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How did Richard III sound? Find out at Sunday’s world premiere at York Theatre Royal when avatar comes to life on film

Meet the new science of Historical Human Reconstruction or Postmortalism: the world premiere of the “living and speaking” Richard III at York Theatre Royal on Sunday

IMAGINE if you could see and hear King Richard III speaking his own words. Imagine experiencing him breathing, thinking and effectively being “brought back to life”’.

On Sunday, in a six-hour conference-style launch event at York Theatre Royal, state-of-the-art technology will reveal for the first time a moving, “living” face of the long-dead king enunciating in the tongue of his Plantagenet time. More Yorkshire than pucker, apparently.

What began  for Yvonne Morley-Chisholm, voice teacher, vocal coach and project originator, more than a decade ago as an after-dinner entertainment to compare Shakespeare’s character with what we know of the real man, developed quickly into a research project.

The focus would be unique: to “explore the possibility of creating a literal voice for a long-dead historical figure”. Fast forward ten years to November 17 2024 when this international launch event will cover how the pieces of a complex puzzle came together using primary evidence.

This is the new science of Historical Human Reconstruction or Postmortalism, one that uses an avatar of the person, based on the reconstruction of their head, to provide an entirely new way to learn of the past. In this instance, we can understand more about the last Plantagenet king of England, who reigned from June 26 1483 to August 22 1485, while also paving the way for other historical avatars.

Sunday’s “reveal” comes against the background of the endless controversy surrounding this besmirched monarch, Richard of York, 3rd Duke of York, and the questions raised over his actions and personality: was he a good man or a murderous psychopath, the maligned, malignant Crookback of Shakespeare’s play, The Tragedy of Richard the Third?

Now King Richard III will speak for himself after experts from across the United Kingdom and abroad joined in this pioneering collaboration. Some will share presentations during Sunday’s international launch event, booked into York Theatre Royal from 12 noon to 6pm, climaxing with the final “reveal” at 5.30pm.

Taking the rostrum along with Yvonne Morley-Chisholm will be the key collaborator, cranio-facial identification expert Professor Caroline Wilkinson and her Face Lab team, from Liverpool John Moores University, and Professor David Crystal OBE, linguist and specialist in Original Pronunciation.

Dr Bridget Foreman: York playwright and lecturer in playwriting at the University of York

Joining them will be playwright Dr Bridget Foreman, lecturer in playwriting at the University of York; Matthew Lewis, author, historian and History Hit podcaster; Philippa Langley MBE, author, historian and film producer, who led the search for Richard III’s remains under a Leicester car park, and actor Thomas Dennis, whose vocal performance and facial movements were chosen to animate the avatar made from King Richard III’s facial reconstruction.

As well as exploring the true history of King Richard III, the event will feature discussions on a range of topics including Medieval History, Linguistics, Original (Historical) Pronunciation, Craniofacial Reconstruction, Forensic Psychology, Voice and Dialect, Historical Human Reconstruction, Postmortalism, CGI and Motion-Capture, among other specialisms.

Yvonne Morley-Chisholm said: “It’s been the greatest privilege to work with Professor Caroline Wilkinson. Her team at Face Lab are working towards animating the face of King Richard III from real-time motion capture.

“Professor Wilkinson’s work provides the physical nucleus while mine provides the vocal nucleus in this ‘world first’. This is the new science of Historical Human Reconstruction or Postmortalism, using an avatar of the real king based on the reconstruction of his head.

“I am also deeply honoured to be working with Professor David Crystal, who is the internationally recognised, leading expert in Original Pronunciation. He has created a reconstruction of the king’s pronunciation using personal letters and documents. The result is as close as anyone can get to King Richard III’s speech from the time in which he lived and reigned.

“I am grateful for the many others who have helped to shape each piece of the puzzle in this pioneering and unique collaboration. The project has achieved more than I ever dared to imagine it could.

“We are bringing a long dead king back to a kind of ‘life’. We are learning more about the real man in doing so. With state-of-the-art motion-capture technology, CGI animation and the like, I hope that – for those who find history a little dull – we are making it ‘cool’.”

Professor Caroline Wilkinson said: “Since we produced the facial reconstruction of Richard III in 2012, we have dreamt about bringing him alive, to see him move and speak his own words. With the help of advanced digital avatar technology and Yvonne’s voice team, we have been able to realise this dream.

“The result has exceeded our expectations and represents the most authentic and realistic portrait of this great king, based on all the evidence available.”

Philippa Langley MBE: Author, historian and film producer, who led the search for Richard III’s remains

Professor David Crystal said: “I think people will be surprised to hear a kind of speech that is a fascinating mixture of the familiar and the unfamiliar. English pronunciation has changed a lot since the 15th century, but it’s still very intelligible to modern ears.”

Matthew Lewis said: “We live in an age experienced and digested through media. We’re surrounded by the images and voices of all kinds of people. Yet not so long ago, we have no images beyond portraiture, which often comes years after a person’s death. We have no recordings of their voices to hear them, and in an age before diaries were commonplace, little hope of piercing beyond public personas.

“The Voice For Richard Project is a stunning example of how science, technology and history can come together to help bridge the distance of time that separates us from those we have heard of but could never have heard.

“This is as close as we can get to being in the room in the 15th century when a king speaks. I can’t wait for the world to see the culmination of ten years of hard work and innovation.”

Philippa Langley MBE said: “To help bring Richard to life, research into his character focused on contemporary descriptions from his own lifetime. These included private letters and a diary. The results corresponded directly with similar public descriptions offering a probability bordering on certainty of his recognised character from his lifetime.

“The results, to be premiered in York, will be a technological, scientific and historic break-through in aiding our understanding of the past and this important historical figure.

“It’s been the most incredible honour to be part of this cross-platform research over its ten years and I would like to thank Yvonne Morley-Chisholm for inviting me to be a part of her team. The world premiere in York promises to be extraordinary.”

Tickets: 01904 623568 or yorktheatreroyal.co.uk/show/a-voice-for-king-richard-iii/. Further information: avoiceforrichard.co.uk. Sunday’s event will be live-streamed too at yorktheatreroyal.co.uk/show/a-voice-for-king-richard-iii-livestream/.

The 16th century portrait of Richard III, by an unknown artist, that went on show at the Yorkshire Museum, York, from July to October 2021 as part of the National Portrait Gallery’s Coming Home project. Measuring 25 ins by 18ins, the artwork known as “the Red Portrait” was painted years after his death but is believed to be based on an original painted in Richard’s lifetime

Richard III: the (hunch)back story

BORN on October 2 1452, he grew up at Middleham Castle in the Yorkshire Dales. Visited York several times during his short reign as King of England from June 26 1483 until his death at the Battle of Bosworth Field in 1485, aged 32.

Last king of the House of York and the last of the Plantagenet dynasty. His defeat at Bosworth was the penultimate battle in the Wars of the Roses and ushered in the Tudor dynasty. The last battle? The Battle of Stoke Field, June 16 1487.

His remains were discovered in 2012 under a car park in Leicester by University of Leicester Archaeological Services and Philippa Langley MBE, of the Richard III Society, through her original Looking For Richard Project.

Philippa’s search for the king’s grave was the subject of the award-winning TV documentary Richard III: The King In The Car Park. The remains were identified using scientific disciplines including DNA analysis and are now interred at Leicester Cathedral.

A Voice for Richard III international launch event schedule, York Theatre Royal, Sunday

12 noon to 1.30pm: First session: From the myths to the man, presented by Dr Bridget Foreman, Matthew Lewis and Philippa Langley. 1.30pm: Lunch break.

2.30pm to 4pm: Second session: The experts speak: Historical Human reconstruction, presented by Prof Caroline Wilkinson, Prof David Crystal and Yvonne Morley-Chisholm. 4pm: Break.

4.30pm to 6pm: Third session: Continuation and culmination: the reveal (5.30pm). Documentary excerpts from History Hit, followed by Yvonne Morley-Chisholm talking with Thomas Dennis, the actor chosen to be the face and voice of the king, leading to film of King Richard III’s face speaking his own words in his own pronunciation.

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What’s on in Ryedale, York and beyond, from highwayman high jinks to brass blasts. Hutch’s List No 41, from Gazette & Herald

Gerard Savva: Leading the York Stage cast as Bobby in Company at Theatre@41, Monkgate, York

LOOK out for Godber at the double, Sondheim sophistication, a ground-breaking Black pioneer and Hull humour in the week ahead, recommends Charles Hutchinson.

Musical of the week: York Stage in Company, Theatre@41, Monkgate, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee

ON Bobby’s 35th birthday, his friends all have one question on their mind. Why is he not married? Stephen Sondheim and George Furth’s bold, sophisticated and insightful revolutionary musical comedy follows Bobby as he navigates the world of dating and being the third wheel to all of his now happily (and unhappily) married friends, exploring the pros and cons of settling down and leaving his single life behind.

Nik Briggs directs a York Stage cast featuring Gerard Savva as Bobby, Florence Poskitt, Julia Anne Smith, Alexandra Mather, Joanne Theaker, Dan Crawfurd-Porter and Jack Hooper, among others. Box office: tickets.41monkgate.co.uk.

The poster for Lightning Seeds’ show at Scarborough Spa Grand Hall tonight

Pure and simply joyful every time: Lightning Seeds, Tomorrow’s Here Today, 35 Years Greatest Hits Tour, Scarborough Spa Grand Hall, tonight; The Welly, Hull, December 4; Leeds Beckett Students’ Union, December 6

TO mark their 35th anniversary, Liverpool singer, songwriter and producer Ian Broudie leads Lightning Seeds on their Tomorrow’s Here Today tour to accompany a new greatest hits album.

