Harriet Wells’s Annie with Primrose’s Sandy in York Light Opera Company’s Annie at York Theatre Royal. Picture: Matthew Kitchen Photography
ANNIE is Watford-based director Martyn Knight’s swan song with York Light Opera Company after 22 shows over two decades of working with “such a wonderful theatre ‘family’”.
All that travelling north to make the Light shine brightly has been rubber-stamped by Knight being made an honorary life member, and he leaves with a sparkling account of Charles Strouse, Martin Charnin and Thomas Meehan’s 1977 musical.
He knows Annie so well – this is his fifth production – but by comparison, York Light has not revisited the show since 2001 when the late titan of the York am-dram stage, Bev Jones, was at the helm as director, choreographer and conductor. “No nonsense but great,” as Gemma Kirk, one of his Annies, described him in her 2026 programme recollections, grateful for his guidance into “what it’s like in the real world of performing”.
In turn, Martyn Knight believes the greatest joy of Annie is the chance to see young talent blossom, in this case in the nine-strong Yellow Team (on press night) and Blue Team of orphans, being nurtured under the erratic, maladroit tutelage of Annabel van Griethuysen’s ever-tipsy Miss Hannigan under the shadow of the Wall Street Depression in 1933 New York City.
Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan. Picture: Matthew Kitchen Photography
Among those orphans is the precocious, wilful Annie, a role shared between Harriet Wells, so impressive as Young Alison in Pick Me Up Theatre’s Fun Home at York Medical Society last year, and Hope Day, whose stage credits list already takes in the Grand Opera House pantomime Beauty And The Beast, Opera North’s A Midsummer Night’s Dream, Jemima Potts in York Stage’s Chitty Chitty Bang Bang and York Theatre Royal’s 2023 community play Sovereign.
It was all Wells that starts Wells on press night – Day’s nights would follow – as Harriet affirmed all that promise in Fun Home in a musical production on a much grander stage and scale. She looked every inch at home as much as Primrose, the four-year-old Golden Labrador, in the role of Sandy, the stray dog she befriends on the Big Apple’s impoverished streets.
Harriet’s Annie, she of the ginger hair and eternal optimism, is the show’s driving force, determined to find her long-missing parents. Her opening song may be Maybe, but she has the positivity of Definitely, not Maybe. Harriet has the nascent singing chops, the American accent, and all the indefatigable energy, reminiscent of Judy Garland’s Dorothy in The Wizard Of Oz.
Director-choreographer Knight and assistant director Kathryn Addison bring out the full characterisation in Miss Hannigan’s cheeky, defiant orphans (Yellow Team members Elizabeth Reece’s Duffy, Sophie Helme’s Pepper, Perdie Rolfe’s July, Belle Sturdy-Flannery’s Tessie, Bea Wells’s Kate, Lottie Barnes’s Lizzie, Leonore Thornton’s Lilly and the particularly exuberant Emilia Cole’s Molly). Their dancing is so full of joy; their singing in It’s The Hard Knock Life a thrill rather than shrill.
Neil Wood’s Oliver “Daddy” Warbucks with Hope Day’s Annie in York Light’s Annie. Picture: Matthew Kitchen Photography
Knight’s first instinct was that Annabel van Griethuysen – who he first directed in her York Light debut in Guys And Dolls in 2018 – might be a little young for the sozzled sourpuss role of Miss Hannigan, but her audition had “Cast me” written all over it, he said.
As her programme profile states, Miss Hannigan is “one of my favourite characters in one of my favourite musicals”, and that assertion is matched by van Griethuysen’s woozy headache of a performance: that skill of ‘drunk’ acting, flask in hand, but without overplaying it, so that there is still humour, even pathos, in her villainy: at once a lush, but louche. She’s a mighty fine singer too, caustic in Little Girls, full of bravado in Easy Street.
From Mr Bumble in Oliver to Callaghan in Legally Blonde and especially cut-throat Sweeney in Sweeney Todd: The Demon Barber Of Fleet Street, Neil Wood has put the dark into York Light shows aplenty, but here he shines as principled industrialist Oliver “Daddy” Warbucks, influential friend of the President.
Warbucks may have a house full of servants and famous paintings (latest acquisition, Leonardo da Vinci’s Mona Lisa), but something is missing from a life fuelled by making money and the need to reopen his factories. Annie, the orphan he gives a home for Christmas, opens his heart with her belief that “the sun’ll come out tomorrow”.
Lottie Barnes, Sophie Helme, Belle Sturdy-Flannery and Emilia Cole from the Yellow Team’s Orphans
Wood’s partnership with Wells’s Annie is delightful – Warbucks blooms as she blossoms – while his singing is full of warmth, conviction and resonance, assertive in N.Y.C, questioning himself in Why Should I Change A Thing? and reflective in Something Was Missing.
Sarah Craggs’s unflappable Grace Farrell is ever supportive of Annie and Warbucks alike; Martin Lay’s Rooster and Chloe Jones’s Lily St Regis bring bags of wrong’un personality to grafter duo Rooster and Lily St Regis; Richard Weatherill makes a dapper radio show presenter, Bert Healy, performing Never Fully Dressed Without A Smile so perkily with Pascha Turnbull, Clare Meadley and Rhian Wells, who amuse as vintage harmony act The Boylan Sisters.
Fifty years after his York Light debut in Showboat (“when half the cast ‘blacked up’,” he recalled in conversation post-show), John Hall brings gravitas to President Roosevelt, his singing as powerful as ever. Paul Laidlaw’s orchestra enrich every number, Scenic Projects’ set design and The Loft Costumes’ costumes are colourful and smart, adding to the high quality of Knight’s fantastic finale to his York Light years.
York Light Opera Company in Annie, York Theatre Royal, resuming tomorrow until February 21, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Chloe Jones’s Lily St Regis, left, Martin Lay’s Rooster and Annabel van Griethuysen’s Miss Hannigan performing Easy Street in York Light’s Annie. Picture: Matthew Kitchen Photography
Chloe Jones’s Lily St Regis and Martin Lay’s Rooster in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography
MARTYN Knight directs York Light Opera Company for the last time in its first staging of Annie in 25 years at York Theatre Royal from tomorrow to February 21.
“It’s my swan song for York Light after 21 years,” says Martyn. “I’m nearly 70, I’m still haring up and down the country – and I’ve just finished the panto season in Eastbourne, where I’ve been the dame for 21 years [at the Devonshire Park Theatre], playing Sally Smee, Smee’s mum, in The Adventures Of Peter Pan this winter.
“You have people coming through as performers all the time, and you need to have directors coming through too. There are only so many dance numbers you can do over the years.”
To prove the point, Martyn is directing Annie for the fifth time. “That spans several years,” he says. “Until now, they’ve all been in the south, High Wycombe, Taunton, Weymouth and… the other one eludes me. York Light is the first one in the north.”
Reflecting on more than two decades at the helm of 22 York Light shows, he says: “As a company, they have brought me friendship and family, as I’ve made so many friends over the years, working with incredible people, with all the joy of giving back to amateur theatre.
“What I get out of it is amazing. I started in the amateurs, never training in dancing and singing, but got the chance in 1976 o start working as a dancer in Portugal at Casino Estoril, the biggest casino in Europe at the time.
Annabel van Griethuysen’s Miss Hannigan. Picture: Matthew Kitchen Photography
“I was in the floor show, I was 19/20, in my ‘gap year’, and being paid to do it, then went to Japan, Hong Kong and Singapore – onwards and upwards.”
Martyn continues: “I was never excellent in the three disciplines, but I could act, sing and dance, did lots of rep things, and ultimately went into the West End in one of those shows. In around 1990, I was in panto with Hinge & Bracket, alongside these 18 and 19-year-olds, when I was in my 30s, and I remember thinking, ‘I should get a proper job’, just as my mum always suggested.”
Cue Martyn directing and choreographing shows at the Watford Palace Theatre, where he had first performed at the age of 11 “when my mum got me into theatre”. “My dad was very high up in management at Heinz, but I have always been a rebel, going against what’s expected,” he says.
Directing has brought him much joy, not least when revisiting a musical such as Annie, a heart-warming tale of hope, family, and second chances with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile.
“I think it’s the children’s element of the show that makes Annie so popular, the chance to see your local talent on stage. We have 18 girls, aged seven to 13, and we auditioned far more than that,” says Martyn.
Annie at the double-trouble: Hope Day, left, and Harriet Wells sharing the title role in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography
“They really have that wow factor, and to me it’s all about the next generation of young performers. That’s what I like, when you see the talent coming through.”
Harriet Wells and Hope Day will be sharing the title role in the heart-warming tale of hope, family and second chances with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile.
“Harriet and Hope have very different qualities and different approaches to playing the part, which I love,” says Martyn. “Harriet is very expressive; Hope was among the first ones I saw in the auditions, where you’re looking to spot someone who has star quality, and she really made me watch. She has a beautiful face.
