitchen and Alan Gillott by composers Thomas J Crawley, Robert Holden, Jenny Jackson, Katie Lang, Dawn Walters and James Else.

The concert comprises: Elizabeth Lutyens’ Refugee Blues (Auden); David Blake’s Morning Sea (CP Cavafy); Dawn Walters’ Pre-dawn (Richard Kitchen); Jenny Jackson’s Collecting Stones (Richard Kitchen); Robert Holden’s Flaneur (John Gilham) and Katie Laing’s Maker (Richard Kitchen).

Then come Thomas J Crawley’s Leather Heart (Hugh Bernays); James Else’s Retras IV (Alan Gillott); Tim Brooks’s Jeer (Lizzie Linklater); David Blake’s Voices (CP Cavafy) and Stephen Dodgson’s Various Australian Bush Ballads, 2nd Series. The programme also includes music by David Blake and Elizabeth Lutyens.

Northern School of Contemporary Dance dancer Antonio Bukhar Ssebuuma: Performing with Trio Agile tonight

TONIGHT’S concert marks a first collaboration between York Late Music and the Northern School of Contemporary Dance in Trio Agile and NSCD’s Freedom Dances programme.

Bringing together the freedoms of dance, music and rhythm, Trio Agile combine their experimental flair and improvisatory talent with four dancers from the Leeds school, Antonio Bukhar Ssebuuma, Darcy Bodle, Genevieve Wright and Maya Donne.

The 7.30pm performance blends a range of styles from across the globe in a shared expression of the power and joy of the arts, including new works from Indian composer and performer Supriya  Nagarajan, Angela Elizabeth Slater, David Lancaster, Steve Crowther, David Power, Athena Corcoran-Tadd and James Else.

Curated by James Else in partnership with the Northern School of Contemporary Dance, the programme comprises: Susie Hodder-Williams & Chris Caldwell, Prelude; Angela Elizabeth Slater,  Weaving Colours; Paul Honey, Une Valse Assez Triste; James Else, Freedom Dances and David Lancaster, The Compendium Of Ingenious Mechanical Devices.

Then follow Susie Hodder-Williams & Chris Caldwell, Pas de Deux; Tom Armstrong, Aunt Maria’s Dancing Master; Paul Honey, Pizzìca; Athena Corcoran-Tadd,  To You; Supriya Nagarajan,  Mohanam Raga; Steve Crowther,  Once Upon A Time Harlequin Met His Columbine; David Power,  Something In Our Skies; Susie Hodder-Williams & Chris Caldwell, Light Dances and Athena Corcoran-Tadd , Hope Is A Boat.

The musicians will be: Susie Hodder-Williams, flutes; Chris Caldwell, saxophone and bass clarinet; Richard Horne, vibraphone and percussion; Supriya Nagarajan, voice, and Paul Honey, piano.  

Chris Caldwell, Susie Hodder-Williams and composer James Else will give a pre-concert talk at 6.45pm with a complimentary glass of wine or juice.

Tickets are on sale at latemusic.org or on the door.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Guitar Legends: Terrific riffs galore at Milton Rooms, Malton

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

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

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

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

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

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

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

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

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

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

Scouting For Girls: Heading for York and Leeds in 2026

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

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

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

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REVIEW:  Charles Hutchinson’s verdict on Gary Oldman in Krapp’s Last Tape, York Theatre Royal, until May 17 🍌🍌🍌🍌

Got it taped: Gary Oldman in Krapp’s Last Tape on his return to the York Theatre Royal stage after 45 years. Picture: Gisele Schmidt

HE last entered the York Theatre Royal stage on all fours in a hot, furry cat suit, mittens and nylon whiskers in Dick Whittington And His Wonderful Cat, the pantomime apogee to his debut repertory season of nine shows after graduating from Rose Bruford College of Speech and Drama.

Forty-five years later, Gary Oldman re-enters with a cough from a stairway into a loft thick with dust, papers, boxes and tapes, woozy head stuffed with memories, locker full of bananas. Happy 69th birthday, Krapp, lothario, writer and recorder of fading memories and failing powers. Time to record that last tape, to consign life to the dustbin, like the discarded banana skins. A life that has turned to, well, krapp.

Oldman, now playing an old man, is full of memories too at 67 as he takes to the stage for the first time since 1989. “York, for me, is the completion of a cycle,” he said on announcing his Theatre Royal return in Samuel Beckett’s one-act monodrama of existential despair last October.

“It is the place ‘where it all began’. York, in a very real sense, for me, is coming home. The combination of York and Krapp’s Last Tape is all the more poignant because it is ‘a play about a man returning to his past of 30 years earlier’.” 

His appearance here comes with all the trappings and razzmatazz accorded to an Academy Award, BAFTA, SAG, BIFA and Golden Globe winner. Security on duty; the New York Times among the critics for the week of press shows; Sting and Trudie Styler making a last-minute entry to Tuesday’s audience; Slough House writer Mick Herron present too.