Here come Pure, The Life Of Riley, Change, Lucky You, Sense, All I Want, Sugar Coated Iceberg, You Showed Me, Emily Smiles, Three Lions et al and many more. Tonight doors open at 7pm; Casino play at 8pm, Lightning Seeds at 9pm. Box office: Scarborough, scarboroughspa.co.uk; Hull, giveitsomewelly.com; Leeds, leedsbeckettsu.co.uk.

Tom Gallagher, Annie Kirkman and Laura Jennifer Banks in a scene from John Godber’s revival of Perfect Pitch

Touring play of the week: John Godber Company in Perfect Pitch, Stephen Joseph Theatre, Scarborough, tonight to Saturday, 7.30pm plus 1.30pm Thursday and 2.30pm Saturday matinees

WHEN teacher Matt (Frazer Hammill) borrows his parents’ caravan for a week on the Yorkshire coast with partner Rose (Annie Kirkman), they are expecting four days of hill running and total de-stressing. However, with a Tribfest taking place nearby, Grant (Tom Gallagher) and Steph’s (Laura Jennifer Banks) pop-up tent is an unwelcome addition to their perfect pitch.

The class divide and loo cassettes become an issue as writer-director John Godber reignites his unsettling 1998 state-of-the-nation comedy, set on an eroding coastline, as Matt and Rose are inducted into the world of caravanning and karaoke. Box office: Scarborough, 01723 370541 or sjt.uk.com.

The Highwayman cast of Dylan Allcock, left, Emilio Encinoso-Gil, Matheea Ellerby and Jo Patmore in John Godber’s new historical play. Picture: Ian Hodgson

New play of the week: John Godber Company in The Highwayman, York Theatre Royal Studio, tomorrow to Saturday, 7.45pm plus 2pm Friday and Saturday, sold out

AFTER more than 70 plays reflecting on modern life, John  Godber goes back in history for the first time in The Highwayman. “It’s 1769 and Yorkshire’s population has exploded, the races at York are packed, the new theatre in Hull is thriving, and the Spa towns are full,” he says.

“Everyone is flocking north. Yorkshire is the place to be; a region drunk on making money, social climbing, gambling and gin, but with wealth in abundance, the temptation is great.” Enter the highwayman, John Swift and his partner, Molly May. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

Paterson Joseph and Charles Ignatius Sancho: Storyteller and subject in Sancho & Me at York Theatre Royal

Story of the week: Paterson Joseph, Sancho & Me, York Theatre Royal, tomorrow, 7.30pm, with post-show discussion

CHARLES Ignatius Sancho, born on a slave ship on the Atlantic Ocean in 1729, became a writer, composer, shopkeeper and respected man of letters in 18th century London – the first man of African heritage to vote in Britain.

Actor, author and Chancellor of Oxford Brookes University Paterson Joseph tells his story, accompanied by co-creator and musical director Ben Park, built around his book The Secret Diaries of Charles Ignatius Sancho. Joseph explores ideas of belonging, language, education, slavery, commerce, violence, politics, music, love and where these themes intersect with his own story of growing up Black and British. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Irish band Adore: Headlining at The Crescent tomorrow. Picture: Fnatic

Indie gig of the week: Road Less Travelled presents Adore, Fuzz Lightyear and Tom Beer, The Crescent, York, tomorrow, 7.30pm

RISING stars of the Irish music scene, Adore are a three-piece garage punk band from Galway, Donegal and Dublin, who refract surf, disco and pop through punk sensibilities, grounded in crunchy guitar, drum and bass.

Leeds four-piece Fuzz Lightyear, freshly signed to independent label Nice Swan Records, match the intensity of Idles and Gilla Band while applying wit and a lyrical openness to their songs. Bull frontman Tom Beer kicks off the triple bill with a solo set. Box office: thecrescentyork.com.

New York Brass Band: Bringing New Orleans Mardi Gras jazz from old York to Milton Rooms, Malton

Jazz night of the week: Acorn Events presents New York Brass Band and The Ryedale Stray Notes, Milton Rooms, Malton, Friday, 7pm

NEW York Brass Band, from York, perform with a seven or eight-piece line-up of sax, tuba, trumpets, trombones, guitar and sousaphone in the New Orleans Mardi Gras jazz band tradition. Formed by James Lancaster in 2010, they are inspired by Rebirth Brass Band, Soul Rebels, Hot 8, Youngblood and Brassroots.

They have played at Glastonbury for the past eight festivals and at celebrity parties and weddings for Danny Jones, of McFly, Ellie Goulding, comedian Alex Brooker, Liam Gallagher and Jamie Oliver. Support act The Ryedale Stray Notes feature 25 talented young musicians “ready to raise the roof”. Proceeds go to Acorn Community Care to support vulnerable adults with physical and learning disabilities. Tickets: acornevents.org.uk or phone Ali on 07891 3889085.

Paddy Young: Topping the Rye Humour bill at Helmsley Arts Centre. Picture: Lucas Smith

Variety night of the week: Rye Humour, Comedy vs Climate Change, Helmsley Arts Centre, Saturday, 7.30pm

RYE Humour’s variety bill of up-and-coming comics will be headlined by Chortle Best Newcomer winner Paddy Young, a stand-up with Scarborough roots. The 2023 BBC New Comedy Awards finalist and Edinburgh Comedy Awards Best Newcomer nominee has attracted 100 million views online for his sketches with Ed Night. His comedy special, filmed by American record label 800 Pound Gorilla Records, will be released shortly. 

This gig has been developed in collaboration with the Ryevitalise Landscape Partnership scheme, as part of a project that uses humour to explore environmental issues based around North Yorkshire’s rivers. Any questions about the evening, or accessibility, will be answered at events@comedyvsclimatechange.org.uk. Box office: 01439 771700 or helmsleyarts.co.uk.

Lucy Beaumont: Off-beat stories, unusual anecdotes and bizarre journeys through modern-day womanhood at Grand Opera House, York

Comedy gig of the week: Lucy Beaumont Live, Grand Opera House, York, Saturday, 8pm

HULL humorist, BAFTA nominee and Taskmaster star Lucy Beaumont is determined to let loose and let slip on her rollercoaster world with off-beat stories, unusual anecdotes and bizarre journeys through modern-day womanhood.

From the co-host of the chart-topping podcast Perfect Brains with Sam Campbell and creator of Meet The Richardsons comes a look at life through the Lucy lens. Box office: atgtickets.com/york.

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How actor Paterson Joseph connects with pioneering Charles Ignatius Sancho in Sancho & Me at York Theatre Royal

Paterson Joseph and Charles Ignatius Sancho: Storyteller and subject of Sancho & Me at York Theatre Royal

CHARLES Ignatius Sancho, born on a slave ship on the Atlantic Ocean in 1729, became a writer, composer, shopkeeper and respected man of letters in 18th century London – the first man of African heritage to vote in Britain.

Paterson Joseph, actor, author and Chancellor of Oxford Brookes University, tells his story in Sancho & Me on Thursday night  (14/11/2024) at York Theatre Royal, where he will be accompanied  by co-creator and musical director Ben Park.

Built around his novel The Secret Diaries Of Charles Ignatius Sancho, Joseph explores ideas of belonging, language, education, slavery, commerce, violence, politics, music, love and where these themes intersect with his own story of growing up Black and British, born to immigrant parents from St Lucia in Willesden Green, London in 1964.

“Ignatius Sancho (1729-1780) had a most extraordinary life,” says Paterson. “Born of enslaved African parents, he rose to a position of great influence in British society. A polymath with a talent for music, his vote in 1774 and 1780 made him the first person of African descent to vote in a British Parliamentary election.

“I first came across Charles Ignatius Sancho in 1999. Until then I knew nothing of his story. Born and raised in London, by my mid-thirties I had no idea there were thousands of Black Britons in the UK long before the famous ‘Windrush Generation’ who arrived in the 1940s, ’50s and ’60s. I cannot overstate the powerful sense of belonging this knowledge brought me.

“My desire is to spread that sense of rootedness through spreading the word far and wide: Britain has always been a multi-ethnic country and Black people have been a major part of that story.”

Paterson found Sancho’s story in Gretchen Gerzina’s book, Black England, first published in 1995 with the subtitle Life Before Emancipation. “The second edition has just been printed [updated as Black England:  A Forgotten Georgian History with a forward by Zadie Smith in 2022],” he says.

It’s a really seminal book, where I found all these people’s stories, including Septimius Severus, the Roman Emperor, who was from Libya and came to Britain in the 3rd century AD, setting up the Imperial court’s headquarters in York, where he died of gout [in 211AD].”

Paterson had been “writing secretly for many years” but Gerzina’s book prompted him to take up Sancho’s tale in a play. Until then the history of the Black experience had “always been a binary story of slavery”, he says. “I realised that Black history in England had been whitewashed, erased, sugar-coated, even suppressed.”

Sancho: An Act Of Remembrance, his debut play as a writer, was first co-produced and performed at Oxford Playhouse in 2015, then twice toured the United States of America, including Kennedy Center in Washington and Brooklyn Academy of Music, New York.

Paterson presented a revised version at Wilton’s Music Hall in London in 2018 (published by Bloomsbury) that climaxed with Sancho being given the right to vote.

Reflecting on the shifting sands of history, Paterson says: “The brilliant thing is that as history re-writes things, I say, ‘yes, we should do that with Black history because you wrote it very badly’.

“The questions is why would it take a curious person like me, whose origins are Afro-Caribbean, to get to the age of 35 to discover his origin story, when none of those stories had been told? Those who had the right to look at those archives and publish those stories didn’t care to do that – you see what you want to see.”