“They’re both lovely singers and very good actresses, with demanding songs that they do so well, and though the hardest part is the dancing, they’re coming to terms with that too.”
Expect dazzling choreography, stunning costumes and a full live band in Martyn’s production, alongside a stellar cast of York talent, led by Annabel van Griethuysen as Miss Hannigan after her forgetful but unforgettable Sister Mary Amnesia in Nunsense: The Musical at Theatre@41, Monkgate, in Summer 2024 and hostess Marlene Cabana in Eurobeat: Pride Of Europe at the same theatre last summer.
Sarah Craggs and Neil Wood in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography
“Annabel is someone who didn’t cross my mind…until I saw her in the audition; slightly younger than she should be for Miss Hannigan, but her performance said ‘Cast me’,” says Martyn.
“Her last lead for me, [as Sarah Brown in 2018] in Guys And Dolls, was very different, which shows she is a very diverse, powerful performer. Put her together with Martin Lay’s Rooster and Chloe Jones’s Lily St Regis, and they’re really good together.”
Martyn is as busy as ever – also working on a production of Priscilla Queen Of The Desert The Musical in Watford at present– and he is exacting in his standards. “You play to your strengths, but I also change,” he says. “As a director, I always think I could do it better, so I do alter things.”
York Light Opera Company in Annie, York Theatre Royal, February 12 to 21, 7.30pm, except February 15 and 16; February 14, 15 and 21, 2.30pm; February 19, 2pm. The February 17 show will be British Sign Language Interpreted. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Sally Ann Matthews in the role of supermarket boss Patricia in Here & Now, The Steps Musical, on tour at Grand Opera House, York. Picture: Danny Kaan
MUSICALS aplenty and a posthumous debut exhibition for two York artists are among Charles Hutchinson’s choices for February fulfilment.
Comedy and Tragedy show of the week: Here & Now, The Steps Musical, Grand Opera House, York, tonight to Saturday, 7.30pm; Wednesday & Saturday, 2.30pm; Sunday, 3pm
PRODUCED by Steps, ROYO and Pete Waterman, Here & Now weaves multiple dance-pop hits by the London group into Shaun Kitchener’s story of supermarket worker Caz and her fabulous friends dreaming of the perfect summer of love.
However, when Caz discovers her “happy ever after” is a lie, and the gang’s attempts at romance are a total tragedy, they wonder whether love will ever get a hold on their hearts? Or should they all just take a chance on a happy ending? Look out for Coronation Street star Sally Ann Matthews as supermarket boss Patricia. Box office: atgtickets.com/york.
Josh Woodgate’s Pilate in Inspired By Theatre’s Jesus Christ Superstar. Picture: Dan Crawfurd-Porter
Boundary-pushing theatre show of the week: Inspired By Theatre in Jesus Christ Superstar, Joseph Rowntree Theatre, York, tonight to Saturday, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre’s gritty, cinematic and unapologetically powerful staging of Jesus Christ Superstar presents director Dan Crawfurd-Porter’s radical new vision of Andrew Lloyd Webber and Tim Rice’s 1971 musical.
On Gi Vasey’s shifting building-block set design, part temple, part battleground, the story unfolds through visceral movement, haunting imagery and a pulsating live score, capturing Jesus’s final days as loyalties fracture, followers demand revolution and rulers fear rebellion. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Annabel van Griethuysen’s Miss Hannigan in York Light Opera Company’s Annie. Picture: Matthew Kitchen Photography
The sun’ll come out tomorrow: York Light Opera Company in Annie, York Theatre Royal, tomorrow until February 21, 7.30pm, except February 15 and 16; matinees on February 14, 15 and 21, 2.30pm; February 19, 2pm
MARTYN Knight directs York Light Opera Company for the last time in the company’s first staging of Charles Strouse, Martin Charnin and Thomas Meehan’s Annie in 25 years.
This heart-warming tale of hope, family and second chances, packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile, stars Annabel van Griethuysen as Miss Hannigan, Neil Wood as Daddy Warbucks and Hope Day and Harriet Wells, sharing the role of Annie. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jez Lowe & The Bad Pennies: Northern English folk at Helmsley Arts Centre
Folk gig of the week: Jez Lowe & The Bad Pennies, Helmsley Arts Centre, Friday, 7.30pm
JEZ Lowe & The Bad Pennies have been playing their northern English and Celtic folk and acoustic songs and tunes for more than two decades around folk festivals, clubs and concert stages, while making a dozen albums.
Touring the United States, Canada, Australia, New Zealand, Holland and Belgium, as well as Great Britain and Ireland, singer, guitarist and composer Lowe performs with fiddle player, vocalist and Badapple Theatre writer-director Kate Bramley, Northumbrian small-pipes, accordion and whistle player Andy May and fretless bassist David De La Haye. Box office: 01439 771700 or helmsleyarts.co.uk.
The poster for Al Murray’s All You Need Is Guv tour show at York Barbican
Comedy shake-up of the week: Al Murray, All You Need Is Guv, York Barbican, Friday, 7.30pm
HEY cool cats! Hot on the heels of last year’s Guv Island tour of these green and groovy isles, The Guvnor is back with a new stand-up show for 2026. There’s no denying the world’s a mess, daddio, but here comes a glimmer of hope as the globe’s favourite pub landlord returns with his common sense hot-takes for the masses, offering a much-needed truth tonic for these whacked out and troubled times. Box office: yorkbarbican.co.uk.
Fladam Theatre duo Florence Poskitt and Adam Sowter in Astro-Norma And The Cosmic Piano at Helmsley Arts Centre
Children’s show of half-term week: Fladam Theatre in Astro-Norma And The Cosmic Piano, Helmsley Arts Centre, Sunday, 2.30pm
FLADAM Theatre, the actor-musician York duo of Adam Sowter and Florence Poskitt, returns with an intergalactic musical adventure ideal for ages four to ten. Meet out-of-this-world pianist Norma, who dreams of going into space, like her heroes Mae Jemison and Neil Armstrong, but children can’t go into space, can they? Especially children with a very important piano recital coming up.
When a bizarre-looking contraption crash-lands in the garden, is it a bird? Or a plane? No and twice no, it’s a piano, but no ordinary piano. This is a cosmic piano! Maybe Norma’s dreams can come true in a 45-minute show packed with awesome aliens, rib-tickling robots, and interplanetary puns that will have children shooting for the stars. Box office: 01439 771700 or helmsleyarts.co.uk.
Crime fiction author Elly Griffiths: Discussing new novel The Killing Time at Milton Rooms, Malton
Kemps Books’ literary event of the week: An Evening With Elly Griffiths, Milton Rooms, Malton, February 16, 7.30pm
ELLY Griffiths, award-winning crime fiction author of The Ruth Galloway Mysteries, The Brighton Mysteries and The Postscript Murders, discusses new novel The Killing Time and the inspirations behind her time-twisting mysteries, compelling characters and gripping storytelling. Expect lively conversation, fascinating insights and a book-signing finale. Tickets: 01653 696240 or themiltonrooms.com.
Jodie Comer’s lawyer Tessa in Prime Facie, on tour at Grand Opera House, York. Picture: Rankin
Recommended but sold out already: Jodie Comer in Prima Facie, Grand Opera House, York, February 17 to 21, 7.30pm plus 3pm Thursday and Saturday matinees
JODIE Comer returns to her Olivier and Tony Award-winning role as lawyer Tessa in the “Something Has To Change” tour of Suzie Miller’s Prime Facie in her first appearance on a North Yorkshire stage since her professional debut in Scarborough as Ruby in the Stephen Joseph Theatre’s world premiere of Fiona Evans’s The Price Of Everything in April 2010.
Comer’s Tessa is a thoroughbred young barrister who loves to win, working her way up from working-class origins to be at the top of her game: prosecuting, cross examining and lighting up the shadows of doubt in any case. An unexpected event, however, forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge. Box office for returns only: atgtickets.com/york.
Craig David: PerformingTS5 DJ set at York Racecourse Music Showcase Weekend in July
Gig announcement of the week: Craig David presents TS5, York Racecourse Music Showcase Weekend, Knavesmire, York, July 24
SOUTHAMPTON singer-songwriter and DJ Craig David will complete this summer’s music line-up at York Racecourse after earlier announcements of Becky Hill’s June 27 show and Tom Grennan’s July 25 concert.
David, 44, will present his TS5 DJ set on Music Showcase Friday’s double bill of racing and old-skool anthems, from R&B to Swing Beat, Garage to Bashment, plus current House hits, when he combines his singing and MC skills. Tickets: yorkracecourse.co.uk; no booking fees; free parking on race day.
Robin Simpson’s Sam, the emotional support dog, in Catherine Dyson’s The Last Picture. Picture: S R Taylor Photography
“I CAN’T think of anyone better to play a dog than Robin,” said York Theatre Royal creative director Juliet Forster at Saturday night’s post-show discussion.
