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More Things To Do in York when a Yorkshireman’s favourite price is on offer. Hutch List No. 5 for 2023, from The Press

Hannah Davies: Poetic monologues at York Explore Library in Pilot Theatre’s Monoliths for York Residents’ Festival

THE best things in life are not always free, but plenty are this weekend for York residents. Charles Hutchinson also highlights the best value in theatre, music, art and comedy.  

Event of the week: York Residents’ Festival 2023, today and tomorrow

ORGANISED by Make It York, York Residents’ Festival 2023 combines more than 100 attractions, events and offers this weekend. Historical attractions such as York Minster, Jorvik Viking Centre, Fairfax House, York Castle Museum, Barley Hall and The Guildhall will be opening their doors for free to residents.   

Further highlights include wizard golf at The Hole In Wand; free river cruises with City Cruises; chocolate tours at York’s Chocolate Story; behind-the-scenes tours of York Theatre Royal and a virtual reality experience with Pilot Theatre’s Monoliths, featuring poetic monologues on city, country and coastal northern landscapes by Hannah Davies, Carmen Marcus and Asma Elbadawi  at York Explore Library. Restaurants, cafés and shops are taking part too. For full details, go to: visityork.org/resfest.

Fat chance…to see Sofie Hagen in her Fat Jokes show at Theatre@41

Comedy gig of the week: Sofie Hagen: Fat Jokes, Theatre@41, Monkgate, York, Tuesday, 8pm

EDINBURGH Fringe comedy award winner Sofie Hagen presents Fat Jokes, a storytelling show bursting with big jokes, fat punchlines and unforgettable moments. “Come as you are and enjoy an actual fat person at the top of her game,” says the Danish-born, London-based comedian’s publicity blurb. Box office: tickets.41monkgate.co.uk.

Travelogue of the week: Around The World In 80 Days, York Theatre Royal, Thursday, 2pm and 7.30pm; Friday, 7.30pm; Saturday, 2.30pm and 7.30pm

PRODUCERS Tilted Wig are teaming up with York Theatre Royal for a nationwide tour of Around The World In 80 Days in creative director Juliet Forster’s circus-themed version of Jules Verne’s story, first staged on York playing fields in 2021.

Original cast member Eddie Mann will be joined by Alex Phelps, Katriona Brown, Wilson Benedito and Genevieve Sabherwal, who each multi-role as the rag-tag band of travelling big-top performers embarks on a daring mission to recreate Phileas Fogg’s fictitious journey, interwoven with the true story of Nellie Bly’s globe-travelling deeds. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Anna Meredith: Genre-crossing composer and musician heading for The Crescent in Independent Venue Week. Picture: Gem Harris

Innovators of the week: Please Please You presents Rozi Plain and Mayshe-Mayshe, The Crescent, York, Tuesday, 7.30pm; Anna Meredith and Elsa Hewitt, The Crescent, York, Friday, 7.30pm

WINCHESTER singer-songwriter Rozi Plain showcases her fifth album, Prize, released on Memphis Industries on January 13. Highlights among its ten tracks include the blissful single Agreeing For Two, the synth explorations of Painted The Room and the woozy jazz inflections of Spot Thirteen.

Later in the week, in a special show for Independent Venue Week, The Crescent welcomes Anna Meredith MBE, the genre-crossing composer and producer whose work straddles contemporary classical, art pop, electronica and experimental rock. Guitar, drums, cello and tuba feature in her band. Box office:  thecrescentyork.com.

Liam Brennan’s Inspector Goole in An Inspector Calls, on tour at the Grand Opera House, York. Picture: Tristram Kenton

Political thriller returns: An Inspector Calls, Grand Opera House, York, February 7 to 11, 7.30pm nightly plus 2.30pm Wednesday and Thursday matinees

PREMIERED at the Theatre Royal in 1989, Stephen Daldry’s radical take on Yorkshireman J B Priestley’s thriller An Inspector Calls returns to York next month with tour regular Liam Brennan once more in the role of Inspector Goole.

Written at the end of the Second World War and set before the First, Priestley’s time play opens with the Birling family’s peaceful dinner party being shattered by the inspector’s call and subsequent investigations into the death of a young woman as the dangers of casual capitalism’s cruelty, complacency and hypocrisy are highlighted. Box office: atgtickets.com/york.

Leroy Virgil: Teaming up with York band The Black Skies at The Crescent

Country gig of the week: Hellbound Glory & The Black Skies, The Crescent, York, February 7, 7.30pm

RENO resident and Hellbound Glory main man Leroy Virgil has single-handedly invented an outlaw country music sub-genre he affectionately calls “Scumbag Country”.

His stories from the seedy underbelly of the place he calls home in sunny Nevada are full of character observations and introspection, set to a soundtrack of folk and blues-laced Americana. His York gig will be one of only three on his debut British tour to promote latest long player The Immortal Hellbound Glory: Nobody Knows You.

Young York alt/rock band The Black Skies will be his backing band as well as playing their own set at this double bill of whisky-drenched, low-slung country and rock’n’roll from the American mid-west and Yorkshire. Box office: thecrescentyork.com.

The poster for York Ceramics Fair 2023

Going potty for pottery: York Ceramics Fair, York Racecourse, March 4, 10am to 5pm, and March 5, 10am to 4pm

AFTER a short break to find a new venue, York Ceramics Fair makes a March return indoors at York Racecourse for a fourth instalment with an “impressive line-up of ceramicists”, complemented by activities, events, talks and more besides.

A free shuttle bus will be running between York Racecourse, on Kavesmire Road, and the Memorial Gardens Coach Park, in Station Road, York. Tickets: via Eventbrite at yorkceramicsfair.com/ticket-info.

Nik Briggs: Directing York Stage in Everybody’s Talking About Jamie: Teen Edition

Looking ahead: Everybody’s Talking About Jamie, Teen Edition, Theatre@41, Monkgate, York, May 29 to June 3

YORK Stage will be holding the first round of auditions for the Teen Edition of Everybody’s Talking About Jamie today, seeking black, Asian and mixed-race performers aged 13-19 to fulfil Nik Briggs’s company’s commitment to represent the diverse community of Sheffield, the show’s setting, through his casting. A second audition day follows on February 4.

Dan Gillespie Sells and Tom MacRae’s coming-of-age musical follows the true-life story of 16-year-old Sheffield schoolboy Jamie Campbell as he overcomes prejudice and bullying to step out of the darkness to become a drag queen. Box office: tickets.41monkgate.co.uk.