Believing that ‘this national amnesia can be overcome by having your story told”, Paterson decided he wanted to explore Sancho’s story further, whether as a full-scale play or in a novel. “But I never had any time to make it into more than a dream, but Covid changed that situation. I was filming Vigil [playing Commander Neil Ransome], when we had to stop, and when I knew we wouldn’t go back till August, I sat in my shed and wrote the novel,” he says.

The Secret Diaries Of Charles Ignatius Sancho, his debut novel, was published in 2022, charting Sancho’s life through fictionalised diary entries, letters and commentary. Nominated for six literary awards, Paterson won the Royal Society of Literature’s Christopher Bland Prize and Historical Writers Association Debut Novel Prize in 2023.

Now he is taking Sancho & Me on the road. “Each show is ‘for one night only’ because it’s different every night,” he says. In the first half, he performs readings from the novel, interspersed with music; in the second, in the guise of Sancho, he answers audience questions about today as well as yesteryear. “So he’s like an avatar,” adds Paterson.

Composer Ben Park has worked with Paterson on his Sancho projects since Sancho: An Act Of Remembrance. “We’ve constructed this show together. I didn’t want people to get the idea it was the whole book on stage,” he says. Hence the music, the audience questions and Paterson weaving his own life story into the piece.   

Away from Sancho & Me, Paterson has been working on his eighth film – he would like to do more cinema work – filming  They Will Kill You with Patricia Arquette in Cape Town. “It’s due to come out in autumn 2025,” he says.

He has been enjoying his duties as Chancellor of Oxford Brookes University since being installed in May 2023. “Talking with students at the graduation ceremonies has been one of the most thrilling experiences of my life, seeing them come out of themselves into a new world,” he says.

“I’ve been trying to get students to see that going to university is not the Holy Grail, but it gives you the breathing space to see what you really want to do.”

Paterson Joseph, Me & Sancho, York Theatre Royal, November 14, 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Did you know?

PATERSON Joseph has performed twice previously at York Theatre Royal: in play readings instigated by actor George Costigan, first of King Lear, starring Freddie Jones and Toby Jones; then Antony And Cleopatra with Niamh Cusack. “I have warm feelings for York,” says Paterson.

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More Things To Do in York and beyond the first Christmas show of the season already. Here’s Hutch’s List No 46, from The Press

Brushing up on her art: Lindsey Tyson, one of the Wednesday Four exhibiting at Pyramid Gallery, York

FROM the Wednesday Four to the sold-out Barbican four, a Sondheim musical to John Godber making history, Charles Hutchinson puts the ‘yes’ into November’s calendar.

Last chance to see: The Wednesday Four, Pyramid Gallery, Stonegate, York, today and Monday, 10am to 5pm

THE Wednesday Four, a group of four artist friends who gather in Scarborough each week – busy schedules permitting – are exhibiting together for the first time in York.

Shirley Vauvelle (ceramic sculpture and paintings), Gillian Martin (paintings and prints), Katie Braida (ceramics) and Lindsey Tyson (paintings) have been meeting for three years but have known each other much longer.

Tarot: Performing sketches in nighties in Shuffle at Theatre@41, Monkgate, York. Picture: PBJ Management

Sketch show of the week: Tarot: Shuffle, Theatre@41, Monkgate, York, tonight, 8pm

“THEY (our parents, partners, children) say ‘sketch is dead’, but if it’s dead then where’s all our money going?” ask Tarot, a sketch troupe featuring members of Gein’s Family Giftshop and Goose, Adam Drake, Ed Easton and Kath Hughes.

What lies in store in Shuffle? “Joyously silly and uproariously live and in-the-room, we would call it ‘improv’ but we’ve got some self-respect: this is sketch in nighties. Come watch a new tour of big, daft and, above all, live comedy being conjured up in front of your very eyes.” Box office: tickets.41monkgate.co.uk.

Rise Up To Empower Women: Fundraiser for York charity IDAS at the Joseph Rowntree Theatre, York

Fundraiser of the week: Rise Up To Empower Women, Joseph Rowntree Theatre, York, tomorrow, 7.30pm

YORK and Leeds  performers come together to “raise the roof to end gender-based violence”, sharing inspiring and moving stories of female survivors of abuse in a night of musical theatre organised by Hannah Winbolt-Lewis. Proceeds will go to IDAS, the Blossom Street, York-based domestic abuse and sexual violence support charity, and to aid the recovery of Leanne Lucas, a survivor of July’s Southport stabbings.

Performing arts student Daisy Winbolt-Robertson

Performing arts students Kate Lohan, Daisy Winbolt-Robertson, Sara Belal, Rose Scott, Chloe Amelie Lightfoot, Erin Childs, Annie Dunbar, Jasmine Lowe, Declan Childs and Oliver Lawery will sing songs from shows that depict survivors’ stories: Heathers, Spring Awakening, Waitress, The Color Purple, SIX The Musical and the newly premiered SuperYou. Donations can be made via idas.co.uk. Box office: O1904 501935, josephrowntreetheatre.co.uk or bit.ly/RiseUpToEmpowerWomen.

Simon Brodkin:  Ripping into celebrity culture, social media, the police, Putin, Prince Andrew and God in Screwed Up

Comedy gig of the week: Simon Brodkin, Screwed Up, Grand Opera House, York, tomorrow, 8pm

SIMON Brodkin, world-famous prankster, Lee Nelson creator and most-watched British stand-up comedian on TikTok, brings his outrageous stand-up show back to York.

In Screwed Up, Brodkin rips into celebrity culture, social media, the police, Putin, Prince Andrew and God. Nothing is off limits, from his own mental health and family to his five arrests and how he once found himself at an underground sex party. Box office: atgtickets.com/york.

Irish Christmas celebrations in song and dance in Fairytale Of New York

What? Christmas in old York already : Fairytale Of New York – The Ultimate Irish-Inspired Christmas Concert, Grand Opera House, York, November 11, 7.30pm

FROM the producers of Seven Drunken Nights – The Story Of The Dubliners comes a rich tapestry of Irish singers, musicians and dancers performing Driving Home For Christmas, Step Into Christmas, Oh Holy Night, Fairytale Of New York and Irish sing-along favourites The Galway Girl, The Irish Rover, Dirty Old Town and The Black Velvet Band. Box office: atgtickets.com/york.

Sarah Millican: “Lots of stuff about dinners and lady gardens” at York Barbican

Recommended but sold out alas: next week’s shows at York Barbican

BBC Gardeners’ World presenter Monty Don kicks off a particularly busy week at York Barbican when he shares his passion for gardens and the  role they play in human  inspiration and wellbeing on Monday night (7.30pm).  Jazz pianist, songwriter and BBC Radio 2 presenter Jamie Cullum will be supported by Northampton pianist  and singer Billy Lockett on Tuesday (doors 7pm).

On Thursday (8pm), in her Late Bloomer show, South Shields comedian Sarah Millican mulls over her transition from being quiet at school with not many friends and an inability to say boo to a goose to being loud with good friends and goose-booing outbursts aplenty, “plus lots of stuff about dinners and lady gardens,” she says. On Friday (doors 7pm), in her Rockin’ On show, queen of rock’n’roll Suzi Quatro rolls out Can The Can, Devil Gate Drive, Stumblin’ In, 48 Crash, The Wild One et al. “It’s my 60th year in the business and it still feels like I’ve just started,” she says.

The York Stage poster for their “new version” of Stephen Sondheim and George Furth’s American musical comedy Company

Musical of the week: York Stage in Company, Theatre@41, Monkgate, York, November 13 to 16, 7.30pm plus 2.30pm Saturday matinee

ON Bobby’s 35th birthday, his friends all have one question on their mind. Why is he not married? Stephen Sondheim and George Furth’s bold , sophisticated and insightful  revolutionary musical comedy follows Bobby as he navigates the world of dating and being the third wheel to all of his now happily (and unhappily) married friends as he explores the pros and cons of settling down and leaving his single life behind.

Nik Briggs directs a York Stage cast featuring Gerard Savva as Bobby, Florence Poskitt, Julia Anne Smith, Alexandra Mather, Joanne Theaker, Dan Crawfurd-Porter and Jack Hooper, among others. Box office: tickets.41monkgate.co.uk.

The Highwayman cast of Dylan Allcock, left, Emilio Encinoso-Gil, Matheea Ellerby and Jo Patmore in John Godber’s new historical play. Picture: Ian Hodgson

New play of the week: John Godber Company in The Highwayman, York Theatre Royal Studio, November 14 to 16, 7.45pm plus 2pm Friday and Saturday, sold out

AFTER more than 70 plays reflecting on modern life, John  Godber goes back in history for the first time in The Highwayman. “It’s 1769 and Yorkshire’s population has exploded, the races at York are packed, the new theatre in Hull is thriving, and the Spa towns are full,” he says.

“Everyone is flocking north. Yorkshire is the place to be; a region drunk on making money, social climbing, gambling and gin, but with wealth in abundance, the temptation is great.” Enter the highwayman, John Swift and his partner, Molly May. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

In focus: Paterson Joseph, Sancho & Me, York Theatre Royal, November 14, 7.30pm, with post-show discussion

Paterson Joseph and Charles Ignatius Sancho: Storyteller and subject in Sancho & Me at York Theatre Royal

CHARLES Ignatius Sancho, born on a slave ship on the Atlantic Ocean in 1729, became a writer, composer, shopkeeper and respected man of letters in 18th century London – the first man of African heritage to vote in Britain.

Actor, author and Chancellor of Oxford Brookes University Paterson Joseph tells his story, accompanied by co-creator and musical director Ben Park, built around Joseph’s book The Secret Diaries of Charles Ignatius Sancho.