She is referring to West Yorkshire actor and storyteller Robin Simpson, best known in York for his six seasons as the Theatre Royal’s pantomime dame – and already confirmed for next winter’s Snow White & The Seven Dwarfs too.
Simpson’s ability to connect with audiences is “extraordinary”, said director and associate artist John R Wilkinson, an ability needed for both his panto role and now York Theatre Royal, English Touring Theatre and An Tobar and Mull Theatre’s world premiere co-production of Catherine Dyson’s one-act solo play.
In a nutshell, what links the two parts is the requirement for “direct address” to the audience. Here Simpson is playing Sam, an emotional support dog on a Year 9 school trip to a museum (unspecified but the Imperial War Museum in all but name).
Robin Simpson: Storytelling prowess in The Last Picture. Picture: S R Taylor Photography
Simpson is not dressed as a canine, nor does he walk on all fours, but his tabard bears the message “Don’t Pet Me I’m Working” and his roll-neck jumper and trousers evoke the colours of a Golden Retriever or Labrador.
This dog talks, taking the narrator’s role, while evoking the school head of history and a particularly sensitive schoolboy, and taking the audience by the hand as he invites us to imagine being in a theatre in 2026,then the group of school children, on the bus trip and in the museum, and most hauntingly, the victims of the Nazi Holocaust in each Second World War picture.
Writer Dyson decreed only a few stage instructions, the most significant being that the pictures being described by Sam should never be shown. Instead, the images should be formed in our imagination – one of theatre’s most powerful tools – but such is the impact of Kristallnacht (the Night of Broken Glass), the children’s exodus from Poland, the Jewish ghettos and the concentration camps that, when combined with Dyson’s descriptions and Simpson’s storytelling prowess, we readily draw on imagery from history books, films and documentaries.
Dyson’s structure is methodical, building momentum all the while. A head count is taken as regularly as Simpson’s Sam asks us how we are feeling after each picture. Simpson’s narrator explains how Sam can sense our emotions, our distress, without having the capacity to understand the play’s greater question: Why?
Director John R Wilkinson in rehearsal with actor Robin Simpson for the world premiere of The Last Picture
Gradually, we see teacher, breakaway 13-year-old pupil and dog all break down in reaction to what they are encountering, all conveyed so expressively by Simpson.
We learn too of other children’s reactions: wanting to know when lunch will be; wondering why something that happened so long ago in a different country should matter to them as they head from room to room, one marked Escalation, Deportation, Final Solution. They reach for the mobile phones at the earliest opportunity to flick through the latest posts.
Interestingly, contrary to myth, dogs do see in colour, but not in the same way we see colour, and here Wilkinson and set designer Natasha Jenkins complement Dyson’s descriptions of colour used by Sam to sum up the mood of each scene.
The back wall is covered with a plain cloth (an aid for us to build up a picture); the flooring has a metallic black sheen, framed by Isle of Skye lighting designer Benny Goodman’s strip lighting that changes from white to yellow. When the cloth drops suddenly, the stage is bathed in fiery orange.
Natasha Jenkins’s set design for York Theatre Royal’s production of The Last Picture. Picture: S R Taylor Photography
The minimalism stretches to the props: one table to the side, with a water bottle marked Sam (for Simpson’s vocal lubrication) and five lecture hall/school room chairs that Simpson uses in differing ways, most disturbingly to portray dead children when lain on their side.
Every detail has been thought through to the max, honed in four weeks of rehearsals, a research visit to Holocaust Centre North in Huddersfield, and in Wilkinson’s bond with Dyson over the power of abstract, non-literal theatre and European drama, as well as in Simpson’s remarkably adroit performance.
The Last Picture had begun life as one of 37 new plays picked from 2,000 entries to mark the500th anniversary of Shakespeare’s First Folio in 2023 with a national playwriting initiative, when Wilkinson directed a rehearsed reading at York Theatre Royal and saw its potential for a full-scale production.
Robin Simpson’s Sam in a rueful moment in The Last Picture. Picture: S R Taylor Photography
This is that production, the full picture of The Last Picture, and what a fitting, moving first show for the Theatre Royal to make for the Studio space since the accursed Covid pandemic.
Add Max Pappenheim’s sound design, a devastating use of Mendelssohn’s music – deemed “degenerate” by the Nazis – and movement direction full of circular rhythm by Alexia Kalogiannidis, and Dyson’s play is unique, wholly original, thoroughly theatrical.
The Last Picture is unmissable, unforgettable, urgently needed theatre at its best.
The Last Picture, York Theatre Royal Studio, until February 14, 7.45pm plus 2pm Wednesday and Saturday matinees, then on tour. Box office: 01904 623568 or yorktheatreroyal.co.uk.The tour will visit HOME Manchester, February 18 to 21; Bristol Old Vic, February 24 to 28; Yvonne Arnaud Theatre, Guildford, March 5 to 7; Mull Theatre, March 11 and 12; Bunessan Village Hall, March 13; Iona Village Hall, March 14.
Robin Simpson in The Last Picture at York Theatre Royal Studio, Picture: S R Taylor Photography
MUSICALS aplenty and a posthumous debut exhibition for two York artists are among Charles Hutchinson’s favourites for February fulfilment.
Solo show of the week: The Last Picture, York Theatre Royal Studio, until February 14, 7.45pm except Sunday, plus Wednesday and Saturday 2pm matinees
ROBIN Simpson follows up his sixth season as York Theatre Royal’s pantomime dame by playing a dog in York Theatre Royal, ETT and An Tobar and Mull Theatre’s premiere of Catherine Dyson’s anti-Fascist monodrama The Last Picture, directed by associate artist John R Wilkinson.
Imagine yourself in a theatre in 2026. Now picture yourself as a Year 9 student on a school museum trip, and then as a citizen of Europe in 1939 as history takes its darkest turn. While you imagine, emotional support dog Sam (Simpson’s character) will be by your side in a play about empathy – its power and limits and what it asks of us – built around a story of our shared past, present and the choices we face today. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Colour & Light turns the spotlight on Viking invader Eric Bloodaxe among York’s rogues, scoundrels and historical figures in Double Take Productions’ light installation at York Castle Museum and Clifford’s Tower. Picture: David Harrison
Illumination of the week: Colour & Light, York Castle Museum and Clifford’s Tower, York, until February 22, 6pm to 9pm
YORK BID is bringing Colour & Light back for 2026 on its biggest ever canvas. For the first time, two of York’s landmark buildings are illuminated together when York Castle Museum and Clifford’s Tower become the combined canvas for Double Take Projections’ fully choreographed projection show, transforming the Eye of York.
Presented in partnership with York Museums Trust and English Heritage, the continuous, looped, ten-minute show bring York’s historic rogues, scoundrels, miscreants, mischief makers and mythical characters to life in a family-friendly projection open to all for free; no ticket required.
Suede: Showcasing Antidepressants album on York Barbican return
Recommended but sold out already: Suede, York Barbican, tonight, doors 7pm
AFTER playing York Barbican for the first time in more than 25 years in March 2023, Suede make a rather hastier return on their 17-date Antidepressants UK Tour when Brett Anderson’s London band promote their tenth studio album.
“If [2022’s] Autofiction was our punk record, Antidepressants is our post-punk record,” says Anderson. “It’s about the tensions of modern life, the paranoia, the anxiety, the neurosis. We are all striving for connection in a disconnected world. This was the feel I wanted the songs to have. This is broken music for broken people.” Box office for returns only: yorkbarbican.co.uk.
Sara Pascoe: Contemplating smart and astute nocturnal thoughts in I Am A Strange Gloop
Comedy gig of the week: Sara Pascoe, I Am A Strange Gloop, York Theatre Royal, tonight, 7.30pm
HAVE you ever been awake in the middle of the night and thought something so smart and astute that you could not wait for the world to wake up for you to tell them? “This show is that thought, in that it doesn’t make much sense and is a bit weird on reflection,” says Dagenham comedian, actress, presenter and writer Sara Pascoe.
In I Am A Strange Gloop, Sara & Cariad’s Weirdos Book Club podcaster and former The Great British Sewing Bee host Pascoe reveals how her children don’t sleep, her kitchen won’t clean itself and her husband “doesn’t want to be in it”. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Sally Ann Matthews’ supermarket boss Patricia in Here & Now The Steps Musical. Picture: Danny Kaan
Comedy and Tragedy show of the week: Here & Now, The Steps Musical, Grand Opera House, York, February 10 to 15, Tuesday to Saturday, 7.30pm; Wednesday and Saturday, 2.30pm; Sunday, 3pm
PRODUCED by Steps, ROYO and Pete Waterman, Here & Now weaves multiple dance-pop hits by the London group into Shaun Kitchener’s story of supermarket worker Caz and her fabulous friends dreaming of the perfect summer of love.