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Tom Bird bids farewell to York Theatre Royal after 5 years of momentous change

Tom Bird: Goodbye York Theatre Royal, hello Sheffield Theatres. Picture: Esme Mai

CHIEF executive Tom Bird is leaving York Theatre Royal after five years on February 3 to take up the equivalent post at Sheffield Theatres, England’s largest producing theatre complex outside London.

Head hunted for a post he “just couldn’t turn down”, he will migrate southwards to replace Dan Bates, who exited Sheffield last year after 13 years to become executive director of Bradford’s UK City of Culture 2025 programme.

From February 6, North Easterner (and Newcastle United fan) Tom he will be in charge of the South Yorkshire trio of Sheffield’s Crucible, Lyceum and Tanya Moiseiwitsch Playhouse (formerly the Studio), working closely with artistic director Robert Hastie and interim chief exec Bookey Oshin, who will stay on as deputy CEO, and the senior team.

He leaves behind a York Theatre Royal where he has overseen an emphasis on community productions and the showcasing of York talent; the departure of innovative artistic director Damian Cruden after 22 years and Britain’s longest-running pantomime dame, Berwick Kaler, after 41; the promotion of Juliet Forster to creative director with a programming team, and new partnerships with Emma Rice’s Wise Children company (and in turn the National Theatre) and Evolution Productions for the pantomime’s new chapter.

Such change could be planned, but then there was Covid, a shadow cast from March 2020, one that not only shut down the theatre in lockdown but led to redundancies and later the loss of £250,000 takings in a flash when the Christmas and New Year week of Cinderella last winter fell foul to a glut of positive tests.

York Theatre Royal chief executive Tom Bird, centre, with creative director Juliet Forster and Evolution Productions director and pantomime writer Paul Hendy

“We were on to our fourth Cinderella by then,” recalls Tom. “It was impossible to continue. It couldn’t have happened in a worse week. Losing those performances was awful, even though we  got going again for the last performances.”

Twelve months on, Tom bids farewell with the Theatre Royal in a healthy position. “There’s money in the bank; there’s a great team working here; the pantomime is reinvigorated; the programming is good; there are excellent partnerships in place. I’m really proud of everything we’ve done,” he says.

“I don’t think I’ve ever had a mission as such as I guess I wanted to learn that mission as I went along, and I certainly think the Theatre Royal is in a strong position. The relationship with Arts Council England is so important, and to still be on the NPO scheme [for National Portfolio funding for £1.8 million for 2023-2026) is so important.

“If I have one regret – and I couldn’t turn down the opportunity to run Sheffield – it is that it would have been nice to now have had two or three ‘normal’ years at York Theatre Royal as it’s such a wonderful place.”

Looking back on becoming the Theatre Royal’s executive director at 34 – he would later change the title to chief executive – after he and his family moved to York in December 2017, Tom says: “It was a massive change because my unofficial title at the Globe [Shakespeare’s Globe in London] was ‘Mr International’, producing a tour of Hamlet to 189 countries, but my personal circumstances had changed already.

A scene from The Coppergate Woman, York Theatre Royal’s 2022 community play. Picture: Jane Hobson

“We’d moved out to Kent; I’d been working as executive producer nationally and internationally, and though there was a lot of gloom about regional theatre at the time, I just thought, I’d love to get back north, to run a theatre.

“We’d co-produced plays to York, and there’s just something about the Theatre Royal, the building; the gorgeous auditorium.”

Nevertheless, Tom admits he was in for a surprise. “At first I thought, if you just transplanted London theatre here, it would work, but that was not the case,” he says. “York is a city of inequality, not the city that you would expect, and therefore not the theatre you would expect. You need to offer a cultural menu that caters for everyone. You have to fully fit in with the needs of the community, which is an exciting thing to do.

“After Damian left (in summer 2019), we wanted to make sure that we would be programming in a more collaborative way than we’d done before.  I think there’s since been the same amount of co-producing of shows, but we also said we wanted to do ‘very Yorkshire’ productions, like The Coppergate Woman community play and David Reed’s world premiere of Guy Fawkes last autumn.

“We’ve created the programming team, led by Juliet Forster, with associate director John R Wilkinson and resident artists, that naturally produces a wide range of voices and makes sure everything is rigorously tested as to what we will put on that stage and why.”

Wise Children’s co-production of Wuthering Heights with the National Theatre and York Theatre Royal

Community theatre is crucial, Tom says: “It’s what audiences want. It’s absolutely what people in the community say they want to see. The audiences for our community plays are phenomenal. July’s production of CJ Sansom’s Sovereign is already on track to sell out. York wants theatre shows that tell stories of the city and we’ve always tried to do that in an experimental way, which leads to us taking risks.”

For all the weight of its history, York needs to be averse to standing still. “The city has to make sure it’s always being dynamic in its culture and outlook, otherwise it will take on the profile of being frozen in aspic,” warns Tom.

“That’s why we did a hippy-trippy, Covid-influenced Viking story [The Coppergate Woman] and a dark comedy version of Guy Fawkes that people didn’t expect. You have to be ambitious and surprising. That’s a word we use all the time: the reward for York audiences is to be pleasantly surprised.”

As for the changing of the old guard in the pantomime, Tom says: “I’m conscious that it’s what I’ll be remembered for here, which is a shame. Bringing down the curtain on something is not what I want to be remembered for, but, to an extent, whoever had my job at the time, was going to have to deal with it in some way.

“Maybe someone else would have taken a different route, or taken it earlier, but I worked on three of Berwick’s pantomimes, so it wasn’t as though I didn’t know what I was dealing with, but there was an issue coming down the road in ten to 15 years’ time , maybe earlier: family audiences were not coming to the panto in2017-2018, so what was going to happen in future years?

“I’d grown an affinity with the company in those three years, as everyone does; you realise the exceptional quality of performers like David Leonard, but in all conscience, I could not responsibly leave the situation as it was.

Berwick Kaler playing Molly Motley in his last York Theatre Royal pantomime, The Grand Old Dame Of York, in 2018-2019. He co-directed and wrote the next year’s show, Sleeping Beauty, his last involvement with the Theatre Royal panto after 41 years

“I got a lot of public criticism – and a lot of private criticism too – and really there was a lack of understanding of what I was trying to achieve in making the change, which may have been my fault as I could have it explained it earlier, but everything I said at the time still stands.