Joseph explores ideas of belonging, language, education, slavery, commerce, violence, politics, music, love and where these themes intersect with his own story of growing up Black and British

Joseph says: “Ignatius Sancho (1729-1780) had a most extraordinary life. Born of enslaved African parents, he rose to a position of great influence in British society. A polymath with a talent for music, his vote in 1774 and 1780 made him the first person of African descent to vote in a British Parliamentary election.

“I first came across Charles Ignatius Sancho in 1999. Born and raised in London, by my mid-thirties I had no idea there were thousands of Black Britons in the UK long before the famous ‘Windrush Generation’ who arrived in the 1940s, ’50s and ’60s. I cannot overstate the powerful sense of belonging this knowledge brought me.

“My desire is to spread that sense of rootedness through spreading the word far and wide: Britain has always been a multi-ethnic country and Black people have been a major part of that story.”

The show incorporates Sancho’s compositions and original music by composer and musician Ben Park. In the words of Sancho: “Friendship is a plant of slow growth, and, like our English oak, spreads, is more majestically beautiful, and increases in shade, strength and riches, as it increases in years.”

Paterson Joseph: the back story

Born: Willesden, London on June 22 1964 to parents from St Lucia. Educated at Cardinal Hinsley RC High School. Worked briefly as catering assistant. Trained at Studio ’68 of Theatre Arts, London (South Kensington Library), from 1983 to 1985, later attending London Academy of Music and Dramatic Art (LAMDA).

Theatre roles: Oswald in King Lear, Dumaine in Love’s Labours Lost and Marquis de Mota in The Last Days Of Don Juan, Royal Shakespeare Company, 1990. Title role in Othello, Royal Exchange, Manchester, 2002. Lead roles in The Royal Hunt Of The Sun and The Emperor Jones, Olivier Theatre, National Theatre, London, 2006. Brutus, in Royal Shakespeare Company’s Julius Caesar, set in Africa, 2012. Ebenezer Scrooge in A Christmas Carol, Old Vic Theatre, London, 2019 into 2020.

Undertook documentary project My Shakespeare, filmed for Channel 4 in 2004, directing version of Romeo & Juliet that used 20 young non-actors from deprived Harlesden area of London.  

On television: Mark Grace in Casualty (1997–1998); Alan Johnson in Channel 4 sitcom Peep Show (2003–2015); Lyndon Jones in Green Wing (2004–2006); Greg Preston in Survivors (2008–2010); DI Wes Layton in Law And Order: UK (2013–2014); “Holy Wayne” Gilchrest in The Leftovers (2014–2015); DCI Mark Maxwell in Safe House (2015–2017); Connor Mason in Timeless (2016–2018); Home Secretary, then Prime Minister Kamal Hadley in Noughts + Crosses (2020-2022); Commander Neil Newsome in Vigil (2021); Samuel Wells in Boat Story (2023).

Films include: Benbay in In The Name Of The Father (1993); Keaty in The Beach (2000); Greenfingers (2001), Giroux in Æon Flux (2005), The Other Man (2009) and Arthur Slugworth in Wonka (2023).

His debut play as a writer, Sancho: An Act Of Remembrance, was first co-produced and performed at Oxford Playhouse in 2015, then twice toured United States of America, including Kennedy Center in Washington and Brooklyn Academy of Music, New York. Performed by Joseph in London in 2018 at Wilton’s Music Hall; published by Bloomsbury.

Debut novel The Secret Diaries Of Charles Ignatius Sancho was published in 2022 by Dialogue Books in UK and Henry Holt in USA, charting Sancho’s life through fictionalised diary entries, letters and commentary. Nominated for six literary awards, winning Royal Society of Literature’s Christopher Bland Prize and Historical Writers Association Debut Novel Prize in 2023.

First book, Julius Caesar And Me: Exploring Shakespeare’s African Play, published by Bloomsbury.

Appointed Chancellor of Oxford Brookes University in 2022. Installed in May 2023.

Paterson Joseph, Me & Sancho, York Theatre Royal, November 14, 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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‘It’s my 60th year in the business, and it still feels like I’ve just started,’ says Suzi Quatro as American rock queen sells out Barbican

Suzi Quatro: Using this iconic image from her first photographic session with Gered Mankowitz in 1973 to promote her 60th anniversary tour. York Barbican awaits

SUZI Quatro is marking the 60th year of her reign as “the Queen of Rock’n’Roll” by embarking on a five-date autumn tour.

On November 15, Suzi, 74, plays York Barbican, her only Yorkshire show and the first on the tour to sell out.

“It’s my 60th year in the business, and it still feels like I’ve just started,” she said, when announcing the tour. “Devil Gate Drive, number one, 51 years ago. Are you ready now? Let’s do it one more time for Suzi.”

Sixty years? Yes, Michigan-born singer, songwriter, bass guitarist, actress, poet novelist and radio presenter Suzi started out in bands in Detroit, playing concerts and teen clubs with Ted Nugent, Bob Seger and others, having first played bongos with her father Art’s jazz trio when she was eight.

 “I started a band at 14,” she recalls. “I was in ninth or tenth grade. We worked the whole summer, going to New York.

“I talked to my dad about not going back to high school. He was on the phone, saying ‘is there anything I can say to change your mind?’.He quietly put the phone down and that was clever. It gave me time to pause and think about it. I made my choice: I would be in music for life.”

In May 1964, her sister Patti formed the group The Pleasure Seekers with Suzi on bass, leading to their first single coming out on the Hideout Records label in 1965, when Suzi was 15, Patti, 17.

Further singles Never Thought You’d Leave Me and Light Of Love followed in 1966 and 1968 respectively.

In 1971, Suzi flew to England to work with songwriting hit factory Chinn and Chapman after producer Mickie Most saw her perform live at the East Town Ballroom when in Detroit to record Jeff Beck at Motown.

Suzi expected to be in the UK for three months, but stayed. “I go back to America a lot but I haven’t lived there since 1971,” she says. The story goes that she did not take even a coat with her when first leaving.

Significantly, Suzi has used an iconic image from her first photographic session with Gered Mankowitz in 1973 to promote her 60th anniversary tour. The definitive one in the leather jump suit, as memorable as Mankowitz’s portrait of a teenage Kate Bush. 

“I’ll try to make a long story short,” says Suzi, explaining how that look was born. “We’d recorded Can The Can and Mike [Chapman] said, it’s going to be number one’. I said, ‘we need to discuss the image’. I said ‘leather’; he said ‘No’, but I got my way.

“Then he suggested a jump suit, and he was right. People thought of it as very sexy, though I didn’t realise that at the time.”

The poster for Suzi Quatro’s 60th anniversary Rockin’ On tour

At the photo session, Mankowitz said, ‘OK, give me that Suzi Quatro look’. “I gave ‘the look’, and that’s when the Suzi Quatro look was created. It was new,” she says.

“I have finally, at the age of 74, accepted it. I didn’t know it at the time. I was just being who I am. I didn’t think it was unusual. I’d played bass since I was 14 but Mike kept saying I was unique.”

Chapman’s prediction was right: Suzi topped the UK charts in 1973 with the 2.5 million-selling Can The Can and had further hits that year with 48 Crash, Daytona Demon and the chart-topping Devil Gate Drive.

More UK hits would follow with Too Big, The Wild One, Your Mamma Won’t Like Me, Tear Me Apart, If You Can’t Give Me Love, She’s In Love With You and Mama’s Boy, her last UK Top 40 entry in 1979, peaking at number 34.

Her native United States was slower to catch on. “There were a lot of things happening on the other side of the world that America didn’t get then, but I did start touring in America in ’74. Happy Days was the thing that catapulted me to success there: the number one TV show. Suddenly they discovered me.”

Suzi made her first of seven appearances on Happy Days, playing Leather Tuscadero, the little sister of Fonzie’s ex-girlfriend Pinky, in 1977. “I then had a number four hit in the American Billboard Hot 100 with Stumblin’ In [her duet with Smokie’s Chris Norman] in 1978,” she says. Ironically, the song reached no higher than number 41 in the UK.

She may live between her Essex manor house and her husband’s German house, but America continues to play its part in her career. “I was in Detroit in September recording with Alice Cooper for my next album. I haven’t got a title yet but it’s got 14 songs, writing with Alice, and I’ve covered MC5’s Kick Out The Jams out of respect,” says Suzi.

“The next night Alice asked me to do School’s Out with him, on bass, which I’d never done before and had to learn real quick to play to 12,500 people at Pine Knob [Music Theatre], just outside Detroit. I was just grinning from ear to ear.

“I’ve known him since I was 15 years old. I did the Welcome To My Nightmare Tour with him in 1975 in America, and it really was a nightmare tour, though I loved it! It was a long tour, doing a couple of flights a day sometimes.”

As well as selling more than 55 million records – she featured in the UK charts for 101 weeks between 1973 and 1980 – Suzi has branched out into acting, writing novels and poetry, broadcasting, making her documentary film Suzi Q and presenting her autobiography Unzipped live in a one-woman show.

Suzi has been a ground-breaker. “Chrissie Hynde, Debbie Harry, Joan Jett, they all said , ‘none of us would have done what we did without Suzi Quatro’, which made me cry, as I didn’t realise what I’d done, but I can now accept it,” she says.

“It had to fall on someone like me because I didn’t know I was doing it, and if I had known, it would have looked manufactured. That’s why I’m still here because whatever you see, it’s real.

“It’s funny. When I’ve done big shows with other acts, you end up talking in the bar and usually the conversation gets round to me and how different I was. ‘But did it look like I was I was just being me,’ I asked, and they said ‘yes’.”