However, when Caz discovers her “happy ever after” is a lie, and the gang’s attempts at romance are a total tragedy, they wonder whether love will ever get a hold on their hearts? Or should they all just take a chance on a happy ending? Look out for Coronation Street star Sally Ann Matthews as supermarket boss Patricia. Box office: atgtickets.com/york.
Gi Vasey’s Annas and Joseph Hayes’ Caiaphas in Inspired By Theatre’s Jesus Christ Superstar. Picture: Dan Crawfurd-Porter
Boundary-pushing theatre show of the week: Inspired By Theatre in Jesus Christ Superstar, Joseph Rowntree Theatre, York, February 11 to 14, 7.30pm plus 2.30pm Saturday matinee
YORK company Inspired By Theatre’s gritty, cinematic and unapologetically powerful staging of Jesus Christ Superstar presents director Dan Crawfurd-Porter’s radical new vision of Andrew Lloyd Webber and Tim Rice’s 1971 musical.
On Gi Vasey’s shifting building-block set design, part temple, part battleground, the story unfolds through visceral movement, haunting imagery and a pulsating live score, capturing Jesus’s final days as loyalties fracture, followers demand revolution and rulers fear rebellion. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Annie at the double: Hope Day, left, and Harriet Wells will be sharing the title role in York Light Opera Company’s musical. Picture: Matthew Kitchen Photography
The sun’ll come out, not tomorrow, but from Thursday at: Annie, York Light Opera Company, York Theatre Royal, until February 21, 7.30pm, except February 15 and 16; matinees on February 14, 15 and 21, 2.30pm; February 19, 2pm
MARTYN Knight directs York Light Opera Company for the last time in the company’s first staging of Charles Strouse, Martin Charnin and Thomas Meehan’s Annie in 25 years.
This heart-warming tale of hope, family, and second chances, packed with such knockout songs as Tomorrow, Hard Knock Life and You’re Never Fully Dressed Without A Smile, stars Annabel van Griethuysen as Miss Hannigan, Neil Wood as Daddy Warbucks and Hope Day and Harriet Wells, sharing the role of Annie. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Liz Foster: Exploring memory, landscape and the childhood feeling of being immersed in wild places in Deep Among The Grasses
Exhibition launch of the week: Liz Foster, Deep Among The Grasses, Rise:@Bluebird Bakery, Acomb, York, February 12 to April 10
YORK artist Liz Foster’s new series of abstract paintings, Deep Among The Grasses, invites you into rich, expansive imagined spaces where she explores memory, landscape and the childhood feeling of being immersed in wild places.
Full of colour, feeling and atmosphere, this body of work is being shown together for the first time. Everyone is welcome at the 6pm to 9pm preview on February 12 when Leeds-born painter, teacher and mentor Liz will be in attendance.
Craig David: Performing his TS5 DJ set at York Racecourse Music Showcase weekend
Gig announcement of the week: Craig David presents TS5, York Racecourse Music Showcase Weekend, Knavesmire, York, July 24
SOUTHAMPTON singer-songwriter and DJ Craig David will complete this summer’s music line-up at York Racecourse after earlier announcements of Becky Hill’s June 27 show and Tom Grennan’s July 25 concert.
David, 44, will present his TS5 DJ set on Music Showcase Friday’s double bill of racing and old-skool anthems, from R&B to Swing Beat, Garage to Bashment , plus current House hits, when he combines his singing and MC skills. Tickets: yorkracecourse.co.uk; no booking fees; free parking on race day.
Ice amid the January rain: York Ice Trail 2026
Festival of the week: Make It York presents York Ice Trail, An Enchanted City, York city centre, today and tomorrow, 10.30am to 4pm
THE streets of York will be transformed into An Enchanted City, where a spell has been cast, as ice sculptures, alive with enchantment, appear across the city’s cobbled and narrow streets.
Created by Icebox, 36 sculptures inspired by magic, mystery, the weird and wonderful will make an extraordinary trail, but who cast the spell and why? Follow the trail to uncover the truth. Pick up a trail map from the Visit York Visitor Information Centre to tick off all the sculptures; collect a special sticker on completion.
The sculptures will be: Ice Ice Baby (neon photo opportunity), provided by Make It York; Igloo 360 Photobooth, Party Octopus; The Ice Village (curated market); All Aboard for Railway Stories, National Railway Museum; Bertie the Shambles Dragon, Shambles Market Traders; The Wizard of Ouse!, City Cruises York and Mr Chippy; The Enchanted Chocolate Bar, York’s Chocolate Story.
Drake’s Spellbound Catch, provided by Drake’s Fish and Chips; Sword in the Stone, York BID; The Yorkshire Rose by Kay Bradley, Bradley’s Jewellers; Saint William’s Poisoned Chalice, York Minster; Toadstool House, York BID; York Park & Brrr-ide, First Bus; Wizard Teddy Bear, Stonegate Teddy Bears; Bettys Bern Bears, Bettys; The Magic of Connection, Grand Central Rail.
Lord of the Lodging, provided by The Judge’s Lodging; The Ice Wall (photo opportunity), Make It York; Spellbound Train Ticket, The Milner York; From Grand Roots, Magic Blooms, The Grand, York; Hobgoblin, York BID; Enchanted, Icebox; Wade The Giant, North York Moors National Park; Let It Sew, Gillies Fabrics; The Hungry Dragon, Ate O’clock; Barghest, York BID.
The Prophet Hen, provided by SPARK: York; Jack Frost, York BID; Wings of Ice, Merchant Adventurers’ Hall; Magic Mixie Monster, York Mix; Mjolnir – The Bringer of Lightning, Murton Park; Beaky Blinder the Puffin, RSPB; Food and Drink Area; Ice Masterclass (paid experience); The Snow Block (photo opportunity), Make It York, and Live Ice Carving (from 12 noon each day).
In Focus: Navigators Art performance & exhibition, The Basement, City Screen Picturehouse, York, Sunday, 5pm
Penesthilia, by Penny Marrows
TO mark the opening of Penny Marrows and J P Warriner’s posthumous exhibition at City Screen Pictiurehouse, Penny and artist Timothy Morrison’s son, London jazz guitarist Billy Marrows, performs tomorrow with Portuguese Young Musician of the Year 2025 Teresa Macedo Ferreira, supported by lutenist Simon Nesbitt. Admission is free.
The exhibition launch follows at 6pm, celebrating two late York artists whose paintings were never exhibited in their lifetimes.
Born in 1951, Penny grew up in Tockwith, west of York, and attended Mill Mount Grammar School for Girls before studying 2D and 3D art at York College, training as a sculptor, then taught art in prisons and adult education in London.
On returning to Yorkshire, she painted and drew trees, landscapes and portraits for 30 years, including her self-portrait as an heroic winged figure.
Her exhibition is curated by husband Timothy Morrison, York artist and teacher, who says: “I met her in a printmaking evening class in Brixton, where Penny made linocuts and engravings of alarmingly aggressive-looking mythical beasts.
“Billy came along…and as a teenager fell in love with the guitar and jazz, and went on to study at Royal Academy of Music.
“Fast forward to early 2023 when Penny was diagnosed with pancreatic cancer, Billy started sending little video recordings of his music to cheer her up (and me). New compositions, and duets with Teresa [Macedo Ferreira].
Penny Marrows in her garden
“The Beech Tree had its premiere at Penny’s funeral, and some of these pieces became Billy’s first album, Penelope, released soon after in her memory. So far it’s raised almost £7,000 for World Child Cancer.”
In 2025, Penelope was shortlisted in the category of Best New Album in the Parliamentary Jazz Awards. “Penny doesn’t know about all this, nor that thanks to Billy’s music her paintings have had an extraordinary resurrection.
“The trauma of the illness, combined with major retro-refit work in the house, meant that the paintings were buried in the chaos. We found them at the back of a huge pile. First exhibited at the funeral, they’ve since gone round the world beautifully emblazoned on Billy’s album covers.”
Penny loved trees, especially walking through woods. “The paintings seemed to burst from nowhere at the time, almost with a secretive devil-may-care diffidence, but are actually distillations of detailed observational sketchbook drawings done in the Howardian Hills while we collected wood for our stove,” says Timothy.
“Her early notebooks tenderly catch details of family life in Tockwith with an almost Bonnard-like natural draughtsmanship. My garden is a beautiful sculpture garden.
“If Penny is anywhere, she’s in the trees, both in the paintings and out there. Her work inspires my own drawings; I think of her as Daphne and I often depict her as a bird perched humorously and enquiringly on her very own branch.
“I would like to thank Richard Kitchen, who greatly encouraged me to curate this show of Penny’s work, and for making it possible.”
J P Warriner’s work Untitled, featuring in Navigators Art’s exhibition
BORN in Ireland in 1935, J P (John)Warriner lived most of his life in York, where he died in 2019 aged 84. “He has no surviving family or partner,” says Navigators Art’s Richard Kitchen. “Research indicates he was a brilliant and kind man, and a grandfather figure to troubled local youth.”