“The audiences were declining and there was no obvious way of turning it around with that product still in place, and I would say that the decision to go into a partnership with Evolution Productions has been proved to be the right one.

“The new pantomime is still growing and we know there’s still work to do, but we’re really happy with how it’s going.”

After such highlights as The Travelling Pantomime’s socially distanced performances to York neighbourhoods in the first winter of Covid, the Love Bites and Green Shoots showcases for York professional theatre-makers, the Wise Children/National Theatre/York Theatre Royal co-production of Emily Bronte’s Wuthering Heights, and Tom’s groundwork for Kyiv City Ballet’s first ever British visit in June, he moves to Sheffield in the year he turns 40.

In the words of Lord Kerslake, chair of Sheffield Theatres Trust board: “We have appointed a driven, experienced and creative leader who will help shape the next chapter of this world-class organisation.”

Just as Tom Bird has shaped York Theatre Royal’s future too.

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Imgine if Charlie Chaplin and Stan Laurel had formed a double act…cue Told By An Idiot letting their imagination run free

Danielle Bird’s Charlie Chaplin, front, being lifted by Jerone Marsh-Reid’s Stan Laurel in a scene from Charlie & Stan with fellow cast members Sara Alexander (Charlie’s Mum and show pianist) and Nick Haverson (Fred Karno and show drummer). Picture: Matt Crockett

CHARLIE Chaplin and Stan Laurel could have been the greatest comedy double act that nearly was, and now they are in Told By An Idiot’s fantasia Charlie & Stan.

On tour from February 7 to March 4 after playing the 47th London International Mime Festival in a run at Wilton’s Music Hall, writer-director Paul Hunter’s silent comedy visits York Theatre Royal from February 14 to 18 in a poignant celebration of two Englishmen who changed the world of comedy

First told by Told By An Idiot in 2019, then revived by producer David Pugh for social-distanced performances and a run outdoors at Cornwall’s Minack Theatre under pandemic restrictions, Hunter’s “trueish” piece of magical storytelling returns in 2023 with its intertwining of real-life events with a fantastical reimagining of Chaplin and Laurel’s two years spent touring together before either became famous.

“The initial starting point was a friend of the company bringing us the idea of telling the story of the then unknown Charlie and Stan setting sail for New York in 1910 as part of Fred Karno’s music hall troupe, sharing a cabin and travelling around North America for 18 months with Stan as Charlie’s understudy,” says Paul, whose revival kickstarts Told By An Idiot’s 30th anniversary year.

“Stan got homesick and came home; Charlie received his invitation to go to Hollywood and within five years became one of the most famous faces in the world.”

 To make Charlie & Stan, Paul created a detailed storyboard structure and then fleshed out the scenarios with the actors, just as with Chaplin would eschew a script in favour of thinking, “the only thing I want to do is make something in a particular place” and then work from there.

Told By An Idiot writer-director Paul Hunter

“I knew I didn’t want to have mime or be experimental or avant-garde, but just tell the story without words but with the help of props and a jazz piano score by Zoe Rahman [played live by Sara Alexander] in a very captivating 85 minutes straight through to mirror the length of Chaplin’s films such as The Gold Rush.”

Paul may “play fast and loose with the facts” in his non-verbal, highly physical show but he did investigate into why a partnership failed to materialise. “Chaplin never mentioned Laurel even once in his autobiography, whereas Stan talked about Charlie, about him being our greatest comedian, until his dying day,” he says.

“Maybe this was the greatest double act that never was, but Chaplin was never going to share the spotlight with anyone, after his horrendous childhood. Maybe he was also jealous of Laurel because he was so talented too. Like when Stan had to go out on stage on his own when Karno refused to increase Charlie’s pay – and there was Charlie, sitting watching him from the fourth row!

“Ultimately, Laurel found his soul mate in Oliver Hardy, whereas Chaplin was a complete one-off, not only an extraordinary performer but also there’s an argument to say he was one of the greatest film directors, working in the dark with new skills as filmmaking changed.”

Paul’s show is based on fact, but “we refer to it as a true fantasy, where setting sail for New York leads us into the world of imagination with flash-forwards to Stan bumping into his future comedy partner and Charlie’s Little Tramp character evolving,” he says.

“We made a very conscious decision that all scenes should be completely inventions of our own, rather than taken from any film – and I love how we’ve been able to hoodwink people into thinking they are movie scenes!”

Setting sail for America: Jerone Marsh-Reid’s Stan Laurel, left, and Danielle Bird’s Charlie Chaplin. Picture: Matt Crockett

Chaplin was 21, Laurel a little younger, when they headed to America. “It’s a big thing, particularly for our two performers, that we wanted to cast them close to the ages that Charlie and Stan would have been,” says Paul.

“Danielle Bird (Charlie) and Jerone Marsh-Reid (Stan), who did the last tour too, are both in their early 20s. If cinema is a palace of dreams, then theatre is its own world of make-believe, and that’s reflected in the casting.

“When I was absorbed in the world of Chaplin, I was fascinated by his movement: he could have been a ballet dancer. Nijinsky even asked him where he trained as a dancer, but he didn’t, but Charlie had this feminine grace, which opened it up to a woman playing the role.

“At times the audience just see Chaplin and forget Dani is a woman. Every night Chaplin has to get a woman out of the audience to swim – and I think it would be more difficult if a man were playing him. There would  be more reluctance to go on stage but they trust a woman and that allows us to go further.”

Likewise, when picking Jerone for Stan, Paul says: “He’s mixed race, from Stafford, and again I thought there’s no point finding someone who can do an impression of Stan Laurel, but they had to capture the spirit.

“He’s being played by an actor who never thought he’d even be seen for the chance to play Stan, but that’s the nature of theatre: a world of imagination, rather than filling in the gaps for the audience, which makes the audience feel smarter – and all our work loves to do that!”

Told By An Idiot in Charlie & Stan, York Theatre Royal, February 14 to 18, 7.30pm plus 2pm, Thursday and 2.30pm, Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Copyright of The Press, York

Creating a world of imgination: Told By An Idiot actors Jerone Marsh-Reid’s Stan Laurel, left, and Danielle Bird’s Charlie Chaplin in Paul Hunter’s “true fantasy” Charlie & Stan. Picture: Matt Crockett
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More Things To Do in and around York in the jaws of a Jurassic invasion. Here’s Hutch’s List No. 4, courtesy of The Press, York

FROM giant dinosaurs to a heavyweight comedian, hardcore songs to a royal reading, Charles Hutchinson seeks to make life eventful.