York pantomime dame Berwick Kaler: Suzi Quatro wrote a song for her best friend, The Queen Mother Of Rock’n’Roll

She describes herself as “really stubborn”, giving the example of make-up artists asking if they could make her “bushy” eyebrows smaller. “I said, ‘you can enhance them, but don’t change them, this is me’.”

In 2019, Liam Firmager directed the documentary Suzi Q. “I said yes as I’d always wanted to do one. When we met, he said, ‘I’m not a fan, but I like your music’. I said ‘OK, but why do you want to do a documentary about me?’,” Suzi recalls.

Firmager said he had been fascinated by her. ”I knew that as a ‘non-fan’, you’re going to get the truth, even the ‘cringe’ moments, and he did stick to that,” says Suzi.

“It’s great documentary. There’s nothing I didn’t know, but it brought it to the fore that I’m very family orientated, very soft inside. There’s little Suzi from Detroit and there’s Suzi Quatro, who strides out on stage.”

Suzi says she has a sharp tongue when she is pushed. “Don’t mess with me. I’m a deep thinker.”

How does she feel she has been treated in a male-dominated industry that has had its stories of women being exploited? “Absolutely fine, because I demand that,” says Suzi. “It’s all about my attitude. I’m from Detroit. I’ve got a quick mind. I’ve got a quick mouth. If you touch me inappropriately, you will have a soprano voice.

“My father brought me up to have balls and my mother’s teaching, as a  strict Catholic girl, gave me my morals. There’s an invisible line [not to be crossed], but I can play the softer side too.”

What is her advice to women in the business? “You can be tough but don’t lose your femininity,” she says.

Next Friday’s show will be a two-hour set with an interval. “I’ll be taking you on a journey through my life, with a song from every album, two from the album I did with K T Tunstall [2023’s Face To Face], an eight-minute bass solo – it’s not boring! – and some clips on the screen.”

The Wild One will rock on, she vows. “I will retire when I go on stage, shake my ass, and there is silence,” she says. “I’ve always been the same and I will always be the same. I’ve never coasted and I never will.”

Looking forward  to playing to a sold-out York audience, Suzi says: “My overall feeling is that I am grateful and I am so happy that people want to see me. I take it very seriously.”

Performing in York brings back memories of working with Berwick Kaler, the legendary, newly retired pantomime dame. “We worked together for about a year in Annie Get Your Gun. We’ve been friends ever since. He was the best man at my second wedding [to German concert promoter Rainer Haas]. He’s my best friend.

“He once asked me to write a song for the panto – I’ve been to his shows many times – and wrote The Queen Mother Of Rock’n’Roll for him.”

Suzi Quatro, Rockin’ On, York Barbican, November 15, doors 7pm, SOLD OUT. Box office for returns only: ticketmaster.co.uk/event/360060579D80156E

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How John Godber is making history with his new play The Highwayman, standing and delivering at York Theatre Royal next week

The Highwayman cast of Lancastrian actor-musician Dylan Allcock, left, Yorkshire actress Jo Patmore, Emilio Encinoso-Gil, last seen in the John Godber Company’s Do I Love You?, and Godber Theatre Foundation member Matheea Ellerby. Picture: Ian Hodgson

JOHN Godber has written more than 70 plays, invariably reflecting present-day concerns, woes and joys with humour as dry as a Yorkshire stone wall.

The Highwayman, riding into York Theatre Royal Studio from Thursday to Saturday next week, is different. “It’s the first time I’ve gone back into history,” says writer-director John, now 68, introducing his theatrical adventure where “history has never felt so modern.”

Before any nay’sayer points out he co-wrote Moby Dick with fellow Yorkshire playwright Nick Lane, that one does not count as it was an adaptation of Herman Melville’s 1851 novel.

This one is all John’s own work, albeit with the heavy hand of history leaning on him. “The year is 1769, when Yorkshire’s population had exploded, the races at York were packed, the new theatre in Hull thriving, and the spa towns full,” says John.

“Yorkshire was the place to be; a region drunk on making money, social climbing, gambling and gin, but with wealth in abundance, the temptation was great.”  

Cue The Highwayman, “an exciting and exhilarating romp through history, where history has never felt so modern, theft never more attractive”. “I’m so excited to be bringing The Highwayman to the York Theatre Royal,” says John. “I cannot think of a better city to stage a show about highwaymen, this play coming from the region where Turpin was caught and Nevison made his great leap.”

Why head back into history now, John? “OK, two things. Many things actually. Dick Turpin was arrested in the village I used to live in, North Ferriby, [after shooting his landlord’s cockerel and threatening to kill the landlord, allegedly in the Green Dragon pub in Welton], so there is that story.

“I’d always been sure that Dick Turpin was a good subject for an East Yorkshire tour.  Secondly, John Nevison was most likely to have been the man who rode from York to London on Black Bess, and Nevison was from Pontefract, just down the road from where I was born in Upton, and one of the main storing points for his booty was in Wentbridge, two miles from where I was born. The great leap he made to get away from the rozzers was across an estuary near Pontefract.”

John continues the background story. “That’s only part of the reason. The other was Tate Wilkinson [who managed York Theatre Royal for 36 years in the 18th century] . As an actor, he used to tour the northern circuit of Wakefield, Barnsley, Hull, York, Doncaster and Leeds, like my plays do now, and he opened the Hull Old Theatre in Hull, in Lowgate, too,” he says.

“I met up with Dr David Wilmore, the world expert on Frank Matcham’s theatres, who lives in North Yorkshire,  to talk about the Assizes, how people went to watch the races at York and the hangings too, and in the late 1780s, you’re talking of 100,000 people watching the public hangings.

“This was the levelling up of a different era, so I then started looking at the £22 billion black hole today and thought, ‘if you had no money, what might you be led to do?’, and that’s when all these factors came into my thinking that I’d like to write a play about highwayman, though my character is an invention…”

…“There’s something else you need to know. You know my interest in Brecht and The Threepenny Opera…and The Beggar’s Opera. That was written by John Gay and produced by John Ridge, who had worked with Tate Wilkinson in the early part of his career.”

Put all this together and you have the model for Godber’s highwayman John Swift and his partner Molly May. “She’s referenced in Thin Lizzy’s hit Whiskey In The Jar, which happens to be a song about highwaymen!” says John.

Writer-director John Godber

The Highwayman was sparked by a request from East Riding Theatre in Beverley. “I was approached by ERT to write a play to mark the theatre’s tenth birthday, and I thought, ‘why not do something quite different and relevant to the district?’,” John says.

“We opened at the Georgian Theatre Royal in Richmond [North Yorkshire], where Tate Wilkinson played in the 1790s. That theatre was set up by Samuel Butler, who is buried in St Mary’s churchyard in Beverley.”

History is piling on history in John’s production. “The Woodland Scene, the oldest existing piece of stage scenery in the world, is in the Georgian Theatre’s museum, so I asked if we could replicate it in The Highwayman as we’re setting the play in Georgian times,” says John.

The resulting play has this period setting but with modern dialogue. “The ‘temptation’ in the play’s story leads the highywayman John Swift to come back from fighting the war in France thinking, ‘how am I going to make a living?’, particularly in the rural north,” says John. “So we’re looking at ‘what would you do if you had nothin’ – and with all the wealth around him, there was a lot of thieving to be done.”

What happens in The Highwayman, John? “The narrative starts with the highwayman’s hanging, which is ‘not a great start to a play’ he says, so he takes us back to when he is about to be hanged. Did you know, many of these hangings were unsuccessful and people sometimes survived? Our highwayman survives and because he does so, he changes his outlook to longer rob and work the land instead, and work for Tate Wilkinson too,” he says.

“But things don’t go to plan as his wife, Molly May, likes to spend, so he he goes up the coast on a ship and comes back with lots of goblets but still not enough to satisfy Molly.”

His story arc takes in pirates, the Royal Navy and highwayman John being sentenced to death again, waiting in Newgate Prison to be hanged for a second time. In the meantime, Molly May progresses from a cottage industry, pressing flowers, to inventing scented candles and becoming extremely wealthy from the perfume business at Floris. Whereas he keeps on running out of luck, Molly May takes advantage of opportunistic entrepreneurship.

“It’s been great fun to research the play, finding things I wasn’t aware of, like when you were about to be hanged, you could request a song, though you had to pay for it” says John.

The play may have an historical setting but “it’s a parable for today, close to an allegory. It’s been fascinating to do because it’s very, very different from what I’ve done before, but people come up to me and day, ‘mate, it’s happening now’.”

Reflecting on the early months of the new Labour Government, John says: “I have always voted Labour but I think this might be the last time. I believe we have lost touch with what people who have nothing are feeling. Also, university student fees going up: what’s that going to do?

“I’m not a Trump fan, but what we’re seeing [in America] is a failing of liberal education and a failure to understand what people on the ground are feeling.”

Looking ahead, John’s daughter, Elizabeth, has arranged a John Godber Company tour next year of his hit Northern Soul play Do I Love You?, booked into York Theatre Royal for June 10 to 14 on its 22-week itinerary. For tickets, go to: 01904 623568 or yorktheatreroyal.co.uk.

John Godber Company presents The Highwayman, York Theatre Royal Studio, November 14 to 16, 7.45pm plus 2pm Friday and Saturday matinees, SOLD OUT. Box office for returns only: 01904 623568 or yorktheatreroyal.co.uk.

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Georgia returns to York as she makes professional debut on Pride And Prejudice* (*Sort Of) tour, now playing Theatre Royal

Actress, assistant stage manager and University of York alumna Georgia May Firth

SINCE graduating from the University of York in 2023, actress Georgia May Firth has taken a circuitous route to her making professional debut in Pride And Prejudice* (*Sort Of).