John was a contemporary figurative painter whose style spanned surrealism, post pop, erotic and neo-mythic genres. Married to Effie, the couple had two children, Ronald and Nigel, who both died tragically young.
“John seemed to have taken to painting to heal from the losses he and Effie endured,” says his exhibition curator, Cath Dickinson, of Notions Vintage. “He remains somewhat of an enigma, with little recorded about his life or artistic endeavours.
“We know that he was a retired Nestle employee, living in Acomb, suspected to have hailed from Omagh, County Tyrone. With no social media or websites to dissect, no records of known influences or potential drivers, the journey of discovery about JP is just beginning.”
Local accounts reveal that he was a much loved go-to grandfather figure to all the children in his street in Foxwood, Acomb, never missing a birthday or Christmas, delivering shortbread and fixing many broken bikes.
In a strange encounter, curator Cath Dickinson, who has been collecting paintings by John for five years, met someone who knew a friend and neighbour of John by chance.
“I discovered that John had been more than a friendly neighbour but amentor to troubled local adolescents and young people who were struggling with the temptations of life in the hedonistic 1990s and 2000s,” says Cath.
Artist J P Warriner with “our Amy”
“John had a particularly close friend, mentee and muse in ‘Our Amy’, a wonderful young mum who was full of life, and had a fantastic sense of humour. John became Amy’s mentor and confidante and tried to not only guide but also record many of the pivotal moments in her tragically shortened life.”
Exhibition visitors hopefully will be able to discover and share more of the history of John’s painting and subjects. “The main part is in tribute and memory to Amy and John and their bond which transcended generations and societal norms,” says Cath. “John’s works have been likened to Alasdair Gray and Grayson Perry. They span decades and observe war, tragedy, comedy, temptation, love and loss.
After the exhibition in memory of John, Effie and Amy ends on March 6, some of John’s works will be available to buy from notionsvintageyork.com at 6 Aldwark Mews, York, YO1 7PJ.
“This joint exhibition has been both a labour of love and a voyage of discovery for its two curators,” says Richard. “Come and discover the work of two wonderful creative artists and their vibrant contrasting styles and subject matter.”
Penny Marrows & J P Warriner, City Screen Picturehouse, York, on show until March 6, open daily from 10.30am until closing time.
Did you know?
BILLY Marrows also played at The Basement, City Screen Picturehouse, on February 5 with Di-Cysgodion, a contemporary jazz quartet making waves in the capital and touring the north following their appearance at London’s Vortex Jazz Club.
Billy will return to The Basement with the Billy Marrows Band on March 26 in a 7.30pm concert promoted by Jazztones at 7.30pm. Tickets: TicketSource booking at bit.ly/nav-events.
The quartet brings together exciting London jazz scene improvisers to present York-born Billy’s boundary-pushing compositions, where they explore the relationship between improvisation and composition, incorporating grooves from across the globe and taking inspiration from many genres, including contemporary jazz, funk, progressive jazz and classical.
Penny Marrows’ artwork for Billy Marrows’ album Penelope, which received a four-star review in Jazzwise
Joining Billy, electric guitar and compositions, will be Chris Williams, alto sax (Led Bib, Sarathy Korwar, Grande Familia, Let Spin), Huw V Williams, double bass (Gruff Rhys, Ivo Neame, Chris Batchelor, Di-Cysgodion) and Jay Davis, drums (Mark Lockheart, Eddie Parker, Elliot Galvin, Di-Cysgodion).
Their debut album, Dancing On Bentwood Chairs, will be released on February 13, and this concert forms part of the accompanying tour,
Billy, who grew up in Sheriff Hutton, near York, studied jazz guitar at the Royal Academy of Music. He also leads the chamber-jazz project Grande Família, whose appearances have taken in top British venues, Scarborough Jazz Festival and a sold-out residency at Pizza Express Jazz Club, Soho.
In addition, Billy performs with Docklands Sinfonia, Tom Ridout Quintet, Chelsea Carmichael, Patchwork Jazz Orchestra and Di-Cysgodion. For more details, go to: billymarrows.com.
Kara Tointon’s “eloquent and elegant” Constance Middleton in the Royal Shakespeare Company’s The Constant Wife. All pictures: Mihaela Bodlovic; set and co-costume designer Anna Fleischle; co-costume designer Cat Fuller
OLIVIER Award winner Laura Wade and Royal Shakespeare Company co-artistic director Tamara Harvey open up W Somerset Maugham’s 1926 comedy of well-heeled manners for re-examination in 2026, upping the female ante while retaining the elegant period setting.
First staged at the RSC’s Swan Theatre last June, Wade’s sparky, sparkly adaptation chimes with her hit play Home, I’m Darling’s focus on gender roles, feminism, relationships and life choices while echoing the in-flagrante shenanigans of her Disney + television take on Jilly Cooper’s bonkbuster novel Rivals.
All while staying true to the sceptical satire of Somerset Maugham, such a perceptive observer of human behaviour, exposing our foibles and failings, our uncontrolled urges, in the mire of the moral maze, where deceit and deception play out in different ways.
Philip Rham’s Bentley at the piano in The Constant Wife
He does so with a mischievous air, lighting the touch-paper, then stepping back and watching the fireworks fly, his input mirrored by Philip Rham’s immaculate, piano-playing butler, Bentley, ever alert, ever on hand with the right word or action, yet stoically detached as the heat rises around him.
Bentley remains unflappable, unhurried, a quality shared by Harvey’s direction that lets Wade’s dry-witted dialogue breathe to maximum comic effect, revelling in the chess game of words that fizz like an Alka-Seltzer in water.
Wade’s impact is more reinvigoration (like Richard Bean’s One Man, Two Guvnors update of Goldoni’s Italian farce) than reinvention. Whether using “kid” rather than “child”, or “dot dot dot”, she sometimes veers towards modern idioms, but her take on Somerset Maugham’s characters still exudes the high-society 1920s as much as the Art Deco designs and colours of Anna Fleischle’s set for the London flat of Harley Street doctor John Middleton (Tim Delap) and his wife Constance (Kara Tointon, last seen on a York stage in Patrick Hamilton’s Gaslight at the Grand Opera House in 2017).
Gloria Onitiri’s gloriously carefree Marie-Louise Durham in The Constant Wife. Picture:
Through gauze, movement on stairways and corridors can be seen, informing the audience of who will be entering, and keeping us one step ahead in the tradition of French farce, although the comedy style is more akin to the drawing-room dramas of Noel Coward (and Oscar Wilde too), played out to Jamie Cullum’s jagged new jazz score.
The year is 1927; Constance’s impetuous interior designer sister, Martha Culver (Amy Vicary-Smith, in height-of-Twenties’ fashion Russian boots) is in heated discussion with their cynical mother, Mrs Culver (Jane Lambert understudying gamely – good voice, but stooped demeanour – for Sara Crowe).
We learn that Constance is deeply unhappy. “Nonsense,” counters her mother in Lady Bracknell mode. “She eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances.”
Tim Delap’s John Middleton and Kara Tointon’s Constance Middleton not seeing eye to eye in The Constant Wife
Should they tell Constance that they suspect John is being unfaithful? Enter Tointon’s flapper-dressed, poised, gliding Constance and next her best friend, the whirlwind Marie-Louise Durham (Gloria Onitiri), as Wade front-loads the women in Somerset Maugham’s story.
Spoiler alert, it turns out that Constance already knows of cocksure John’s affair, as the play takes a time-out to go back 12 months to when she walked in John and carefree Marie-Louise without them knowing.
That transition is played out with a directorial and design sleight of hand, as the fireplace, wallpaper and door change to before Martha’s interior re-design (topped off with ‘wallpaper’ rolling down to reveal ‘One Year Earlier’). This is typical of the wit of Harvey’s direction.
Sisters doing it for themselves…in different ways: Amy Vicary-Smith’s Martha and Kara Tointon’s Constance in The Constant Wife
Vicary-Smith’s Martha, by the way, is a fusion of two Somerset Maugham characters, the sister and an interior-designer friend, and it works a treat, as Constance takes up an invitation to join her business (hence the re-decoration).
In Wade’s most striking interjection, she plays an ace card with her use of that very fashionable device, meta-theatre, (first by having Constance and still-besotted former beau Bernard Kersal (Alex Mugnaioni) heading off to watch a play called The Constant Wife, then by Martha recapping what unfolded and unravelled in Act One at the outset of Act Two.
Aside from Bentley at the very start, the men have been held back until the play’s conceit has been established. We judge them through Wade, Harvey and the women’s filter, but they are still given a fair hearing, each tall, dapper, buttoned up and not as clever as they think, whether over-confident John, malleable Bernard or Jules Brown’s cuckolded Mortimer Durham.
