Zander Fick – charleshutchpress

May 21, 2025May 22, 2025

Nun better as Hayley Bamford takes on Deloris Van Cartier’s role in York Musical Theatre Company’s Sister Act The Musical

Hayley Bamford in rehearsal for the lead role of Deloris Van Cartier in York Musical Theatre Company’s Sister Act The Musical

First published on May 15 2025

YORK Musical Theatre Company will perform Sister Act The Musical at the Joseph Rowntree Theatre, York, next Wednesday (21/5/2025) to Saturday under the direction of Kathryn Addison with Hayley Bamford in the sassy role of “novice nun” Deloris Van Cartier.

As you will recall from Emile Ardolino’s 1992 film, the story is centred on club singer Deloris, who witnesses her partner, nightclub owner Curtis Jackson (Zander Fick), commit murder, forcing the police to hide her in a convent where she meets the Mother Superior (Kirstin Grififths) and an ensemble of 22 nuns. Cue multiple upbeat numbers as friendships grow and the convent is saved from financial ruin. Hallelujah!

“The company chose this show, and they did ask me for my thoughts,” says Kathryn of Alan Menken’s musical with its 1970s-inspired score. “I think it’s a super piece of theatre that’s even better than the film. It’s ideal for this company. It has everything in it you want in a musical.

“There’s a real depth to it, beyond the music, with real emotion to Deloris’s story, but it’s also fun and the music is fabulous. The voices are phenomenal. It has a beautiful original score for a show that needs the right style vocally and physically to retain the essence of the movie’s jukebox musical hits.”

Deloris Von Cartier will forever be associated with Whoopi Goldberg’s tour-de-force movie performance and was played by Cleopatra girl group singer, I’d Do Anything finalist and West End musical actress Cleopatra Rey in York Stage Musicals’ York premiere at the Joseph Rowntree Theatre: a September 2014 production on which Kathryn worked.

Sister Act The Musical director Kathryn Addison

Explaining her choice of Hayley for the role, she says: “Hayley never stops. From the moment she rocks up, it’s an absolute powerhouse performance.

“We had some amazing auditions for the part, and they all really delivered. I had no preconceived ideas about who should play Deloris, but I needed a special spark and that’s what Hayley brought to the room. That energy.

“It’s an instinct. You can’t necessarily say what it is, but there’s a combination of things that strike you. It’s about having the right style and being able to adapt to the demands of this part, understand what you have to do, and Hayley has done that.”

Singer, children’s party entertainer and Hay Jays Disco boss Hayley has long contemplated auditioning for Deloris. “I saw that production at the Opera House, and had considered doing the show with Ripon Operatic Society,” she says. “I thought, ‘I’d love to audition for it’, but the timing wasn’t right, but now it’s come about naturally for me to do it in York, as if it was meant to be.”

Hayley auditioned last autumn and began singing rehearsals in January, followed by floor rehearsals since March. “It’s been such good fun to do,” she says. “It’s a dream come true. I’ve toyed with it for some time now, because I’ve had it in my mind that Deloris is played by a very famous black actress [Whoopi Goldberg].

Hayley Bamford, front, centre, with fellow cast members for York Musical Theatre Company’s production of Sister Act The Musical

“But when John [musical director John Atkin] said it wasn’t written specifically for a black actress, but was first offered to Bette Midler, then I could see Deloris as just a club singer where you have to put your own take on it.

“Deloris is a woman with dreams, and she has her ups and downs as we all do, but it’s what she learns from her experience that’s important.”

Hayley has loved the challenge of playing Hayley. “I played Morticia in The Addams Family a few years ago, but it wasn’t as big a role as this. It’s been good for my brain. Teaching myself things again. Like Deloris, we all have dreams to fulfil to work in theatre.

“Luckily my voice is naturally quite a low voice, the Whoopi Goldberg level, so I can do the American voice like that, but I think I’m camper than Whoopi – and you don’t want to be a copycat.”