“I was a witch on the York Witches and History Walking Tour, a Victorian maid at the Sherlock Holmes Museum [in London], then very randomly I became a dog food salesman – and then this job came along through the grapevine,” she says, on her return to York for this week’s run at York Theatre Royal.

“I heard about this touring production and was originally applying to be an assistant stage manager, but I mentioned I happened to be an actor too and was originally hired to be a book-cover understudy to the cast as well as an ASM.

“But then ten days into rehearsal, Susie [Barrett] took over from Eleanor [Kane], becoming our Anne for this run of shows until Eleanor rejoins in the New Year.”

In turn, Georgia is now Susie’s understudy in a multi-role involvement that takes in not only servant Anne, but also Mary Bennet, Lydia Bennet and Mr Gardiner, and she is covering for Christine Steel’s role too as Clara, Jane Bennet, Lady Catherine de Burgh and George Wickham.

“We’ve been touring since the beginning of September – though it feels like it’s been years already! – but I’m yet to go on. So, hopefully in York, but also not hopefully, as I want everyone to be well,” says Georgia.

“I’m so eager, but the nice thing is that as assistant stage manager I get to watch the show every night, so I don’t feel too far removed.”

In Isobel McArthur’s audacious re-telling of a certain Jane Austen novel, the stakes could not be higher in the early 19th century game of high society match-making as men, money and microphones are fought over.

“To begin with, it’s such a well-known and well-loved story,” says Georgia. “Before I’d even seen the show, I was a massive fan of the book, and so I came to the play with a bit of scepticism as I thought, ‘I’m not sure I want to make fun of it’, but Isobel has such a sense of love and respect for Austen’s story from the beginning. So much heart has gone into the script.

“Absolute chaos” in Isobel McArthur’s Pride And Prejudice* (*Sort Of) after Jane Austen

“You can tell Isobel really loves the book, and there was a lot of discussion at the start of rehearsals about what we all thought of it, the love she shows for the characters, which has then built into the absolute chaos on stage that’s so much fun. The pace never drops. It’s a good two hours flat out but it feels like you’re only on there for half an hour!”

McArthur’s “party time” version of Pride And Prejudice is told by the servants, kitted out throughout in black work boots as they work flat out at each of the posh houses where high society passes the day fretting and frothing over match-making.

“It really lends itself to multi role-playing, with lots of quick costume changes – and those costumes are phenomenal,” says Georgia. “Not only are they so beautiful, but they also need to be able to whipped off and the next one thrown on. It’s chaos!”

Georgia has enjoyed working with writer Isobel in the director’s chair. “It was so special to have her in the rehearsal room with us, especially as she was in the original cast,” she says. “We’ve kept it like Isobel performed it, but she wasn’t precious about it being her play, instead treating it as a gift for us all to play with.

“It was a case of ‘what do you think your character would do now or be thinking now?’ It was such a lovely atmosphere to work in; Isobel was a lovely presence to have around and such an inspiration.

“This is my first professional job and some of the girls’ first touring job, and Isobel has made it so calm for us. For her to be there, making us all feel part of the same team, all on one level, all wanting to achieve the same things, has made for a wonderful show.”

Georgia studied theatre when attending Langwith College at the University of York, performing such roles as Athena in Athena, Teodoro in The Dog In The Manger and Martha in That Face. “I basically stayed with Drama Society productions [at the Drama Barn], rather doing shows with York companies, but I did do Stones On The River Bed at the Green Shoots festival at York Theatre Royal,” she recalls.

Originally from Frodsham, Georgia left York for London last year, and now returns this week. Will she finally break her professional stage duck on understudy duty on familiar ground? Wait and see.

Pride And Prejudice* (*Sort Of), 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: Pride And Prejudice * (*Sort Of), York Theatre Royal, until Saturday ****

On song in Pride And Prejudice * (*Sort Of) at York Theatre Royal all this week. Picture: Mihaela Bodlovic

THIS rollicking, risqué, irreverent  romp through Pride And Prejudice is not to be confused with the work of Austentatious, “an entirely improvised comedy play in the style of Jane Austen” that changes with every performance and audience suggestion.

This is very definitely Pride And Prejudice * (*Sort Of), penned with waspish wit by Isobel McArthur “after Austen” to Olivier Award-winning success for Best Comedy.

McArthur, who also won the Evening Standard Theatre Award for Emerging Talent, now directs the Newcastle Theatre Royal/David Pugh & Cunard touring production of her West End smash, and what a joyous society ball after society ball of delight it is.

In an Upstairs Downstairs world, McArthur has five cheeky servants, in their cleaning Marigolds and work boots, introducing Austen’s love story from the Downstairs perspective, as important to the retelling as the Witches in Macbeth or a Greek chorus in ancient Greek dramas but with oodles of offhand humour.

Susie Barrett, Emma Rose Creaner, Rhianna McGreevy, Naomi Preston Low and Christine Steel will each play multiple characters, from all the Bennets to the suitors, suitable or unsuitable, and the terrifying aunt in Lady Bracknell mode. Oh, and these Bennet sisters are doing it for themselves, all with differing accents, whether Scottish, Irish, Midlands or Yorkshire.

McArthur’s tone is at once faithful yet anarchic. Well, as faithful as the leaflet trailer would indicate: “It’s the 1800s. It’s party time. Let the ruthless match-making begin.” “Party time” is the perfect excuse to perform pop nuggets such as Will You Love Me Tomorrow, You’re So Vain and the closing Young Hearts Run Free in 19th century frocks and sometimes adapted lyrics pertinent to the character.

It can be like watching a talent show-fostered girl group or those oh-so competitive pop Queens in Six, the other all-female hit doing the touring rounds.

Equally, you could bring to mind Absolutely Fabulous, Derry Girls or Phoebe Waller Bridge’s audacious writing for Fleabag and Killing Eve, while the multi-role playing at breath-taking pace echoes the affectionate satire of the much-missed Lip Service or Patrick Barlow’s take on The 39 Steps.

This is not to draw comparison with those works. McArthur’s Pride And Prejudice is not sort of any of them. It is fabulous, funny, frank and filthy in its own right: you will cheer at Preston Low’s potty-mouthed Elizabeth Bennet – as feisty as Freya Parks’s Jo March in Little Women at the Theatre Royal last month – firing off an Eff Off with both barrels. How appropriate her servant role should be called Effie!

Emma Rose Creaner, an uncorked pocket dynamo from Cork, is a riot as Charles Bingley and even more so as his acerbic, spoilt sister Miss Bingley.

Rhianna McGreevy has a touch of the AbFabs as match-making Mrs Bennet, forever in need of a stiff drink, and her Fitzwilliam Darcy is even better, with the ever-so-gradual loosening of his stuffed shirt, the pricking of his insufferable pomposity, the tongue either tied or acidic. Go (Colin) Firth and multiply by ten, but then comes the climactic scene with Preston Low’s Elizabeth, the confession of love, so clumsy but sincere, beautifully delivered and yes, romantic too.

You will enjoy Barrett’s exasperated teenage Mary Bennet and especially Steel’s scene-stealing Lady Catherine de Burgh, the cue to unleash Chris de Burgh’s Lady In Red, a smart cultural reference typical of McArthur’s humour, matched by the nod to Firth’s notorious lake scene from the 1995 BBC mini-series.

Praise too for the comedy staging Jo Houben and Ana Ines Jabares-Pita’s flamboyant costumes and set design with its stairwell so suited to grand entrances and girl-group pop performances alike and the high-speed use of doors for surprise entries and exits. Without giving anything away, look out for the horse too.  

For maximum pleasure, it does help to know Austen’s story – then again, who didn’t at Monday’s packed press night?! – but the raucous humour, the romance, the irreverence, has such brio, surely everyone will have a ball. Party time indeed, just perfect for these November nights.

Pride And Prejudice* (*Sort Of), 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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What’s On in Ryedale, York and beyond in the season of ghosts in gardens. Here’s Hutch’s List No. 41, from Gazette & Herald

Livy Potter as Katy, left, and Alice Rose Palmer, as mum Natalie, in Louise Beech’s How To Be Brave at Gilling East Village Hall and Helmsley Arts Centre

FROM a devilish yet dotty canine musical to comedians having their moment, a film festival to glowing ghosts, Charles Hutchinson spots plenty to light up dark days ahead.

Touring play of the week: Other Lives Productions in How To Be Brave, Gilling East Village Hall, tomorrow, 7.30pm, and Helmsley Arts Centre, Friday, 7.30pm

IN 1943, Merchant Seaman Colin Armitage’s cargo ship was torpedoed by an Italian Navy submarine in the South Atlantic. He scrambled aboard a life raft. Fifty days later, HMS Rapid rescued him.

Colin was the grandfather of How To Be Brave playwright Louise Beech. Sixty-four years after his ordeal, Louise’s daughter, Katy, was diagnosed with Type 1 diabetes. In order to distract her during insulin injections Louise began to tell the story of Colin’s bravery and determination to survive. 

Scenes in this resulting play alternate between the life raft and a house in Hull as York actors Jacob Ward and Livy Potter take the lead roles in Kate Veysey’s production. Box office: Gilling East, gillinjgeastevents@hotmail.co.uk; Helmsley, 01439 771700.

Man of The Moment: Ali Woods, playing York Barbican on his debut stand-up tour

Comedy men of The Moment:  Mo Gilligan, In The Moment, York Barbican, tomorrow,8pm; Ali Woods, At The Moment, York Barbican, Friday, 8pm

THE moment has arrived for two comedy tour dates with similar show titles, first up the host of Channel 4’s The Lateish Show With Mo Gilligan, Londoner Mo Gilligan, on his In The Moment World Tour 2024.