Dinosaurs make a comeback: Jurassic Earth, Grand Opera House, York, January 28, 1pm and 4pm

JURASSIC Earth’s “live dinosaur show” roams York in an immersive, interactive, 75-minute, storytelling experience for all ages with state-of-the-art, animatronic, life-like creatures.

Audiences are invited to “bring your biggest roar and your fastest feet as you take Ranger Danger’s masterclass to become an Official Dinosaur Ranger – gaining the skills you need to come face-to-face with the world’s largest walking T Rex, a big-hearted Brontosaurus, tricky Triceratops, uncontrollable Carnotaurus, vicious Velociraptors and sneaky Spinosaurus”. Box office: atgtickets.com/york.

Tim Lowe: Cellist and York Chamber Music Festival director, performing Messiaen’s Quartet For The End Of Time at York Minster

 Holocaust memorial concert of the week: York Chamber Music Festival, Olivier Messiaen’s Quartet For The End Of Time, York Minster, Tuesday, 7pm

YORK Chamber Music Festival marks Holocaust Memorial Week – and the start of the festival’s tenth anniversary – with a performance of “one of the greatest pieces of music from the 20th century”, written and premiered in the German prisoner-of-war camp at Stalag VIIIa, Gorlitz, in 1941.

Olivier Messiaen’s Quartet For The End Of Time will be played by John Lenehan, piano, Sacha Rattle, clarinet, John Mills, violin, and festival director Tim Lowe, cello, in York Minster’s Lady Chapel under John Thornton’s restored 15th century Great East Window (the “Apocalypse Window”). Box office: tickets.yorkminster.org.

Lloyd Griffith: Comedy measured out as One Tonne Of Fun at The Crescent, York. Picture: Matt Crockett

Comedy gig of the week: Burning Duck Comedy Club presents Lloyd Griffith, One Tonne Of Fun, The Crescent, York, Thursday, 7.30pm

AFTER Covid stretched Lloyd Griffith’s last tour to “eight years or so”, he returns with his biggest itinerary to date, One Tonne Of Fun.

Since school, he has always been a show-off, and 20-odd years later, nothing’s changed, so expect stand-up, dubious impressions and a sprinkling of his (incredible) singing from the comic with Ted Lasso, 8 Out Of 10 Cats, Soccer AM, Question Of Sport, Not Going Out and House Of Games credits. Box office: thecrescentyork.com.

Ewa Salecka: Directing Prima Vocal Ensemble at the Joseph Rowntree Theatre

Choral concert of the week: Prima Vocal Ensemble, Lift Every Voice, Joseph Rowntree Theatre, York, January 29, 7.30pm

EWA Salecka directs Prima Vocal Ensemble in a life-affirming concert that weaves its way through diverse generations and genres with live accompaniment.

Living composers Lauridsen, Gjeilo, Whitacre and Jenkins sit alongside favourite numbers from Les Misérables and The Greatest Showman, complemented by songs by Annie Lennox, Elbow, the Gershwins and Cole Porter and a tribute to the people of Ukraine. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

Frank Turner & The Sleeping Souls: Playing York Barbican at the end of January

Hardcore York gig of the month: Frank Turner & The Sleeping Souls, York Barbican, January 31, 8pm

FRANK Turner, punk and folk singer-songwriter from Meonstoke, Hampshire, will be accompanied by The Sleeping Souls in York as he draws on his nine studio albums from a 17-year solo career.

Last year, the former Million Dead frontman, 41, topped the UK Official Album Chart for the first time with FTHC (his anagram for Frank Turner Hardcore) after his previous four all made the top three. Support slots go to Lottery Winners & Wilswood Buoys. Box office: yorkbarbican.co.uk.

Rosemary Brown: Author gives an insight into the remarkable life of Nellie Bly at York Theatre Royal

Who was Nellie Bly? In Conversation With Rosemary Brown, York Theatre Royal, February 4, 5.15pm, free admission

YORK Theatre Royal and Tilted Wig’s touring adaptation of Jules Verne’s madcap adventure Around The World In 80 days features not only the fictional feats of Phileas Fogg but also the real-life story of Nellie Bly, American journalist, industrialist, inventor, charity worker and globe-crossing record breaker.

In a free talk, director and adaptor Juliet Forster will be in conversation with Rosemary Brown, author of Following Nellie Bly, Her Record-Breaking Race Around The World, a book inspired by this human rights and environmental campaigner’s aim to put female adventurers back on the map. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Tony Froud: Directing York Shakespeare Project’s rehearsed reading of Edward II

The second coming of…York Shakespeare Project, Edward III, rehearsed reading, upstairs at Black Swan Inn, Peasholme Green, York, February 7, 7.30pm

PHASE Two of York Shakespeare Project begins with a staged rehearsed reading of Edward III, the rarely performed 1592 history play now widely accepted as a collaboration between William Shakespeare and Thomas Kyd, replete with its celebration of Edward’s victories over the French, depiction of the Black Prince and satirical digs at the Scots.

Rehearsed readings in February will be a regular part of YSP’s revamped remit to include work by the best of Shakespeare’s contemporaries. Tony Froud’s cast includes Liz Elsworth, Emma Scott and Mark Hird, best known for his work with Pick Me Up Theatre. Tickets: on the door or via eventbrite.com.

Home work: Sara Howlett, Sophie Bullivant and Laura Castle in rehearsal for Rowntree Players’ spring production of Teachers Leavers ’22

Spring term school play: Rowntree Players in Teechers Leavers ’22, Joseph Rowntree Theatre, York, March 16 to 18, 7.30pm and 2.30pm Saturday matinee  

REHEARSALS are underway for Rowntree Players’ production of Teechers Leavers ’22, former teacher John Godber’s update of his state-of-education play, commissioned for £100 by Hull Truck Theatre in 1984.

Actor Jamie McKeller, familiar to York ghost-walk enthusiasts as Deathly Dark Tours spookologist Doctor Dorian Deathly, is working with a cast of Sara Howlett, Sophie Bullivant and Laura Castle as they “put in the hard work needed for this very physically demanding play”. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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Stephen Daldry’s thrilling version of JB Priestley’s An Inspector Calls returns to York roots for Grand Opera House run

A scene from Stephen Daldry’s production from J B Priestley’s An Inspector Calls, heading to the Grand Opera House, York, on tour. Picture: Tristram Kenton

STEPHEN Daldry’s radical take on Yorkshireman J B Priestley’s thriller An Inspector Calls will return next month to York, the city where he first staged his award-garlanded production.