Kathryn concludes: “What Hayley is very good at is being able to use her physicality in scenes, and it’s very definitely not like Whoopi! It’s Hayley’s interpretation; we get the whole character because she gets the movement right. Hayley is tall with long limbs and that brings individuality to her performance.”

York Musical Theatre Company in Sister Act The Musical, Joseph Rowntree Theatre, May 21 to 24, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

May 23, 2024May 23, 2024

REVIEW: York Musical Theatre Company in The Wizard Of Oz, Joseph Rowntree Theatre, York, until Saturday ****

Toto puppeteer Adam Gill, left, Rachel Higgs’s Scarecrow, Zander Fick’s Tin Man, Sadie Sorensen’s Dorothy and Daan Janssen’s Lion in York Musical Theatre Company’s The Wizard Of Oz. Picture: Lucy Baines, *Joy Photography*

BY day, Sadie Sorensen teaches A-level Biology. By night and weekend matinee this week, she is “very excited to take on the bucket list role” of Dorothy in only her second show for York Musical Theatre Company (YMTC).

She is relatively new to the York am-dram scene, having relocated here two years ago, but brings bags of experience, having performed in many shows in her Hull past.

What a good talent spot by director and choreographer Kathryn Addison, who is rewarded with a super lead performance by Sorensen.

At 26, she is ten years older than Judy Garland’s iconic Dorothy Gale in Victor Fleming’s 1939 film – much older too than Eleanor Leaper’s Dorothy, aged 13, in YMTC’s 2010 production at York Theatre Royal – but she utterly evokes the tearaway teenager. Pitch of Kansas voice, spot on. Her singing, both powerful and emotive, especially in Over The Rainbow.

Addison’s cast has plenty more hits too, not least casting York stage stalwart Jeanette Hunter into the dark side for the first time as the mean-spirited Miss Gulch and the grouchy villain, the Wicked Witch of the West. Hunter is as entertaining as ever, such a good sport as the baddie.

Fellow “veteran” Martyn Hunter is on good form too, both as the kindly Professor Marvel and the “humbug” Wizard of Oz; Ben Caswell’s Emerald City Guard is full of comic panache; Elizabeth Gardner glitters as Glinda and Marlena Kellie’s Aunty Em is suitably homely.

*Full of green energy: Ben Caswell’s Emerald City Guard. Picture: Lucy Baines, Joy Photography*

Addison’s cast has an international flavour too. Zander Fick, classically trained in opera and jazz singing, moved to York from South Africa in April 2023 and now follows his scene-stealing Chef Louis in York Light Opera Company’s The Little Mermaid with a Tin Man replete with squeaky, robotic movement and, ironically, plenty of heart.

Better still is Dutch-born Daan Janssen, who honed his musical theatre-inspired drag performing skills while studying for his PhD in Germany and now turns in a terrific Lion. From his arch American accent to his timid yet proud demeanour and supreme singing voice, so deep and playful, he is a roaring success.

JoRo regular Rachel Higgs is an appealing Scarecrow and the Yellow Brick Road travelling troupe is completed by canine puppeteer Adam Gill’s ever attentive Toto in a show with two Totos for the price of one. Cast member Helen Barugh’s dog Daisy takes the role in the opening and closing Kansas farmhouse scenes; Elanor Kitchen’s puppet in Oz.

Addison’s choreography makes splendid use of both the adult ensemble and young Munchkins, while Helen Barugh, Katie Crossley and Kirsty Farrow’s Trees and Rob Davies and Caswell’s Crows have their moments too.

Musical director John Atkin’s ten-piece orchestra feels at home in all those familiar Harold Arlen and E Y Harburg songs, the playing light on its feet, the energy infectious. Julie Fisher’s costumes are a delight, for principals, ensemble and children alike, combining with UK Productions’ set design, Ollie Nash’s sound and Nick Lay’s lighting to complete a high- quality production in the merry old land of Oz. Time to follow the Yellow Brick Road to the box office.