The following night, half-English, half-Scottish comedian, podcaster and content creator Ali Woods plays York on his debut stand-up tour. At 30, this viral online sketch sensation has finally fallen in love with an amazing lady. “Come on an embarrassing and cathartic journey of teenage angst, relationship fails and learning how to live in the moment,” he says. Tickets update: available for both shows, whereas An Audience With Monty Don (November 11), Jamie Cullum (November 12), Sarah Millican: Late Bloomer (November 14) and Suzi Quatro ( November 15) have sold out already. Box office: yortkbarbican.co.uk.

Artist CJP with his work The Majestic Oak at Art Of Protest Gallery, York

Exhibition of the week: From Little Acorns Grow Mighty Hopes: An Exhibition of Hand-drawn Natural Wonders, Art of Protest Gallery, Walmgate, York, until November 16

ART Of Protest is the first gallery to show CJP’s work The Majesty Oak in an exhibition of original and rare limited-edition artwork. Look out for the Art Of Protest York Special Edition, only available to be ordered until November 16, featuring the River Ouse-dwelling Tansy Beetle, an elusive insect featured on a resplendent mural near York railway station.

“This is an amazing opportunity to own a truly unique celebration of British fauna with a very special York twist,” says gallery owner Craig Humble. “CJP will add a Tansy Beetle to each piece, along with the gold leafing of the branches.”

Very definitely Pride Of Prejudice * (*Sort Of), sending up Jane Austen affectionately in Isobel McArthur’s play at York Theatre Royal

Theatrical flourish of the week: Pride And Prejudice* (*Sort Of), York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

MEN, money and microphones will be fought over in Pride And Prejudice* (*Sort Of), the audacious retelling of a certain Jane Austen novel, where the stakes couldn’t be higher when it comes to romance but it’s party time, so expect the all-female cast to deliver such emotionally turbulent pop gems as You’re So Vain and Young Hearts Run Free.

Writer Isobel McArthur directs this new production of her West End hit, Olivier Award winner for best comedy. Box office: 01904 623568 or yorktheatreroyal.co.uk.

In the driving seat: Kym Marsh’s Cruella De Vil in 101 Dalmatians The Musical. Picture: Johan Persson

Dog show of the week: 101 Dalmatians The Musical, Grand Opera House, York, until Saturday, 7pm plus 2pm today, Thursday and Saturday matinees

KYM Marsh’s Cruella De Vil leads the cast for this musical tour of Dodie Smith’s canine caper 101 Dalmatians. Written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, the show is re-imagined from the 2022 production at Regent’s Park Open Air Theatre, London. 

When fashionista Cruella De Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, trouble lies ahead for Pongo and Perdi and their litter of tail-wagging young pups in a story brought to stage life with puppetry, choreography, humorous songs and, yes, puppies. Box office: atgtickets.com/york. 

3 Missing 10 Hours, directed by Fanni Fazakas, showing in the Animation programme at Aesthetica Short Film Festival 2024

York festival of the week: Aesthetica Short Film Festival, York city centre, today to Sunday, and UNESCO City of Media Arts EXPO, Guildhall, York, Thursday to Saturday

THE BAFTA-Qualifying Aesthetica Short Film Festival returns for its 14th year under the direction of Cherie Federico, this time integrating the tenth anniversary of York’s designation as Great Britain’s only UNESCO City of Media Arts. Fifteen venues will play host to 300 film screenings in 12 genres, Virtual Realty and Gaming labs, plus 60 panels, workshops and discussions. For the full programme and tickets, head to asff.co.uk.

The UNESCO EXPO will showcase the region’s creative sector, working in film production, games development, VFX (visual effects), publishing and design, with the chance to try out new projects and speak to creatives. Entry to the Guildhall is free.

Ghosts After Dark: New nocturnal complement to the Ghosts In The Gardens installation in York Museum Gardens

Nocturnal event of the week: Ghosts After Dark, York Museums Gardens, tomorrow to Sunday, 6.30pm to 9.30pm; last entry, 8.30pm

YORK Museums Trust and the York BID present the inaugural Ghosts After Dark, showcasing York’s rich tapestry of historical figures with light, sound and storytellers for four nights only.

Ticketholders will have the exclusive chance to experience York Museum Gardens like never before, by choosing their own path to explore 46 ghostly sculptures, hidden around the gardens and lit dynamically against an atmospheric background of smoke and sound. Box office: yorkshiremuseum.org.uk/ghosts-after-dark/.

Fishermen’s Friends: Playing York Barbican this week, then returning next October

Gig announcements of the week: Fisherman’s Friends, York Barbican, October 3 2025

IN celebration of performing sea shanties for more than 30 years across the world, Fisherman’s Friends will head out from the Cornish fishing village of Port Isaac to play a British tour split between 2025 and 2026.

York will come early, booked for night number two next October on a 32-date itinerary announced even before they have played their sold-out Barbican gig on Friday this week on their Rock The Boat tour, promoting fifth album All Aboard. Box office: yorkbarbican.co.uk.

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More Things To Do in York & beyond when ghosts light up gardens & dogs can be spotted. Hutch’s List No. 46, from The Press

Skylights: York band headline York Barbican for the first time tonight

FROM  Skylights to Ghosts After Dark, a fiesta of film to a musical dog show, Charles Hutchinson spots plenty to light up these November nights.

York gig of the week: Skylights, York Barbican, tonight, doors 7pm

ANTHEMIC York indie band Skylights play their biggest home-city gig to date this weekend with support from Serotones and Pennine Suite.

Guitarist Turnbull Smith says: ‘We’re absolutely over the moon to be headlining the Barbican. It’s always been a dream of ours to play here. So to headline will be the perfect way to finish a great year. Thanks to everyone for the support. It means the world and we’ll see you all there.” Box office update: Standing tickets still available at ticketmaster.co.uk.

Rob Rouse: Headlining Laugh Out Loud Comedy Club at The Basement, City Screen Picturehouse, tonight

Comedy gig of the week: Laugh Out Loud Comedy Club, Rob Rouse, Peter Brush, Faizan Shan and Damion Larkin, The Basement, City Screen Picturehouse, York, tonight, 8pm

PEAK District comedian, television regular, Upstart Crow actor and self-help podcaster Rob Rouse, who trained as a geography teacher at the University of Sheffield, makes a rare York appearance with his hyperactive, loveable brand  of comedy.

Harrogate Comedian of the Year 2012 Peter Brush combines a slight, bespectacled frame and scruffy hair with quirky one-liners and original material, delivered in an amusingly awkward fashion. Manchester comic Faizan Shah’s material makes light of growing up in an immigrant household with the mental health challenges it brings. Organiser Damion Larkin hosts as ever. Box office: 01904 612940 or lolcomedyclubs.co.uk.

Artist CJP with his work The Majestic Oak at Art Of Protest Gallery, York

Exhibition of the week: From Little Acorns Grow Mighty Hopes: An Exhibition of Hand-drawn Natural Wonders, Art of Protest Gallery, Walmgate, York, until November 16

ART Of Protest is the first gallery to show CJP’s work The Majestic Oak in an exhibition of original and rare limited-edition artwork. Look out for the Art Of Protest York Special Edition, only available to be ordered until November 16, featuring the River Ouse-dwelling Tansy Beetle, an elusive insect featured on a resplendent mural near York railway station.

“This is an amazing opportunity to own a truly unique celebration of British fauna with a very special York twist,” says gallery owner Craig Humble. “CJP will add a Tansy Beetle to each piece, along with the gold leafing of the branches.”

Pride And Prejudice * (*Sort Of): Making merry mayhem with Jane Austen’s novel at York Theatre Royal. Picture: Mihaela Bodlovic

Theatrical high spirits of the week: Pride And Prejudice* (*Sort Of), York Theatre Royal, November 4 to 9, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees

MEN, money and microphones will be fought over in Pride And Prejudice* (*Sort Of), the audacious retelling of a certain Jane Austen novel, where the stakes couldn’t be higher when it comes to romance but it’s party time, so expect the all-female cast to deliver such emotionally turbulent pop gems as Young Hearts Run Free, Will You Love Me Tomorrow and You’re So Vain.

Writer Isobel McArthur directs this new production of her West End hit, Olivier Award winner for best comedy and Emerging Talent Award winner in the Evening Standard Theatre Awards, now featuring University of York alumna Georgia Firth in the cast. Box office: 01904 623568 or yorktheatreroyal.co.uk.

On the spot: 101 Dalmatians The Musical takes up canine residence at the Grand Opera House from Tuesday. Picture: Johan Persson

Dog show of the week: 101 Dalmatians The Musical, Grand Opera House, York, November 5 to 9, 7pm plus 2pm Wednesday, Thursday and Saturday matinees

KYM Marsh’s Cruella De Vil leads the cast for this musical tour of Dodie Smith’s canine caper 101 Dalmatians. Written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris, the show is re-imagined from the 2022 production at Regent’s Park Open Air Theatre, London. 

When fashionista Cruella De Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, trouble lies ahead for Pongo and Perdi and their litter of tail-wagging young pups in a story brought to stage life with puppetry, choreography, humorous songs and, yes, puppies. Box office: atgtickets.com/york. 

3 Missing 10 Hours, directed by Fanni Fazakas, showing in the Animation programme at Aesthetica Short Film Festival 2024

York festival of the week: Aesthetica Short Film Festival, York city centre, November 6 to 10, and UNESCO City of Media Arts EXPO, Guildhall, York, November 7 to 9

THE BAFTA-Qualifying Aesthetica Short Film Festival returns for its 14th year under the direction of Cherie Federico, this time integrating the tenth anniversary of York’s designation as Great Britain’s only UNESCO City of Media Arts. Fifteen venues will play host to 300 film screenings in 12 genres, Virtual Realty and Gaming labs, plus 60 panels, workshops and discussions. For the full programme and tickets, head to asff.co.uk.