Jules Brown’s thoroughly duped Mortimer Durham
Fleischle and Cat Fuller’s costume designs, especially for Constance, Martha and John’s suits, delight as much as the central performances as Somerset Maugham/Wade posit the question of what happens when a wronged woman does not react in the expected way, so much so that everyone else then objects to how Constance has responded (not least in confiding only in Bentley, who has a secret of his own) as she seeks her route to freedom and fulfilment against the conventional tide.
At the RSC production’s core is an outstanding performance by Tointon on her return to the stage after moving to Norway. Her Constance is elegant, eloquent, quick of wit and mind, mischievously humorous, yet serious, a woman in a relationship where they still have love for each other but are no longer in love.
David Pugh & Cunard present the Royal Shakespeare Company in The Constant Wife, York Theatre Royal, until Saturday, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Steve Pratt on duty at the York Theatre Royal pantomime press night in December 2018. Picture: York Theatre Royal
THE funeral of York journalist, columnist and theatre, film and television critic and press officer Steve Pratt will be held tomorrow (28/1/2025) at York Crematorium, Bishopthorpe Road, York.
Steve, 77, of Monk Avenue, York, passed away at York Hospital on January 15.
Born Stephen William Pratt in Watford on April 22 1948 in Watford, he was educated at Garston Primary School and Bushey Grammar School, where he met Lesley when she was 16, Steve two years older.
The childhood sweethearts were married on June 24 1972 at Christ Church, Watford, by the same vicar that tied the knot for Lesley’s parents.
Steve went straight from A-level studies to taking out indentures at the Watford Post, where, as a junior, he was tasked with collecting death notices from undertakers.
He went on to work for the Herts Advertiser, Watford Observer, Northern Echo, in Darlington and Portsmouth News, before returning to the Northern Echo from 1999 to 2014, winning two Tom Corder awards for best arts writer.
“His passion for writing goes back to his early years and he used to cut up magazines and create his own version,” recalled Lesley, who “bounced up and down the country with Stephen before we finally landed in York, where we felt at home”.
“There were so many famous people he interviewed as he covered lots of press junkets for films and television.”
Steve Pratt in his treasured picture with film actress Angelina Jolie, from his journalism files at home, where box upon box of theatre programmes are in need of a new home, says widowLesley
Among those celluloid star interviewees were Tom Cruise, Arnold Scharzenegger, Leslie Nielsen, Leslie Phillips and Angelina Jolie. “He always went on about his photo with her,” recalled Lesley.
One knight of the realm eluded him, however. “Stephen was refused twice by Sir Alec Guinness for an interview, once in 1997 and again in 1999,” said Lesley. “I have the original handwritten cards Sir Alec sent him: very polite but a ‘No’ nevertheless.”
Nigel Burton, editor of York Press, who worked with Steve on The Northern Echo, said: “He was a superb features writer, someone who would always tackle any job – no matter how outlandish – with a smile and good humour.
“He was an internationally respected critic and his reviews were eagerly awaited by film distributors and theatres alike. Most of all, I will remember him as a much-missed colleague and a lovely human being.”
Peter Barron, former editor of The Northern Echo, said: “I was so sorry to hear of Steve’s passing. He was a gifted writer of a national standard and I always considered The Northern Echo to be very lucky to have him.
“He brought great quality to the paper, with a wry, humorous style and his passion for the arts always shone through. It is also telling that the arts community knew him and respected his opinion.
“A positive review from Steve Pratt in The Northern Echo really meant something, while a scathing review was to be feared. He was prolific, loved his craft, and the many awards he won were testament to his talent.”
Chris Lloyd, features editor at the Northern Echo, who was Steve’s manager for many years, said: “When I worked with Steve, he was so passionate and knowledgeable about all forms of visual entertainment, but especially about his great loves of television and theatre. He knew the stars, he interviewed them all, usually cheekily, and they remembered and respected him.
Steve Pratt in his Northern Echo days. Picture: Northern Echo
“He was, I think, a great ally of the region’s theatre community, forever supporting and promoting it, and I was in awe of the way he wrote so quickly, so cleanly, and always with a humorous glint in his words.”
Wise Eye Films/ITV Studios creative director and The Yorkshire Shepherdess producer Mark Robinson, who started his career at the Echo with Steve, said: “He was exceptionally kind to me when I moved over from the newsroom to the features desk in the late 1980s, and he became my boss.
“Steve was unbelievably patient and encouraging and gave me the space to grow as a journalist finding his own voice for the first time. It was impossible not to be inspired by his love and passion for TV and the arts in general – and he sent me on many glamorous jobs interviewing celebrities across the UK.
“His impact on my career was so significant that we remained friends long after I left the Echo and I enjoyed our get-togethers in York.”
Viv Hardwick, fellow former Echo television and entertainment editor, said: “Steve always seemed to know the best way of doing things work-wise. His awesome ability and in-depth entertainments knowledge made him one of the most memorable men in journalism.”
On leaving The Northern Echo in 2014, Steve switched to the other side of the Press desk as press officer at Leeds Playhouse and later York Theatre Royal.
Theatre Royal creative director Juliet Forster said: “The whole team here are incredibly saddened by the news of Steve’s death. His relationship with YTR goes back such a long time, both as a reviewer and staff member and then as a freelancer.
“His dedication and passion to unearthing the stories of this theatre and championing the arts in Yorkshire was truly outstanding. Press nights will not be the same without his sparkly shoes and fabulous sense of humour. We will miss him very much.”
Nun better: Steve Pratt in sisterhood habit on a press night for Sister Act
Chief executive officer Paul Crewes added: “Steve’s death is such a terrible loss to York’s theatre community and his YTR family are all devastated by this news. He was a much-loved friend and colleague and we will miss him.
“Steve was a first-class journalist and press officer who cared deeply about, and was very successful at, shining a light on the arts in York and beyond.”
Latterly, Steve took up the publicity officer’s post for York company NE Theatre York, whose chair and creative director, Steve Tearle, said: “Steve became involved with us over the past several years by supporting the publicity of our shows. He crafted and created press releases for the company perfectly, like only Steve could do.
“He was a wonderfully gifted, talented man, with time for everyone, and had such a fantastic personality. He was such an asset to the team and totally believed in what we stood for.
“I really valued Steve as a person and his passion for theatre. It’s with such a heavy heart I say this. We spoke last November at length about 2026 and as usual he was so excited to be supporting us. He will be sadly missed by the NE Theatre York team.”
From his days at Leeds Playhouse, Steve’s brighter-than-Hawaiian shirts became his trademark. “As a child he was dressed very soberly, but when he found his feet at Leeds, the flamboyant side came out, but he did need guidance, so I have to admit it was my fault,” said Lesley, recalling his collection of 30 such shirts. “Please feel free to come to the funeral in bright colours.”
One last memory from Lesley defined his role as a critic. “Getting Stephen to give you a verbal opinion was not easy,” she said. “He would always say ‘read the review’.” We did, line after line, time after time.
Copyright of The York Press and The Northern Echo
DONATIONS at tomorrow’s funeral can be made in aid of York Theatre Royal, where Steve’s contribution to theatre and arts journalism will be marked with a commemorative seat plaque and a bench in his honour on the terrace. A memorial celebration of Steve’s life will held at the theatre on a date yet to be announced.
Kara Tointon as Constance Middleton in the Royal Shakespeare Company’s The Constant Wife. Picture: Mihaela Bodlovic; set and co-costume designer Anna Fleischle and co-costume designer Cat Fuller
LAURA Wade’s new adaptation of The Constant Wife for the RSC leads off Charles Hutchinson’s latest selection of cultural highlights.
Play of the week: Royal Shakespeare Company in The Constant Wife, York Theatre Royal,January 26 to 31, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
SET in 1927, The Constant Wife finds Constance as a very unhappy woman. “Nonsense,” says her mother, who insists “she eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances”.
Played by Kara Tointon, she is the perfect wife and mother, but her husband is equally devoted to his mistress, who just happens to be her best friend. Tamara Harvey directs the new adaptation by Home, I’m Darling playwright and Rivals television series writer Laura Wade. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Aesthetica Art Prize winner Tobi Onabolu’s Danse Macabre, on show at York Art Gallery
Last chance to see: Aesthetica Art Prize and Future Tense: Art in the Age of Transformation, York Art Gallery, today and tomorrow, 10am to 5pm
YORK arts movers and shakers Aesthetica present two landmark exhibitions, the 2025 Aesthetica Art Prize and Future Tense: Art in the Age of Transformation, featuring large-scale immersive installations by prize alumni Liz West and Squidsoup.
On show among work by 25 shortlisted entries are main prize winner, London artist-filmmaker Tobi Onabolu’s exploration of spirituality, mental health and the human psyche, Danse Macabre, and Emerging Prize winner Sam Metz’s bright yellow structures in Porosity, reflecting his sensory experience of the Humber Estuary.