York Musical Theatre Company in The Wiard Of Oz, Joseph Rowntree Theatre, York, until Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

May 20, 2024May 20, 2024

York Musical Theatre Company ready to follow the Yellow Brick Road at the JoRo

YORK stage stalwart Jeanette Hunter will play a villain for the first time from Wednesday to Saturday, starring as the Wicked Witch in York Musical Theatre Company’s The Wizard Of Oz.

Following the Yellow Brick Road at the Joseph Rowntree Theatre, York, will be Sadie Sorensen’s Dorothy, Rachel Higgs’s Scarecrow, Zander Fick’s Tin Man and Daan Janssen’s Lion, while further principal roles will go to Liz Gardner as Glinda, Ben Caswell as the Guard, Rob Davies as Uncle Henry, Marlena Kellie as Auntie Em and Martin Hunter as the Wizard.

The production team of director and choreographer Kathryn Addison and musical director John Atkin promises a dazzling production of L Frank Baum’s story with music and lyrics by Harold Arlen and E Y Harburg.

In the ensemble will be Adam Gill, Katie Greene, Katy Barrow, Jo Gamble, Sue Coward, Katie Crossley, Helen Barugh, Kirsty Farrow and Iris Van Hout.

*Jeanette Hunter’s Wicked Witch, right, in rehearsal with Daan Janssen’s Lion, left, Rachel Higgs’s Scarecrow, Zander Fick’s Tin Man, Sadie Sorensen’s Dorothy and Toto puppeteer Adam Gill*

The delightful Munchkins will be played by the children’s cast of Amelia Berry, Sophie Blackmore, Anna Cook, Emilia Davenport, Olivia Dobson Lopez, Matilda Down, Erica Fletcher, Sucy Innes, Izzy Jackson, Eva Lofthouse, Lucas Macleod, Nia Mcvay, Edith Pickard, Matilda Rose and Ellena Sheader.

Adding to the enchantment will be Daisy the dog as Toto. Owned by cast member Helen Barugh, she brings alertness, friendliness, responsiveness and an affable nature to the part, along with an ability to interact with her fellow actors.

What’s more, audiences will be in for a delightful surprise as the show progresses. Once Dorothy and her companions reach the fantastical land of Oz, Daisy undergoes a magical transformation. From that point forward, Toto will be brought to life through the skilled, precise and charming puppetry of Adam Gill.

York Musical Theatre Company in The Wiard Of Oz, Joseph Rowntree Theatre, York, May 22 to 25, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

*Toto meet Toto: Adam Gill’s puppet version with canine star Daisy*

February 13, 2024May 23, 2025

REVIEW: York Light Opera Company in Disney’s The Little Mermaid, York Theatre Royal, making waves until Saturday ****

*Pascha Turnbull’s Ursula, James Dickinson’s Flotsam and Adam Gill’s Jetsam in York Light Opera Company’s Disney’s The Little Mermaid*. *All pictures: Matthew Kitchen Photography*

THREE matinees this week are testament to the family appeal of Disney’s aquatic adventure The Little Mermaid, a show ideal for half-term week.

Across the city from February 16 to 18 at York Barbican, a Tylosaurus, the largest predatory marine reptile to ever grace our oceans and now the largest marine puppet ever made, will be making a big splash in a purpose-built tank in Jurassic Live. “If you sit near the front, you will get wet,” comes the safety alert.

No such warning is necessary at the Theatre Royal, but in the absence of water, everything else is thrown at director/choreographer Martyn Knight’s hi-tech production: an LED screen by AV Matrix; flying by Blue Chilli Flying; images and animations by Broadway Media Distribution and additional scenic elements by Scenic Projects, Lowestoft, and Curtain Call Productions, Crewe.

The tentacle costume for 6ft tall Pascha Turnbull’s evil sea witch, the giant squid Ursula, has been made specially by Caroline Guy, to go with a spectacular array of sea-world costumes by Spotlight Costume Hire and additional costumes created by York Light.