The UNESCO EXPO will showcase the region’s creative sector, working in film production, games development, VFX (visual effects), publishing and design, with the chance to try out new projects and speak to creatives. Entry to the Guildhall is free.

Ghosts After Dark: New nocturnal complement to the Ghosts In The Gardens installation in York Museum Gardens

Nocturnal event of the week: Ghosts After Dark, York Museums Gardens, November 7 to 10, 6.30pm to 9.30pm; last entry, 8.30pm

YORK Museums Trust and the York BID present the inaugural Ghosts After Dark, showcasing York’s rich tapestry of historical figures with light, sound and storytellers for four nights only.

Ticketholders will have the  exclusive chance to experience York Museum Gardens like never before, by choosing their own path to explore 46 ghostly sculptures, hidden around the gardens and lit dynamically against an atmospheric background of smoke and sound. Box office: yorkshiremuseum.org.uk/ghosts-after-dark/.

Rag’n’Bone Man: Returning to Scarborough Open Air Theatre next summer

Gig announcements of the week: TK Maxx presents Scarborough Open Air Theatre, UB40 featuring Ali Campbell, July 6, and Rag’n’Bone Man, July 11 2025

“I THINK I’ve got the best reggae band in the world,” says UB40 legend Ali Campbell, who last played Scarborough OAT in 2021. “They are all seasoned musicians, who have spent all their lives in professional bands, and I feel so confident with them.” Support acts will be Bitty McLean and Pato Banton.

Triple BRIT Award and Ivor Novello Award winner Rag’n’Bone Man, alias Rory Graham,  will follow up his 2023 Scarborough OAT show with a return next summer in the wake of his third album, What Do You Believe In? entering the charts at number three last Friday. His special guest will be Elles Bailey. Box office: ticketmaster.co.uk.

Show announcement of the year: Gary Oldman in Krapp’s Last Tape, York Theatre Royal, April 14 to May 17 2025

Gary Oldman reflecting on his first steps in professional theatre in the York Theatre Royal dressing rooms on his March visit

OSCAR winner Gary Oldman will return to York Theatre Royal, where he began his career as a pantomime cat, to direct himself in Krapp’s Last Tape next spring: his first stage appearance since the late-1980s.

The April 14 to May 17 2025 production of Samuel Beckett’s one-act monodrama was set in motion when Slow Horses star Oldman paid a visit to the St Leonard’s Palace theatre in March, when he met chief executive Paul Crewes.

“When Gary visited us at the beginning of the year, it was fascinating hearing him recount stories of his time as a young man, in his first professional role on the York Theatre Royal stage.,” says Paul.

“In that context when we started to explore ideas, we realised Krapp’s Last Tape was the perfect project. I am very happy that audiences will have this unique opportunity to see Gary Oldman return to our stage in this brand new production.”

Making plans: Actor and director Gary Oldman in discussion with York Theatre Royal chief executive Paul Crewes in the York Theatre Royal main house auditorium

Ticket prices start at £25, with priority booking for the York Theatre Royal Director’s Circle opening on November 6, YTR Members’ priority booking from November 11 and public booking on November 16, all from 1pm. To become a member and access priority booking, head to: https://www.yorktheatreroyal.co.uk/support-us/.

After graduating from Rose Bruford College of Speech and Drama, Londoner Oldman started out in the repertory ranks at York Theatre Royal in 1979 in such plays as Privates On Parade and She Stoops To Conquer and playing the Cat in Berwick Kaler’s third York pantomime, Dick Whittington, that Christmas.

Dame Berwick later told the Guardian in an interview in 2018: “Gary has gone on to become one of our greatest screen actors but I’m afraid he was a bit of a lightweight when it came to pantomime.

“He kept fainting inside the costume. On at least three occasions I had to turn to the audience and say, ‘Oh dear, boys and girls, I think the poor pussy cat has gone to sleep’!”

Gary Oldman as the Cat with dame Berwick Kaler, centre, in the 1979-1980 York Theatre Royal pantomime Dick Whittington. Picture: York Theatre Royal

Oldman, now 66, posted on Instagram: “My professional public acting debut was on stage at the York Theatre Royal. York, for me, is the completion of a cycle. It is the ‘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’.”

After cutting his teeth in York, New Cross-born Oldman went on to act at the Glasgow Citizens Theatre, the Royal Court, London, and the Royal Shakespeare Company. He then swapped theatre for film with break-our roles as Sid Vicious in Sid And Nancy (1986), Lee Harvey Oswald in JFK (1992) and Dracula in Bram Stoker’s Dracula (1992).

He later played Sirius Black in the Harry Potter film franchise and Commissioner Jim Gordon in Batman Begins, The Dark Knight and The Dark Knight Rises, won the 2018 Oscar, BAFTA and Golden Globe awards for Best Actor for his portrayal of Winston Churchill in Darkest Hour, and is now starring as obnoxious MI5 boss Jackson Lamb in the latest Apple+ series of British spy thriller Slow Horses.

Gary Oldman (third from the left in hat and glasses) in Privates On Parade at York Theatre Royal in 1979: one of his first professional performances after graduating from Rose Bruford College of Speech and Drama, in Sidcup, Kent, with a BA in Acting. Picture: York Theatre Royal

Oldman has been considering going back to the stage for a long time. “I have never been far from the theatre and, in fact, have been discussing plays and my return to the theatre for nearly 30 years,” he posted.

What happens in Krapp’s Last Tape, Samuel Beckett at his most theatre of the absurd? Each year, on his birthday, Krapp records a new tape reflecting on the year gone by.

On his 69th birthday, Krapp, now a lonely man, is ready with a bottle of wine, a banana and his tape recorder. Listening back to a recording he made as a young man, Krapp must face the hopes of his past self. 

The melancholic, tragicomic role was premiered in 1958 by Patrick Magee and has been played by the likes of Albert Finney, Harold Pinter, John Hurt, Stephen Rea and Kenneth Allan Taylor, the long-running Nottingham Playhouse pantomime dame, writer and director, at York Theatre Royal in 2009.

Gary Oldman’s Cat in the 1979-1980 York Theatre Royal pantomime Dick Whittington. Picture: York Theatre Royal

Samuel Beckett (1906 – 1989): the back story

IRISH writer, dramatist and poet, specialising in theatre of the absurd. Wrote in English and French. Principal works for the stage included Endgame, Krapp’s Last Tape and Waiting For Godot. Awarded Nobel Prize for Literature in 1969.

Gary Oldman: Further screen appearances

TINKER, Tailor, Soldier, Spy (Academy Award and BAFTA nominations); Mank (Academy Award and Golden Globe Award nominations); Oppenheimer; The Book Of Eli; Meantime; The Firm;  Prick Up Your Ears; Rosencrantz And Guildenstern Are Dead; State Of Grace;  Romeo Is Bleeding; True Romance; Leon/The Professional; The Fifth Element; Immortal Beloved and Dawn Of The Planet Of The Apes, among many others.

Worked with directors Stephen Frears, Oliver Stone, Frances Ford Coppola, Luc Besson, Alfonso Curon, Chris Nolan, Tony Scott, Ridley Scott, Steven Soderbergh, David Fincher and Paulo Sorrentino.

Did you know?

IN 1995 Gary Oldman and producing partner Douglas Urbanski founded a production company, producing Oldman’s screenwriting and directorial debut, Nil By Mouth, winner of nine majot awards from 17 nominations.

Selected to open the main competition for the 1997 50th Anniversary of the Cannes Film Festival, where Kathy Burke won Best Actress. The same year, Oldman won Channel Four Director’s Prize at Edinburgh International Film Festival, British Academy Award (shared with Douglas Urbanski) for Best Film and BAFTA for Best Original Screenplay.

In Focus: Other Lives Productions in How To Be Brave, Theatre@41, Monkgate, York, Sunday, 7.30pm, and on tour

Livy Potter as Katy, left, and Alice Rose Palmer as mum Natalie in Louise Beech’s How To Be Brave

ON March 19 1943, just after midnight, Merchant Seaman Colin Armitage’s cargo ship, the Lulworth Hill,  was torpedoed by an Italian Navy submarine in the South Atlantic. He scrambled aboard a life raft. Fifty days later HMS Rapid rescued him.

Colin was the grandfather of How To Be Brave playwright Louise Beech. Sixty-four years after his ordeal, Louise’s daughter, Katy, was diagnosed with Type 1 diabetes. In order to distract her during insulin injections Louise began to tell the story of Colin’s bravery and determination to survive. 

The story inspiring ten-year-old Katy to be brave in the face of her diabetes is a true one. She has said that Grandad Colin’s experience made her determined to carry on when she wanted to give up and die: “If Grandad Colin can survive an ordeal like that, I can do anything. I can do these injections,” she said. And she has never faltered.

Director Kate Veysey with Rose’s seagull Gilbert

“We hope that by presenting this story we can inspired audiences in the East Riding and beyond,” says director Kate Veysey, a familiar name from both York Theatre Royal Youth Theatre and Next Door But One productions.

Scenes alternate between the life raft and Katy’s house in Hull as York actors Jacob Ward and Livy Potter take the roles of Colin Armitage and Rose (Katy, given a pseudonym), joined by Lex Stephenson as carpenter Ken Cooke, on the raft, Alice Rose Palmer as Natalie (alias mum Louise) and Alison Shaw as nurse Shelley. Age guidance: ten upwards (the show contains moderate bad language). Box office: tickets.41monkgate.co.uk.

Lex Stephenson, as Ken Cooke, left, and Jacob Ward, as Colin Armitage, in Other Lives Productions’ How To Be Brave