Squidsoup’s Submergence immerses audiences in an ocean of 8,000 responsive LED lights, blurring the line between digital and physical space, while Liz West’s Our Spectral Vision surrounds visitors with a radiant spectrum of colour in a sensory encounter. Tickets: yorkartgallery.org.uk/tickets.
Ceramicist Emily Stubbs, left, and seascapes artist Carolyn Coles showcase their new work in The Sky’s The Limit at Pyramid Gallery, alongside Karen Fawcett’s bird sculptures
Exhibition launch of the week: Carolyn Coles, Emily Stubbs and Karen Fawcett, The Sky’s The Limit, Pyramid Gallery, Stonegate, York, today until mid-March
SOUTH Bank Studios artist Carolyn Coles and PICA Studios ceramicist Emily Stubbs will be on hand from 11.30am to 2.30pm at today’s opening of The Sky’s The Limit, their joint exhibition with wildlife sculptor Karen Fawcett.
Like Carolyn, Emily has been selected to take part in York Open Studios 2026 on April 18 & 19 and April 25 & 26. Look out too for work by Pyramid Gallery’s Jeweller of the Month, Kate Rhodes, from Hebden Bridge. Gallery opening hours are: 10am to 5pm, Monday to Saturday.
Anna Hale: Killer punchlines, musical flair and spiky resilience in Control Freak at The Crescent on Sunday
Comedy gig of the week: Anna Hale: Control Freak, The Crescent, York, Sunday, 7.30pm
ANNA Hale, comedian, singer-songwriter and unapologetic control freak, likes to write the jokes and the songs, plan the lighting cues and even sell the tickets for her gigs. When life spins out of control, however, can one perfectionist keep the show together, and, crucially, not let anyone else have a go?
Find out when encountering the killer punchlines, musical flair and spiky resilience of the 2024 Musical Comedy Awards Audience Favourite winner’s debut tour show. Box office: thecrescentyork.com.
Glenn Moore: So many Moore jokes at The Crescent on Tuesday
Show title of the week: Glenn Moore: Please Sir, Glenn I Have Some Moore, The Crescent, York, January 27, 7.30pm (doors 7pm)
EDINBURGH Comedy Award nominee Glenn Moore has written too many jokes again, so expect a whirlwind of punchlines from the Croydon stand-up and presenter on Tuesday. Here comes more and more of Moore after appearances on Live At The Apollo, Have I Got News For You, Mock The Week, 8 Out Of 10 Cats Does Countdown, The News Quiz, Just A Minute and his own BBC Radio 4 series, Glenn Moore’s Almanac. Box office: thecrescentyork.com.
Snow and frost in Cuba: Carlos Acosta’s Nutcracker In Havana brings heat and ice to the Grand Opera House, York. Picture: Johan Persson
Dance show of the week: Carlos Acosta’s Nutcracker In Havana, Grand Opera House, York, now January 30 and 31, 7.30pm plus 2.30pm Saturday matinee
UPDATE 27/1/2025: Cast illness has put paid to January 28 and 29’s performances.
DANCE superstar Carlos Acosta’s Nutcracker In Havana turns up the heat in his modern Cuban twist on the snow-dusted 1892 Russian festive ballet. Built on Cuban composer Pepe Gavilondo’s arrangement of Tchaikovsky’s score, Acosta moves the celebration of joy, life, love and family to modern-day Havana.
More than 20 dancers from Acosta’s Cuban company Acosta Danza perform the familiar story of a young girl transported to a magic world, but one newly incorporating the culture, history and music of his home country. Box office: atgtickets.com/york.
Mike Joyce: Tales from his drumming days for The Smiths at Pocklington Arts Centre
On the beat: Mike Joyce, The Drums: My Life In The Smiths, Pocklington Arts Centre, January 28, 7.30pm
DRUMMER Mike Joyce has been asked numerous times, “What was it like being in The Smiths?”. “That’s one hell of a question to answer!” he says. Answer it, he does, however, both in his 2025 memoir and now in his touring show The Drums: My Life In The Smiths.
To reflect on being stationed behind singer Morrissey and guitarist Johnny Marr from 1982 to 1987, Joyce will be interviewed by Guardian music journalist Dave Simpson, who lives near York. Audience members can put their questions to Joyce too. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
The poster for Country Roads’ celebration of Dolly Parton, Johnny Cash, Kenny Rogers et al at York Barbican
Country celebration of the week: Country Roads, York Barbican, January 30, 7.30pm
COUNTRY Roads invites you to a celebration of country superstar royalty featuring such hits as 9 To 5, The Gambler, I Walk The Line, Ring Of Fire, King Of The Road, Crazy, Rhinestone Cowboy, Jolene, Dance The Night Away, Walkin’ After Midnight and many, many more as the stars of fellow tribute show Islands In The Stream return in this new production. Box office: yorkbarbican.co.uk.
Mishmash’s delightful musical adventure Ruby’s Worry, easing worries at the NCEM
Family show of the week: Mishmash: Ruby’s Worry, National Centre for Early Music, Walmgate, York, January 31, 11.30am and 2.30pm
RUBY had always been happy, perfectly happy, until one day she discovered a worry. The more she tries to rid herself of that worry, the more it grows and grows. Eventually she meets a boy who has a worry too. Together they discover that everyone has worries, and that if you talk about them, they never hang around for long! Mishmash’s Ruby’s Worry is told through live music, song, puppetry and physical theatre, taking the audience on a delightful musical adventure. Box office: 01904 658338 or ncem.co.uk.
Kara Tointon’s Constance Middleton in the Royal Shakespeare Company’s The Constant Wife. Picture: Mihaela Bodlovic; set and co-costume designer Anna Fleischle; co-costume designer Cat Fuller
KARA Tointon returns to the York stage on Monday for the first time since February 2017.
On that occasion, she appeared as Bella Manningham in Patrick Hamilton’s Gaslight at the Grand Opera House. Now she takes the title role in the Royal Shakespeare Company’s touring production of The Constant Wife at York Theatre Royal.
2010 Strictly Come Dancing winner Kara is starring in Olivier Award winner Laura Wade’s new version of W Somerset Maugham’s sparkling 1926 comedy of ill manners, directed by RSC co-artistic director Tamara Harvey.
“I haven’t done any theatre for a little while, not since I had my second son in 2021, but it doesn’t feel that long as time travels so quickly,” says Kara, 42. “For the last few years, I’ve been focusing on being a mum and moving to Norway in May 2024.
“My partner [Marius Jensen] is Norwegian and has always spoken to the boys [Frey, seven, and Helly, four] in his native tongue and wanted them to understand the language as well as speaking it, so we were spending more and more time there.
Actress Kara Tointon: Back on stage for the first time since having her second son in 2021
“In 2024, because they hadn’t started school yet – they start the year they turn six – we decided to settle in Norway, in the most southern part, where it does get extremely dark by 3.30pm, so you really have to make sure you have your Vitamin D. The sky is so different out there: it’s like nothing you’ve seen over here.”
The Constant Wife returns to Kara to British shores, leading Harvey’s cast from January 16 at The Grand Theatre, Blackpool, to May 16 at Bath Theatre Royal, before embarking on a Transatlantic Crossing aboard Cunard’s Queen Mary 2.
“I’m back – and it’s a really big role!” says Kara of playing Constance Middleton, who is a deeply unhappy woman in 1920s’ London. “Nonsense,” says her mother. “She eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances.”
Constance may be the perfect wife and mother, but her husband is equally devoted to his mistress, who just happens to be her best friend.
“It’s a gift of a part, and I’ve been an avid fan girl of Laura’s work for years, since I saw a friend in her play Posh. She and Tamara are the best of friends, and they’re like a power team [having worked together on Wade’s play Home, I’m Darling]. It’s a bit of a ‘pinch me’ moment for me to be working with them. Every time Tamara gives me a note in the rehearsal room, it pushes me to do my best, and that’s exciting,” says Lara.
Tim Delap’s John Middleton and Kara Tointon’s Constance Middleton in The Constant Wife. Picture: Mihaela Bodlovic; set and co-costume designer Anna Fleischle; co-costume designer Cat Fuller
“I think what’s incredible with this play is that we’re coming up to 100 years since it was written, but it’s now so relevant that it could be set in 2026, which makes it really relatable. The way Somerset Maugham had written this character as such a powerhouse, she steals the scene in every scene, and it forces us to consider how we make decisions in the moment when sometimes we should take stock.”
In a nutshell, returning home from dropping off her daughter at boarding school, Constance finds her husband disporting himself with her closest friend on the chaise longue. “The play’s about how she deals with that situation, in that pivotal moment, and you think she’s wonderful because she handles it in such a brilliant way,” says Kara.
“It’s incredible that Somerset Maugham wrote such an incredible piece about a female character from a male perspective, and now I’m enjoying being in a room full of female-led vibes, where Laura and Tamara have elevated the play for a modern audience.