His premiere came at the Theatre Royal in the autumn of 1989, three years before its triumphant London opening at the National Theatre. Nineteen major awards and five million theatregoers worldwide later, Inspector Goole will be arriving unexpectedly at the prosperous Birling family home once more, this time on tour at the Grand Opera House from February 7 to 11.

Written at the end of the Second World War and set before the First, Priestley’s time play opens with the Birlings’ peaceful dinner party being shattered by the inspector’s call and subsequent investigations into the death of a young woman.

Goole’s startling revelations will shake the very foundations of their lives and challenge us all to examine our consciences as Daldry highlights the enduring relevance of Priestley’s dramatisation of the dangers of casual capitalism’s cruelty, complacency and hypocrisy. 

Liam Brennan will reprise his role as Inspector Goole from past tours, joined by Christine Kavanagh as Mrs Birling, Jeffrey Harmer as Mr Birling, Simon Cotton as Gerald Croft, Evlyne Oyedokun as Sheila Birling, George Rowlands as Eric Birling and Frances Campbell as Edna. 

Here, 2022-2023 tour cast member George Rowlands addresses questions not asked by Inspector Goole but by an investigative journalist.

Did you study An Inspector Calls at school?

“I did read it at school, although I can’t really remember much of it. But I did always like it. I always think at school when you sit down and analyse every single word, it can make you go a bit crazy, and I always thought it ruined books and plays.”

Is your appreciation of the play different as an adult?

“Now that I’m an adult, or more importantly now that I’m an actor, I definitely have more of an appreciation for it. This production of An Inspector Calls is now 30 years old and yet still as popular as ever.”

What makes the play so timeless and this production so engaging?

“At the end of the day, at its centre it’s a play about somebody in distress, and that doesn’t get old, does it? I think at different points in time, when we’ve put it on over the last 30 years, it’s been relevant. And this time around I think it’s more relevant than ever because of what’s going on in terms of the strike action and housing crisis.”

A shattering moment in An Inspector Calls

Provide three facts about your character, Eric Birling…

“Eric is well educated because he’s been sent to public school. He enjoys a drink, probably a little bit too much. The third fact is that Eric really wants to be respected by his dad. Unfortunately, the combination of those three facts results in some pretty catastrophic things.”

What made you want to be an actor?

“I think it beat doing any other boring job. I did find out quite early on in Year 6, for the-end-of-school plays we did The Wizard Of Oz, and I completely rewrote the script because I thought it was rubbish and obviously made my parts the best.

“I like storytelling and I like the creative and artistic aspect of it. With this production, it has enabled that part of acting, and it’s been a really good creative process.”

What’s the best part of going on tour with a show?

“Being able to play in these amazing theatres – I’m really excited to do that – and bringing the story to people.”

What are the essentials for your dressing room?

“ I’m sharing a room with Simon [Cotton], who’s playing Gerald. I don’t know… I think a bottle of water goes a long way. A bottle of water and some Vaseline is not a terrible idea – for the lips, obviously. I get chapped lips.”

What’s the most challenging part of being a performer?

“With other jobs, you can put a direct amount of work in, you can work more, you can do this, this and this, and your results will be better because of it. Like, if you’re studying for an exam, the more you revise, the better the result.

“But with acting it doesn’t work like that because being good is so subjective. There’s no grade. I think that’s quite hard. Putting lots of work in and not knowing really how it will go.”

If you could swap roles for a performance, would you?

“If I could pick any character, I’d probably pick Edna. I would love to play that role. If you haven’t seen this production, there’s a special thing that Edna is part of – a little bit of magic. She’s amazing.

“My second choice would be Mrs Birling. I really like Mrs Birling; she’s got such sass and doesn’t have the insecurities that Eric is stuck with.”

The National Theatre and PW Productions present An Inspector Calls at Grand Opera House, York, from February 7 to 11, 7.30pm plus 2.30pm, Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/York.

George Rowlands’ Eric Birling and Christine Kavanagh’s Mrs Birling in rehearsal in 2022 for An Inspector Calls
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Julia Donaldson’s lift-the-flap Tales From Acorn Wood stories transfer to York Theatre Royal stage in NLP premiere

Who’s keeping tired Rabbit awake in NLP’s staging of Tales From Acorn Woods?

NLP’S world premiere staging of Julia Donaldson and Axel Scheffler’s Tales From Acorn Wood visits York Theatre Royal on January 26 and 27.

Based on favourite stories from their lift-the flap books for pre-school children, the 50-minute touring show is suitable for one-year-olds and upwards or anyone who loves books.

In Tales From Acorn Wood, poor old Fox has lost his socks, but are they in the kitchen or inside the clock? Meanwhile, who’s keeping tired Rabbit awake?

Audiences can join in with Pig and Hen’s game of hide-and-seek and discover the special surprise Postman Bear is planning for his friends in a show full of songs and beautifully crafted puppets.

NLP (No Limit People) feature projection in their staging, along with technology that incorporates the book’s lift-the-flap elements.

Donaldson says: “I am really happy that the Tales from AcornWood are now moving to the stage. Fans of the books are bound to enjoy seeing the four main characters – Fox, Bear, Pig and Rabbit – brought to life through NLP’s clever staging. Live performance and songs are both very close to my heart and I am sure this production will delight children and families.”

“I am sure this production will delight children and families,” says writer Julia Donaldson

Scheffler enthuses: “I have always enjoyed illustrating the Tales From Acorn Wood stories; the wide cast of animal friends is fun to draw, and I enjoy developing their world through my pictures.

“I am very pleased that the NLP team is using state of the art staging and technology to create a brilliant experience for children, and I am looking forward to seeing it all, especially how they create the lift-th- flap effects on stage!”

In NLP’s creative team, puppet director and choreographer Johnny Autin is working alongside director Brad Fitt, production designer Ian Westbrook, motion graphic designer Louise Rhoades-Brown and lighting designer Alex Musgrave. Miles Russell is the composer and musical director; Entify’s Deborah Mingham has designed and created the props and puppets.

Tales From Acorn Wood has been made by the producing team behind Rod Campbell’s Dear Zoo Live and Dear Santa Live. 