Wardrobe coordinator Carly Price has overseen a sewing team of ten, complemented by 21 dressers at the theatre; ten people in Ellie Ryder’s wig, hair and make-up team; ten more in the stage crew, all serving a cast of 43. Set building took 14 people; Paul Laidlaw conducts an excellent nine-strong orchestra, three of them on keyboards.

Those numbers tell you this is a big, expensive show to mount, taking on the challenge of staging a musical produced originally by Disney Theatrical Productions, based on Hans Christian Andersen’s fairytale and John Musker and Ron Clements’s animated 1989 film for Disney.

*Monica Frost’s Ariel in mermaid mode in Disney’s The Little Mermaid*

Built on a book by Doug Wright, music by Alan Menken and lyrics by Howard Ashman & Glenn Slater, this is every inch a Disney show, in style, content and philosophy, but Knight’s cast still brings a York Light air to it too.

This is helped by the experienced presence of not only Turnbull’s terrific villain, Ursula, but also Neil Wood’s mandarin Grimsby, Martin Lay’s bird-brained Scuttle and in particular Rory Mulvihill’s stern King Triton, ruler of the underworld.

Turnbull’s Ursula and her henchmen with the flashing footwear, James Dickinson’s Flotsam and Adam Gill’s Jetsam, savour the dark side with more than a hint of pantomime villainy, and Turnbull’s rendition of Poor Unfortunate Souls is a formidable finale to Act One.

*Neil Wood’s Grimsby and James Horsman’s Prince Eric*

Jonny Holbek’s Caribbean crustacean, Sebastian the crab, carries the heaviest comedy load, and although painting a face red to deliver a calypso caricature in Under The Sea might not be on a par with a white actor blacking up as Othello in 2024, the Jamaican jive could sit awkwardly for those who cringed at Jar Jar Binks in Star Wars: The Phantom Menace.

Nevertheless, Holbek is such a personable presence on stage – witness his Dewey Finn lead turn in School Of Rock last November – that his Sebastian goes down well, breaking down theatre’s fourth wall in the style of a panto daft lad.

Under The Sea, by the way, is as big and bright and fun as the big ensemble number should be, while Monica Frost’s Ariel, the mermaid who makes a deal with Ursula to take on human form (at the cost of her voice), relishes her spotlight in Part Of Your World in a resolute lead performance.

Lay’s Scuttle and the Seagulls could not be more positive in Positoovity, danced to tap choreography by Rachel Whitehead, and if you want an actor to maximise a cameo with comic flair and French drama, step forward Zander Fick’s Chef Louis in Les Poissons in the palace kitchen.

Roller-skating is all the rage under the sea for Triton’s daughters (Frost’s Ariel, Annabel Van Griethuysen’s Aquata, Helen Miller’s Andrina, Madeleine Hicks’s Arista, Chloe Chapman’s Atina, Sophie Cunningham’s Adella and Sarah Craggs’s Allana), who swish hither and thither and sing siren-style.

James Horsman’s Prince Eric, the royal who would prefer to be a sailor, is played as straight as a ruler, fitting the Disney tropes of dark hair, slim frame and mono-focus on his one – find his bride – task in hand.

*Jonny Holbek’s Sebastian the crab and Ryan Addyman’s Flounder performing Under The Sea*

Ryan Addyman, who had everyone talking about his Jamie New in York Stage’s Everybody’s Talking About Jamie Teen Edition last June, was promptly head-hunted to play Flounder, and he anything but flounders as Ariel’s fabulous fish sidekick here. One to watch, definitely.

Dial M for Mermaid if you enjoy Disney with a York Light touch, colours galore, fairytale fantasy, Turnbull terrors and Mulvihill regal authority

Performances: 7.30pm nightly, plus 2.30pm, Wednesday, Thursday and Saturday matinees. Box office: 01904 623568 or yorktheatreroyal.co.uk.