Polite request: “We kindly ask if you can refrain from applauding upon Gary’s entrance”

Oh, and that much publicised request, proclaimed on signs in gold, white and yellow  – to match the Krapp’s Last Tape T-shirts for sale and worn by multiple staff – to “refrain from applauding upon Gary’s entrance. Please hold all applause until the end of the performance.”

An entirely reasonable request, observed impeccably by Wednesday’s full house, not drawn to Broadway ways, even in our age of celebrity adulation. Silence is golden here, just as it was as Ralph Fiennes began T S Eliot’s Four Quartets on this very stage in July 2021. 

Let the actor choose the moment to break that silence, to cast the spell, to establish the rhythm, the mien. Or in Oldman’s case, to cough and splutter, to exhale exasperated air.

Rather than applause, ironically, it was audience coughs that threatened to disrupt the ambience. The silence, the feeling of waiting, the inaction, is a disconcerting feeling for an audience, coming to terms in the low light with screen icon Oldman being back on stage, staring blankly, downbeat rather than charismatic, as slouchy, unkempt and sour as Slow Horses’ Jackson Lamb. 

All the while, we are unsure whether to laugh or be baffled by Krapp working his way through three bananas, or two and a half, to be precise, as the birthday tape from 30 years ago reminds him that is not so much an errant  skin on the floor as an excess of the potassium-heavy fruit that puts his health at risk.

Still reeling after all these years: Gary Oldman’s Krapp with his reel-to-reel recorder, used previously by John Hurt and Michael Gambon. Picture: Gisele Schmidt

That moment feels like permission has been granted to laugh with confidence, amid that Beckett thing of playing, even toying, with his audience while making serious points, as he does in Waiting For Godot, as the tone turns ever more depressed.

Krapp’s Last Tape is a canny choice for a stage renaissance: a short solo play, played previously by such luminaries as Patrick Magee, Albert Finney, Harold Pinter, John Hurt, Michael Gambon, Stephen Rea and Kenneth Allan Taylor, the long-running Nottingham Playhouse pantomime dame, writer and director, in the play’s last performance at York Theatre Royal in the Studio in 2009.

It’s on an actor’s To Do list, like Hamlet and Lear, but more compact and certainly more divisive in audience reactions, and there is a sense of a baton being passed on in Oldman using the same reel-to-reel tape recorder that Gambon and Hurt did before him.

He directs himself, having been directed by Stephen Frears, Oliver Stone, Frances Ford Coppola, Luc Besson, Alfonso Curon, Chris Nolan, Tony Scott, Ridley Scott, Steven Soderbergh, David Fincher, Paulo Sorrentino and…dame Berwick Kaler in that 1979 panto. The result is a performance of precise weight and balance, the dimming of Krapp’s light matched by the gradual fading of Douglas Urbanski’s lighting.

We spend time aplenty watching Oldman’s Krapp stopping and starting the tape machine as he listens back to the Krapp of 30 years ago, and one of the joys here is hearing how Oldman contrasts the resonant, confident, even arrogant voice of yore (newly recorded for this production) with Krapp’s weaker strains of today, where his only joy is in how he says the word spool as the bananas make way for sips from a bottle and melancholy suffuses his valedictory audio diary.

Gary Oldman at Krapp’s loft desk, placed at the front of the stage to facilitate seeing his facial expressions. Picture: Gisele Schmidt

Is a 55-minute exercise in brutal navel gazing, self-loathing and self-deception, more than half of it spent watching an exhausted husk of a lonely man listening to the ghost of his former self, worth all the buzz and the fuss?

Judge it as a play, not as event theatre – just as Keanu Reeves and Alex Winter reuniting for Beckett’s Waiting For Godot on Broadway in September will want it to be more than Bill & Ted’s Existential Adventure  – and Oldman ekes out all the corners of a study of failed ambitions and foiled hopes that is ultimately far more tragedy than comedy.

There will be those who wish for a Studio staging, for a closer encounter with Krapp, rather than the bigger canvas of the Theatre Royal’s main house, but its expanse enhances Krapp’s loneliness and Oldman maximises facial expression, the grimaces, the physical tics, the pained bemusement, and his design fills the stage with life’s clutter behind the desk thrust to the front.

Krapp’s Last Tape remains a Marmite play; Oldman can’t change that, but more than anything it will provoke debate that goes deeper than whether he peels a banana the right way. Box office for returns: 01904 623568 or yorktheatreroyal.co.uk.

The poster artwork for Gary Oldman’s return to York Theatre Royal in Krapp’s Last Tape

Celebrity watch: Who has attended Krapp’s Last Tape?

Policeman Sting and Trudie Styler flew in from New York City for April 22 performance.

Clothes designer Paul Smith.

Slow Horses co-star Freddie Fox.

Slow Horses writer Mick Herron.

Did you know?

GARY Oldman’s production of Krapp’s Last Tape is not the only significant one running at present. Stephen Rea is appearing in Beckett’s monodrama at the Barbican, London, until May 3, then Pavilion Theatre, Dublin, from July 22 to 25.