Derrick Gask, NLP’s company director and general manager, says: “As a theatre production company, we’re all incredibly excited to be working with such a prestigious creative team, to bring these much-loved children’s books to life. At NLP, we’re passionate about producing live theatre that inspires and entertains, and we’re in no doubt that the Tales From Acorn Wood will do just that.”

NLP presents Tales From Acorn Wood at York Theatre Royal on January 26, 4pm, and January 27, 11am and 2pm. Box office: 01904 623568 or yorktheatreroyal.co.uk

“At NLP, we’re passionate about producing live theatre that inspires and entertains,” says company director Derrick Gask
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York Theatre Royal to stage CJ Sansom’s Tudor thriller Sovereign as community play on grand scale at King’s Manor in July

On the king’s manor: The Sovereign figure of Henry VIII (Mark Gowland) stands over York Theatre Royal creative director Juliet Forster, playwright Mike Kenny and, front, Juliet’s co-directors John R Wilkinson and Mingyu Lin at the launch of the Theatre Royal’s community production of Sovereign. Picture: Ant Robling

IN the climax to York Theatre Royal’s Sovereign Season, a community cast will stage a majestic outdoor summer production in the grounds of King’s Manor in Exhibition Square.

Adapted for the stage by prolific York playwright Mike Kenny, the world premiere of CJ Sansom’s York-based Tudor thriller will run from July 15 to 30 under the direction of Juliet Forster, John R Wilkinson and Mingyu Lin.

York Theatre Royal is seeking to assemble a cast of 100 adults and young performers aged nine and over from this month’s auditions for a production “on a grand scale”.

The use of King’s Manor could not be more apt, given Sansom’s setting of the story in Tudor York in 1541, when the Council of the North would meet there.

History records that St Mary’s Abbey, in Museum Gardens immediately behind King’s Manor, was suppressed by Henry VIII in 1539, destroying most of the monastery. King’s Manor – or Abbot’s House as it was known – survived, however, and continued to be the Council of the North’s headquarters.

In anticipation of an “ostentatious” Royal visit by Henry VIII and Queen Catherine Howard in 1541, the city of York repaired and improved the building. The royal party duly occupied the manor house for 12 days, their visit leading to the building becoming known as King’s Manor.

In Sansom’s York of 1541, the play follows lawyer Matthew Shardlake and his assistant Jack Barak who await the arrival of Henry VIII on his northern progress.

Tasked with a secret mission, Shardlake is protecting a dangerous prisoner who is to be returned to London for interrogation. When the murder of a York glazier plunges Shardlake into a deep mystery that threatens the Tudor dynasty itself, he must work against time to avert a terrifying chain of events.

Told through the voices of the people of York, the Theatre Royal production promises to release all the intrigue, conspiracy and thrills of Sansom’s novel. Alongside the community ensemble, two professional actors will star in the production too. Rehearsals begin on April 15, taking in two weekday evenings and Saturday daytimes in the lead-up to the tech weeks from July 3 and 10.

Already the Sovereign Season has taken in the world premiere of David Reed’s Guy Fawkes, with the Royal Shakespeare Company’s political thriller Julius Caesar still to come from June 13 to 17, directed by Atri Banerjee.

“A lot of the plays in the season deal with different forms of leadership and resistance; what’s good leadership; what’s good sovereignty,” says Theatre Royal creative director Juliet Forster.

“The jewel in the crown is CJ Sansom’s historical thriller Sovereign, the third book in the Shardlake trilogy, where Henry VIII came up here to sort out the northern rebels, beat us into line and show his power in his northern progress.”

York playwright Mike Kenny: Adapating CJ Sansom’s Sovereign for the York Theatre Royal community production

Welcoming the chance to adapt Sovereign, Mike Kenny says: “It will push the form of community theatre in all sorts of ways. I got invited to a conference in Montpellier [France] about large-scale community theatre, and though I’d never thought of it as being a very British thing, I was asked to talk about the York experience of staging community plays.

“I was aware, as I was talking through the experience, that every time we’ve done such a play, we were pushing the envelope because, in York, we don’t take the pre-digested version, we take the local story and push it.

“In this instance, I don’t think anyone has done that with a whodunit like this one, where Shardlake, the central character is disabled and gets a lot of stick because of that.”

Mike continues. “The book is set in 1541, well before Shakespeare’s play Richard III was written [1592-93], which reflected attitudes towards disability. It’s an interesting development in community theatre to have a disabled actor in the lead role.”

Co-director John R Wilkinson points out: “Shardlake’s sidekick is Jewish, another prejudice of that time.”

Mike rejoins: “That’s particularly potent in York, where the play is set, more than 300 years after the Massacre at St Clifford’s Tower, where the Jewish pogrom happened in 1190. A couple of the scenes are set there, so it’s pushed the boat again.”

Juliet says: “It’s the first time we’ve done an adaptation as a community play. Normally we take history and creative a fictional history, like we did for Blood + Chocolate, In Fog And Falling Snow, Everything Is Possible: The York Suffragettes and The Coppergate Woman.

“This time, there’s already an historical fictional narrative and we’re then bringing out the really strong York connections.”

Mike notes how: “One of the things that hit me hard was how Henry VIII was directly responsible for the end of the medieval Mystery Plays, which had been a Catholic tradition in York. They came to an end in Henry’s time, finally being stopped 20 years after his visit.”

Just as the revived York Mystery Plays have set the benchmark for community productions in the city, so York Theatre Royal continues to relish picking up the baton and taking that theatrical form in new directions.

York Theatre Royal presents CJ Sansom’s Sovereign at King’s Manor, Exhibition Square, York, from July 15 to 30. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Copyright of The Press, York

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More Things To Do in York and beyond. Hutch’s List No. 2 for the road ahead in 2023, apocalyptic art et al, from The Press

John Ledger: Back To Normalism artist at Micklegate Social and Fossgate Social

IT’S time for back-to-normal service to resume as Charles Hutchinson wipes the sleep from the eyes of his diary for 2023. 

Exhibition launch of the week: Back To Normalism, by John Ledger, Micklegate Social, Micklegate, and Fossgate Social, Fossgate, York, January 13 to March 13

ON the portentous Friday the 13th, the preview of Barnsley artist John Ledger’s solo show Back To Normalism begins at 7pm at Micklegate Social. 