“They’ve made the perfect cuts and turned the structure into three parts, where we flashback once, and then we go back to the moment where we left off for the flashback.”
Harvey’s production will be full of 1920s’ style. “When I had the fitting for the gold dress, it felt very, very special. To have something made for you – really made for you – is fantastic,” says Kara. “The sets are fantastic too: it’s a visual feast, so luxurious.”
Kara Tointon in the tour poster for the Royal Shakespeare Company’s The Constant Wife
Recalling her experience of reading the first few pages of Wade’s adaptation. Kara says: “I laughed out loud – and that’s a good sign! I would say it’s a comedy, though you wouldn’t say a woman walking in on her husband having an affair should be a comedy, but you find yourself falling in love with these three very strong women in the play with their very different feelings and views.
“You can see that even though they’re very different, they’re very close – and that’s lovely to play, so I would say it’s a comedy with feeling.”
The Constant Wife is billed as a “comedy of ill manners”. “It’s all about humanity,” says Kara. “Everyone is messing up. Even with Constance, no matter how brilliantly she plays it, you could question some of the decisions she makes.
“When we do what we do to survive, everyone has a different way of surviving, and that’s why watching any drama is interesting because it makes you question how you would deal with difficult situations.”
Royal Shakespeare Company in The Constant Wife, York Theatre Royal, January 26 to 31, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees. Box office: 01904 623568 or at yorktheatreroyal.co.uk. Also Leeds Grand Theatre, April 13 to 18. 7.30pm plus 2.30pm Wednesday, Thursday and Saturday matinees. Box office: 0113 243 0808 or leedsheritagetheatres.com.
Kara Tointon as Constance in The Constant Wife, on tour at York Theatre Royal
LAURA Wade’s new adaptation of The Constant Wife for the RSC leads off Charles Hutchinson’s latest selection of cultural highlights.
Play of the week: Royal Shakespeare Company in The Constant Wife, York Theatre Royal,January 26 to 31, 7.30pm plus 2pm Thursday and 2.30pm Saturday matinees
SET in 1927, The Constant Wife finds Constance as a very unhappy woman. “Nonsense,” says her mother, who insists “she eats well, sleeps well, dresses well and she’s losing weight. No woman can be unhappy in those circumstances”.
Played by Kara Tointon, she is the perfect wife and mother, but her husband is equally devoted to his mistress, who just happens to be her best friend. Tamara Harvey directs the new adaptation by Home, I’m Darling playwright and Rivals television series writer Laura Wade. Box office: 01904 623568 or yorktheatreroyal.co.uk.
Jeffrey Martin: Blend of folk, Americana and literary short stories at Rise@Bluebird Bakery, Acomb, York
Folk gig of the week: Please Please You and Brudenell Presents present Jeffrey Martin and special guest Tenderness, Rise@Bluebird Bakery, Acomb, York, Saturday, 8.15pm (doors 7.30pm)
PORTLAND musician Jeffrey Martin’s narrative-driven songwriting is a blend of folk, Americana and literary short stories with echoes of Raymond Carver. Before turning to music full time in 2016, he spent several years as a high-school English teacher, a profession he left to “chase his dreams at all cost.”
His lyrics are marked by his insight into the human condition, often focusing on the struggles and quiet dignity of people on the margins of society. Box office: bluebirdbakery.co.uk/rise.
Emily Stubbs: Exhibiting ceramics at Pyramid Gallery, York, from Saturday
Exhibition launch of the week: Carolyn Coles, Emily Stubbs and Karen Fawcett, The Sky’s The Limit, Pyramid Gallery, Stonegate, York, Saturday until mid-March
SOUTH Bank Studios artist Carolyn Coles and PICA Studios ceramicist Emily Stubbs will be on hand from 11.30am to 2.30pm at Saturday’s opening of The Sky’s The Limit, their joint exhibition with wildlife sculptor Karen Fawcett.
Like Carolyn, Emily has been selected to take part in York Open Studios 2026 on April 18 & 19 and April 25 & 26. Look out too for work by Pyramid Gallery’s Jeweller of the Month, Kate Rhodes, from Hebden Bridge. Gallery opening hours are: 10am to 5pm, Monday to Saturday.
Snake Davis and Sumudu Jayatilaka: Performing together at Helmsley Arts Centre
Jools’ partners of the week: Snake & Sumudu, Helmsley Arts Centre, Saturday, 7.30pm
SAXOPHONIST to the stars Snake Davis and singer-songwriter Sumudu Jayatilaka often meet up to perform with Jools Holland and His Rhythm & Blues Orchestra or to play together in arts centres.
Raised in Scunthorpe, now based in London, Sumudu has frequently toured as a backing vocalist, guitarist, keyboardist and percussionist for Sir Van Morrison. At 15, she made her TV debut on BBCs Pebble Mill At One, performing her own composition, accompanied by Snake on sax and flute. Later they took part in a Royal Albert Hall concert with Burt Bacharach and Hal David. At Helmsley, expect classic pop, original compositions and a touch of soul and jazz. Box office: 01439 771700 or helmsleyarts.co.uk.
Shakin’ all over: Rebel Dean in Whole Lotta Shakin’, his tribute to Shakin’ Stevens at the Joseph Rowntree Theatre
Tribute show of the week:Whole Lotta Shakin’ – The Shakin’ Stevens Story, Joseph Rowntree Theatre, York, Sunday, 7.30pm
ENDORSED by members of Shakin’ Stevens own family, West End star Rebel Dean’s award-winning tribute to Great Britain’s biggest-selling singles artist of the 1980s tell the story of the rockin’ Welsh boy and his rise to chart-topping superstardom.
Whole Lotta Shakin’ combines a live band with rare footage and images in a nostalgic night of Shaky hits, Green Door, Oh Julie, You Drive Me Crazy and This Ole House et al, complemented by Eddie Cochran, Chuck Berry, Ritchie Valens and Elvis Presley numbers that he covered. Box office: 01904 501935 or josephrowntreetheatre.co.uk.
Anna Hale: Killer punchlines, musical flair and spiky resilience at The Crescent, York
Comedy gig of the week: Anna Hale: Control Freak, The Crescent, York, Sunday, 7.30pm
ANNA Hale, comedian, singer-songwriter and unapologetic control freak, has written the jokes and the songs, planned the lighting cues and even sold the tickets for her gigs. When life spins out of control, can one perfectionist keep the show together, and, crucially, not let anyone else have a go? Find out when encountering the killer punchlines, musical flair and spiky resilience of the 2024 Musical Comedy Awards Audience Favourite winner’s debut tour show. Box office: thecrescentyork.com.
Mike Joyce: Tales from his drumming days for The Smiths at Pocklington Arts Centre
On the beat: Mike Joyce, The Drums: My Life In The Smiths, Pocklington Arts Centre, January 28, 7.30pm
DRUMMER Mike Joyce has been asked numerous times, “What was it like being in The Smiths?”. “That’s one hell of a question to answer!” he says. Answer it, he does, however, both in his 2025 memoir and now in his touring show The Drums: My Life In The Smiths.
To reflect on being stationed behind singer Morrissey and guitarist Johnny Marr from 1982 to 1987, Joyce will be interviewed by Guardian music journalist Dave Simpson, who lives near York. Audience members can put their questions to Joyce too. Box office: 01759 301547 or pocklingtonartscentre.co.uk.
Neil Sadler: Leading his blues band at Milton Rooms, Malton
Blues gig of the week: Ryedale Blues Club presents Neil Sadler Band, Milton Rooms, Malton, January 29, 8pm
NORTH Devon guitarist, singer, songwriter and record producer Neil Sadler has worked with songwriters and composers Guy Fletcher and Doug Flett, Don Black, Leslie David Reed and Tony McCaulay and honied his guitar style with blues and rock artists Larry Miller, Mike Farmer, Dennis Siggery and Malaya Blue, as well as running No Machine Studios for 30 years
Sadler has led his present line-up since early 2024 featuring drummer Ray Barwell and bass guitarist Kev Langman. In January 2025, his Past To Present album was nominated for UK Blues Federation awards for UK Blues Traditional Artist of the Year and UK Blues Album of the Year. Box office: 01653 696240 or themiltonrooms.com.
The poster for Country Roads’ celebration of Dolly Parton, Johnny Cash, Glen Campbell et al at York Barbican
Country celebration of the week: Country Roads, York Barbican, January 30, 7.30pm
COUNTRY Roads invites you to a celebration of country superstar royalty featuring such hits as 9 To 5, The Gambler, I Walk The Line, Ring Of Fire, King Of The Road, Crazy, Rhinestone Cowboy, Jolene, Dance The Night Away, Walkin’ After Midnight and many, many more as the stars of fellow tribute show Islands In The Stream return in this new production. Box office: yorkbarbican.co.uk.
