Author: FairyPoweredProductions

Shakespeare’s Rose Theatre York – until Saturday 1st September 2018.

Reviewed by Michelle Richardson

3 1/2***

Richard III is the fourth, and last, of the plays being shown at Shakespeare’s Rose Theatre in York, directed by Lindsay Posner.

From the offset and the cast dancing along to Come on Eileen, I wasn’t to sure what to expect. After reading the programme and seeing drawings of the costumes, I knew it was going to be a modern take on Richard III. Apart from the clothing styles and the odd product placement of coffee cups, it was not that evident and not really explored, no more dancing along to modern, if you can call 80’s music modern.

Dyfan Dwyfor is very engaging as a young tyrannical Richard. He plays Richard with a lot of cheeky, boyish charm whilst managing to seduce the audience along the way. He had the audience laughing at his mannerisms and wicked wry smiles. Your eyes are drawn to him when he appears on stage, seeing him getting rid of all around him in his quest for power. With his hump, limp (he wears a leg brace to emphasize it’s malformity) and useless arm, he manages to flit around the stage with ease. It must be hard on his body, being distorted for the duration of the performance, I can feel my joints seizing up now just thinking about it.

The whole cast delivered strong performances throughout, but what had the biggest impact for me was the execution scene, ISIS style, of three prisoners. Each shot to the back of their hooded heads, whilst wearing orange jumpsuits, had me jumping in my seat and, though uncomfortable, was fully relatable in today’s climate.

The costumes, designed by Sue Willmington, especially the uniforms, both every day and ceremonial, were superb. And as for the costumes changes, all credit to the actors and behind the scenes for some incredibly quick changes.

I realise that I am a true amateur at this and this is Shakespeare, the greatest English writer in history, but I did find that at times it was a bit tedious There was just too much dialogue, which I occasionally found hard to follow, I had the same issue with Romeo and Juliet. Billed at a whooping 3 hours 45 minutes duration, I’m glad to say that it was cut down to just over 3 hours 15 minutes, which is roughly the same running time as Romeo and Juliet. I still feel that it could have been condensed even further to make it more audience friendly. That is just my personal preference and I know many will disagree. Both shows also have the same cast, a tremendous achievement when they are swapping and changing all through the summer, sometimes even playing both shows on the same day. Proves what a versatile bunch of actors that have been cast for all four shows.

The whole experience is one not to be missed. From the Shakespearean village to the wonderful painted ceiling over the stage, you must try and get to see a show, if not two, three or all four.

The Lowry, Salford – until Saturday 14th July 2018

Reviewed by Julie Noller

4****

Agatha Christie the Queen of crime fiction with such well developed characters such as the lovable Miss Jane Marple and Hercule Poirot, both adored with many millions around the world tuning into watch the many TV and film adaptions that have been developed over the decades. I, as I am sure many in the audience watching Love from a Stranger, have read her books. She had an uncanny eye for people, the depth of her characters personalities makes them totally and utterly believable. Agatha Christie’s name alone would sell any play to me, you expect suspense, drama, mystery and intrigue all mixed together with clever plots and perhaps a dash of murder. Love from a Stranger was first written in 1924 as a short story before being adapted by Frank Vosper in 1936 with a little help from Agatha Christie herself. It was billed as a brilliant terror play a tag line that could stand even today.

Fanastic direction by Lucy Bailey really brings the set alive it’s the attention to the small details that have you questioning during the interval, what is happening, what is to come. Music begins to fill the auditorium before curtain up. Slowly at first you catch a faint buzz that made me think I had tinnitus. Growing louder and louder before I heard a clock ticking and realised it was playing it’s part in building the suspense, rather like the opening credits of a television show. Each time you hear that music during the performance your heart would beat just a little bit faster. I loved the use of strip lights to highlight the change in circumstances and time, how the set itself all moved across the stage in a stroke of genius that stops your eye becoming too accustomed to it’s surroundings and seeking out potential clues. I believed I saw and detected a few clues yet I’m equally convinced if I watched again there would be many things I missed. The action takes place between the two acts, firstly in a flat in Bayswater, London and then in a cottage in West Sussex. It is 1958 and important to remember this is a time before internet warnings and homes rarely had television broadcasting news articles with photographs. Honesty was prevalent to be British we were nice, a stiff upper lip was still the done thing, emotion was a female trait and something to be sneered at.

We begin with Mavis Wilson (Alice Haig) packing up her flat with help or should that be hindrance from Aunty Lou ‘Louise Garrard’ (Nicola Sanderson). Mavis down to earth, working for her living, steady and dependable. You sense she doesn’t suffer fools gladly but this is 1958 and in her do you sense a little jealousy? Her friend and flatmate is about to get married after a long engagement and separation. Would she swap places, happily settle down to a life of wedded bliss? Aunty Lou is a fabulously comic character although I’m not entirely sure she was firstly written that way. Has she developed in my eyes as I’ve got older and can see how rich a character she is, I almost can see David Walliams watching this play and upon leaving basing one of his comedy personas on Aunty Lou. Helen Bradbury plays Cecily Harrington betrothed to Michael who has been working in The Sudan for three years. She is having cold feet as many brides to be have had. But there.s a desperation about her having won £50, 000 in a sweepstake she shared with Mavis. She is in turn jealous of Mavis and her three months escape to go on an adventure holiday. How she longs to have excitement and Michael she fears just may be too steady and reliable to give her that excitement. This is where timing is key and split second decisions alter her life.