Ledger looks at the uncanny reality that has unfolded since the pandemic started, along with the underlying weirdness of trying to patch up the black holes in our collective experience of time, in a show about cultures uprooted and disjointed by a series of disasters and distorted by the consequences of trying to repeatedly return to a “before” moment.

Baaaaaarrrrgggghhhhhhbican frustration! Ricky Gervais’s brace of Armageddon dates at York Barbican sold out in 27 minutes

Apocalypse very soon: Ricky Gervais, Armageddon, York Barbican, Tuesday and Wednesday 7.30pm precisely

ARMAGEDDON is not the end of the world as we know it but the name of grouchy comedian, actor, screenwriter, director, singer, podcaster and awards ceremony host Ricky Gervais’s new tour show.

Gervais, 61, will be torching “woke over-earnestness and the contradictions of modern political correctness while imagining how it all might end for our ‘one species of narcissistic ape’,” according to the Guardian review of his Manchester Apollo gig. Box office? Oh dear, you’re too late for Armageddon; both nights have sold out.

Chris Helme: Revisiting his days in The Seahorses

Love Is The Law unto himself: Chris Helme, solo Do It Yourself 25th Anniversary Tour, Pocklington Arts Centre, January 14, 8pm

YORK singer-songwriter Chris Helme is marking the 25th anniversary of The Seahorses’ only album, Do It Yourself, released on May 26 1997 in guitarist John Squire’s short-lived post-Stone Roses project with Helme and fellow York musician Stuart Fletcher on bass.

Recorded in North Hollywood, California, the album was pipped to the number one spot by Gary Barlow while debut single Love Is The Law reached number three. A further highlight of Helme’s solo acoustic set will be Love Me And Leave Me, Liam Gallagher’s first songwriting credit, no less. Box office: 01759 301547 or pocklingtonartscentre.co.uk.

The Lonesome Ace Stringband: Turning bluegrass bluer and grassier at Selby Town Hall

Better late than never: The Lonesome Ace Stringband, Selby Town Hall, January 18, 8pm

RE-SCHEDULED from January 20 2022, The Lonesome Ace Stringband’s gig features righteous folk and country music, played by an old-time band with bluegrass chops and a feel for deep grooves.

Band members Chris Coole, banjo, John Showman, fiddle, and Max Heineman, bass, are three Canadians lost in the weird and wonderful traditional country music of the American South, having served their time in New Country Rehab, The David Francey Band, The Foggy Hogtown Boys and Fiver. Box office: 01757 708449 or selbytownhall.co.uk.

Robert Gammon: Relaxed concert of piano music at St Chad’s

Afternoon entertainment: Robert Gammon, Dementia Friendly Tea Concert, St Chad’s Church, Campleshon Road, York, January 19, 2.30pm

AT the first Dementia Friendly Tea Concert of 2023, pianist Robert Gammon plays J S Bach’s Prelude and Fugue in B flat major from The Well-Tempered Clavier Book 2, Mozart’s Piano Sonata in B flat major K. 570 and Schubert’s serene Impromptu in A flat major, D. 935 No. 2. 

As usual, 45 minutes of music will be followed by tea and homemade cakes in the church hall. Next up will be University of York Students (violin and piano) on February 16. No charge, but donations welcome for church funds and Alzheimer’s charities.

Tales From Acorn Wood: Julia Donaldson and Axel Scheffler’s stories take to the York Theatre Royal stage

Children’s show of the month: Tales From Acorn Wood, York Theatre Royal, January 26, 4pm; January 27, 11am and 2pm

NLP’s world premiere staging of Tales From Acorn Wood is based on favourite stories from Julia Donaldson and Axel Scheffler’s lift-the flap books for pre-school children, featuring the sock-losing old Fox, the tired Rabbit, Postman Bear’s special surprise and Pig and Hen’s game of hide-and-seek.

Suitable for one-year-olds and upwards or anyone who loves books, this 50-minute touring show is full of songs, puppetry, projection and flap-lifting technology. Box office: 01904 623568 or yorktheatreroyal.co.uk.

Rob Auton: Getting mighty Crowded in his new stand-up show

Crowd pleaser: Rob Auton, The Crowd Show, Theatre@41, Monkgate, York, February 24, 8pm; Hyde Park Book Club, Leeds, February 25, 7.30pm

CHARMINGLY eccentric, uplifting and poetic writer, comedian, actor and podcaster Rob Auton returns home to York on the 2023 leg of The Crowd Show tour.

After his philosophical observations on the colour yellow, the sky, faces, water, sleep, hair, talking and time, now he discusses crowds, people and connection in a night of comedy and theatre “suitable for anyone who wants to be in the crowd for this show”. Box office: York, tickets.41monkgate.co.uk; Leeds, hydeparkbookclub.co.uk.

Stewart Lee: Three nights, fully booked already, at York Theatre Royal in March

Too late for tickets already: Stewart Lee, Basic Lee, York Theatre Royal, March 20 to 22, 7.30pm

AFTER filming last May’s three-night run of his Snowflake/Tornado double bill for broadcast on the BBC, spiky comedian Stewart Lee returns to York with his back-to-basics new show.

Following a decade of ground-breaking high-concept gigs involving overarched interlinked narratives, Lee enters the post-pandemic era in streamlined solo stand-up mode: one man, one microphone, and one microphone in the wings in case the one on stage breaks. Tickets update: Sold out, basically.

Hands up who’s starring in Heathers: The black comedy musical to die for is heading to the Grand Opera House

Too cool for school: Heathers The Musical, Grand Opera House, York, May 9 to 13

WELCOME to Westerberg High, where Veronica Sawyer is just another nobody dreaming of a better day. When she joins the beautiful and impossibly cruel Heathers, however, her craving for popularity may finally come true, whereupon mysterious teen rebel JD teaches her that it might kill to be a nobody, but it is murder being a somebody.

Winner of the What’sOnStage Award for Best New Musical, Kevin Murphy and Laurence O’Keefe’s black comedy rock musical, based on the 1988 cult film, makes its York debut,  produced by Bill Kenwright and Paul Taylor-Mills, directed by Andy Fickman and choreographed by Gary Lloyd. Box office: atgtickets.com/York.

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Dame Berwick’s panto, The Adventures Of Old Granny Goose, is on the home straight

Berwick Kaler’s dame, Mrs Plum-Duff, in The Adventures Of Old Granny Goose. Picture: David Harrison

DAME Berwick Kaler, David Leonard, Martin Barrass, Suzy Cooper and AJ Powell are into the final week of their second pantomime at the Grand Opera House, York.

The Adventures Of Old Granny Goose ends on Sunday in Berwick’s first variation on a Mother Goose theme since his Millennium pantomime, Old Mother Millie, at York Theatre Royal.

“That one gave me a panic attack,” he admitted. “There was no story, and it wasn’t based on a fairytale. To my surprise, we ended up being the only theatre doing a millennium-based panto!”

No such palpitations this time: Berwick completed his script by 6am on December 1, giving the writer, director and dowager dame plenty of rehearsal time to hone it with his regular team.

“It will either work or it won’t, but I still feel as fit as a fiddle, though I can’t jump through any more windows, but we make sure routines are properly done,” he said that day.

“I’m ageing up for the part,” joked Berwick, 76, as the Old Mother turned into the Old Granny. “I just think we can have a lot of fun with the audience about getting older. They know my age, Martin and Suzy’s age, playing my son and daughter, so each year I make them younger,” he says.

Surrounded by familiar faces, Berwick does have one new factor this year: the role of UK Productions as the Grand Opera House panto producers for the first time. “They’re the second largest panto company in the country, and they do know the history of our pantomime,” he says.

No Covid restrictions, no masks, means Berwick can revel in interaction with the audience once more. “Last year, we could only hear the laughter, not see the smiles,” he said. “But this year, I can go down the steps from the stage, get out to the audience, and I’m only interested in doing the show if I can still do that because there has to be ad-libbing.”

The Adventures Of Old Granny Goose runs at Grand Opera House, York, until Sunday. Performances: 2pm and 7pm, Thursday, Friday and Saturday; 1pm and 7pm, Sunday. Box office: atgtickets.com/York

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York Theatre Royal teams up with Tilted Wig for second Around The World In 80 Days travels, this time going nationwide

The cast for Tilted Wig and York Theatre Royal’s Around The World In 80 Days

TILTED Wig are teaming up with York Theatre Royal for a nationwide tour of Around The World In 80 Days from February 2 to July 22 2023. Rehearsals will begin in York next Monday.

Theatre Royal creative director Juliet Forster’s adaptation of Jules Verne’s story first toured all four corners of York in August 23 days in 2021, not in a hot-air balloon, but on a trailer, whose sides could be dropped down for the set to be built around, in the tradition of travelling players going from town to town.

Forster’s circus-themed production played four York playing fields – Carr Junior School, Copmanthorpe Primary School, Archbishop Holgate’s School and Joseph Rowntree School – followed by a last stop, back indoors, at the Theatre Royal, where Tilted Wig’s new tour of England, Scotland and Wales will open from February 2 to 4.

In Forster’s version, Verne’s original characters are transformed, embracing different modes of transport in the frantic race to travel around the world in 80 Days. Original cast member Eddie Mann will be joined by Alex Phelps, Katriona Brown, Wilson Benedito and Genevieve Sabherwal, who each multi-role as the rag-tag band of travelling circus performers embarks on a daring mission to recreate Phileas Fogg’s journey.

Eddie Mann: Returning to the roles of the Knife Thrower and Detective Fix

Phelps will play the determined Ringmaster and Fogg, having appeared in As You Like It for Shakespeare’s Globe/CBeebies, When Darkness Falls for Park Theatre and Hamlet for Shakespeare’s Rose Theatre.

Actor and puppeteer Brown will be the Acrobat and Nellie Bly; Sabherwal, the Trick Rider and Aouda; Wilson Benedito, the Clown and Passepartout, and New Zealander Mann, the sharp-witted Knife Thrower and Detective Fix.

Writer-director Forster said in 2021: ““There was a risk that a show would have a stuffy gentlemen’s club, outdated feel to it because it’s a male-dominated story, so I thought, ‘how do we make it a play for today?’. That’s when I decided to put Nellie Bly’s story in there too.”

For the uninitiated, Nellie Bly was the pen name of Elizabeth Cochrane Seaman, an American journalist, industrialist, inventor and charity worker, who made her own record-breaking trip around the world – and did so with more alacrity than the fictional Fogg.

The original York Theatre Royal cast for Around The World In 80 Days in August 2021, including Eddie Mann, centre. Picture: Charlotte Graham

“I read her book about going around the world: a beautiful piece of travel journalism with such lovely detail, and I thought, ‘maybe we should just do her story’, but then I decided, ‘no, let’s look at finding a form for a play that fits bit both stories in’,” Juliet said.

Move forward to 2023’s revival, and the director says: “I was amazed that we generally know more about Jules Verne’s fictional characters than we do about Nellie Bly. I knew I had to tell her story. I found that this approach allowed interesting themes to emerge around whose stories get told, whose stories dominate and who should stand aside to give space to the untold ones.”

Tour producer Tilted Wig Productions was formed in 2017 by Katherine Senior and Matthew Parish, who have more than 15 years of experience producing and touring plays throughout the UK, taking 20-plus productions on the road, such as Philip Meeks’s Murder, Margaret, and Me, Lady Chatterley’s Lover and The Picture Of Dorian Gray.

York Theatre Royal creative director Juliet Forster: Writer-director of Around The World In 80 Days

“Our shows now tour around some of the biggest theatres in the UK, yet our original ethos has always remained the same: whether Titled Wig are producing a classic play or a vibrant new adaptation, we always aim to inspire a bright and innovative creative team to take our stories UK-wide,” they say.

Juliet is joined in the production team by set designer Sara Perks; lighting designer Alexandra Stafford; composer and sound designer Ed Gray; movement director Asha Jennings-Grant and fight director Jonathan Holby.

Tilted Wig and York Theatre Royal present Around The World In 80 Days at York Theatre Royal on February 2, 2pm and 7.30pm, February 3, 7.30pm, and February 4, 2.30pm and 7.30pm. Box office: 01904 623568 or yorktheatreroyal.co.uk. Also: Cast, Doncaster, July 5 to 8; castdoncaster.com. Age guidance: seven plus.

The tour poster for Tilted Wig and York Theatre Royal’s Around The World In 80 Days

UPDATE 9/1/2023

REHEARSALS have begun today for Tilted Wig and York Theatre Royal’s six-month tour of Around The World In 80 Days.

Gathering for the first time were Wilson Benedito, left, Katrina Brown, Genevieve Sabherwal and Alex Phelps. Missing was fifth cast member Eddie Mann, who will join rehearsals later. Picture by Anthony Robling.