Mavis upon hearing her frustrations decides to leave Cecily alone to welcome home Michael. Mavis herself is angered and showing lack of compassion for her friend neglects to inform her of the stranger coming to view the flat with a mind to renting it for three months. That stranger arrives in the form of floppy blonde haired, free spirited, fun loving American Bruce Lovell (Sam Frenchum) he immediately raises your heckles in the audience, you sense danger is lurking. He takes Cecilys photograph without her knowing, sniffs at her negligee. The he slowly reels her in. It isn’t a hard task shes bored, he has a sense of adventure that appeals to her. As quickly as he appears her life is unravelling. Michael Lawrence (Justin Avoth) firstly appears like a drippy English man, boring suit and slicked hair, even his moustache looks pathetic. You want to cheer Cecily for dumping him and heading away on adventure.

The cottage in Sussex is an expensive place to hire Bruce and Cecily immediately married and how Cecily has changed she is no longer the strong independent woman who craved adventure but happily and meekly mild wife, so in love or lust with Bruce eagerly pleasing him and agreeing to his every whim. Bruce is clever you sense that his words are long practised, the isolation of the cottage is deliberate although you hope not. Ethel (Molly Logan) is another great example of how Christie could bring characters alive with humour, a very loud and clumsy maid, quite as you see Miss Marple training in her stories. Gardener Hodgson (Gareth Williams) who tells it as it is, salt of the earth. An innocent slip of the tongue has everything unravelling, the truth will out. Small villages may be remote but nothing is missed by the eyes of a sharp friend who knows when something is wrong. Dr Gribble (Crispin Redman) shares a love of murders and reads the same magazines as Bruce, he senses Cecily is in danger and attempts to warn her.

Happily Cecily reconciles with both Mavis and Michael who we see dressed casually not as the stuffy Englishman but how wrong we were, he may be safe and dependable but excitement can itself be boring if its everyday, we need to breathe sometimes. His only crime was loving Cecily and being unable to communicate that love to her. I don’t want to give the ending away but feel it’s fair to say you may inhale a little too loudly, you may gasp as the audience around me did. I wasn’t expecting a hint of raunchy behaviour from an Agatha Christie play but it highlights perfectly how easily we stray from the path we think we chose.

I did expect twist and turns perhaps subplots, yet I had no idea where they may come from. I believe that’s the best way to watch Love from a Stranger. Enjoy the action from well developed characters who are as diverse as stereotyping can be. The only thing you can be certain of before curtain up is that Agatha Christie knew her characters not only as two dimensional on paper but inside and out, three dimensional living and breathing. I think it’s fair to say that we all need the love of good friends.

SURVIVAL KIT – A THEATRICAL GUIDE TO SURVIVAL IN THE 21^STCENTURY

Paul’s got 20 years’ worth of ‘NOW That’s What I Call Music’ albums; Lorraine can’t live without her phone; Callum has a water pistol and a whoopee cushion; Zara has a stack of programmes from her favourite musicals that she’s very attached to.

This is Survival Kit – a new piece by Artists and Students from Mind the Gap Academy that debuts at The Studio, Bradford Theatres on Thursday 19 July.

Survival Kit asks questions about what we need to survive, and what we can’t live without.

Each of the 10 actors has a box containing their chosen must-have items – the essentials of life that enable them to function properly; family, friendship, shelter, acceptance and chocolate.

Actor Paul Bates says, “I have been on a journey with the Survival Kit process. Devising together using our own life stories and what Survival is to us, means the piece is really personal to me. It makes you laugh and feel sad and really makes you think what is important to you.”

Survival Kit has been devised by Academy Director Charli Ward, based on ideas contributed by the performers, and is choreographed by Karen Bartholomew.

Director Charli Ward says, ‘It has been fantastic devising Survival Kit. The actors have contributed some brilliant answers to the question ‘what can’t you live without?’ – ‘living close to my family’, ‘taking that first sip of coffee in the morning to get me through the day’ and seeing people smile.’ We have all begun to appreciate even the small things that get us through life!’

Mind the Gap, one of Europe’s leading learning disability theatre companies, has been developing the skills of the Artists and Students in the show through the Academy, which offers a range of programmes and accredited courses.

Survival Kit is at The Studio Theatre, Bradford (adjacent to The Alhambra) on Thursday 19^thJuly at 7.30pm

Book online at bradford-theatres.co.uk or call 01274 432000

For more information on Mind the Gap visit mind-the-gap.org.uk or email Deborah Dickinsondeborah@mind-the-gap.org.uk

Joshua McTaggart is to step down as Artistic
Director of The Bunker Theatre

Joshua McTaggart will step down as Artistic Director of The Bunker Theatre in September. David Ralf will continue to lead the London off West End theatre in his new role as Executive Director alongside a new Artistic Director, who will be appointed this summer. Applications for the role of Artistic Director are open today (Wednesday 11th July).

McTaggart has been appointed as Artistic Director and CEO of the Chelsea Theatre, in West London, and from September will oversee a major capital redevelopment project.

The Bunker has also announced a musical theatre development initiative with Trafalgar Entertainment Group. The initiative will support, amongst other projects, a new musical based on Glasgow’s Ice Cream Wars of the 1980s, which is to be developed and directed by McTaggart, continuing his creative relationship with The Bunker.

McTaggart comments, In just over two years, our team has taken this abandoned underground car park and transformed it into a thriving hub of creativity and performance. I am immensely proud of everything we have achieved, and I have had the true privilege of working and collaborating with some of the most generous and talented artists our country has to offer. I cannot wait to hand over this building to another creative mind to lead it on the next steps of its journey. I will certainly be taking along the lessons and the triumphs from my time at The Bunker to the Chelsea Theatre.

Ralf says, Over the last two years, Joshua’s vision and energy as Artistic Director have led the building through its opening, three world-premiere in-house productions, two editions of our signature Bunker Without Borders festival, our first Breaking Out programme for emerging companies, and the hugely fruitful relationships with our two Resident Companies, Damsel Productions and Pint-Sized. He has inspired hundreds of artists to make something new, modern and exciting in our unique space. The Bunker wishes him the very best with all his future endeavours, and I am thrilled to lead this young and energetic off West End venue into its third year.

The application process for a new Artistic Director for The Bunker closes on Friday August 3rd at midnight. To encourage applications from as many backgrounds and abilities as possible, applications can be made in a number of forms, including video submissions, voice recordings or emails. Applicants can apply via The Bunker’s website, https://www.bunkertheatre.com/getinvolved/work-with-us.

The Bunker
Housed in a former underground parking garage, The Bunker is a unique 110-seater deep beneath the pavements of Southwark Street. An eclectic mix of seating surrounds a large, square thrust stage on three sides, and a craft beer bar stays open long after performances while audiences mingle with artists in the auditorium.

With ambitious, emerging artists at the centre of its work, The Bunker’s programming has included the world premieres of award-winning sell-out Skin A Cat by Isley Lynn, Devil With The Blue Dress by Kevin Armento, ABIGAIL by Fiona Doyle, Eyes Closed, Ears Covered by Alex Gwyther, 31 Hours by Kieran Knowles, an experimental new adaptation of La Ronde, and Cardboard Citizen’s 25th Anniversary epic nine-play cycle Home Truths.

The Bunker is the current home of resident companies Pint-Sized Plays and Damsel Productions who as well as Grotty by Izzy Tennyson produced their festival Damsel Develops at The Bunker, London’s first all-female director-led festival of work-in-progress.

The Bunker was founded by Joshua McTaggart and Joel Fisher, who were aged 25 and 24 at the time. Two-thirds of The Bunker’s audience are under 35 and 10 tickets for under 30s are available for just £10 at every performance.

Producers, Kane D. Ricca and Sarah Ivory are delighted to announce a Gala Performance to celebrate the final day of the London Tap Dance Intensive (LTDI), taking place at London Cabaret Club on Sunday 29 July. The event, hosted by star of stage and screen, Adam Garcia, will have performances from cast members of 42nd Street, STOMP, Hamilton, Tap Dogs and Motown, alongside the tap festival’s faculty of world-class professional tap dancers. Further special guest appearances to be announced.

The LTDI 2018 Gala Performance will also feature exclusive performances from three brand-new pieces of tap dance theatre: Old Kent Road’s ‘OSCiLLATE’, Lee Payne’s ‘TapSymphony’ and the premiere of Jack Evans’s highly anticipated ‘Feet Keep Me Flyin’’.

Kane D.Ricca said “Growing up watching videos of Sammy Davis Jr. performing on the strip, I’ve always wanted to produce an evening of entertainment with that same flare. The fact that I can do that as part of a tap dance festival, bang in the heart of Central London… That’s what dreams are made of.”

Adam Garcia said “I don’t think there is ever a time when you can watch a cabaret gala evening, with some of the best tap dancers in the world. It’s a complete rarity and I am excited to be a part of it. It’s going to be phenomenal.”

The Gala Performance will donate 50% of its proceeds to #HeadsTogether, a mental health initiative spearheaded by The Duke and Duchess of Cambridge and Prince Harry. The initiative combines a campaign to tackle stigma and change the conversation on mental health, with fundraising for a series of innovative new mental health services. For more information, please visit www.headstogether.org.uk.

London Tap Dance Intensive is a three-day festival of classes, workshops, events and performances taking place from 27 – 29 July 2018, in the heart of Central London, uniting the global tap dance community.

Website – www.ltdi.uk

Twitter – @londontapdance

LISTINGS INFORMATION

Sunday 29 July

7.30pm – 11.30pm

London Cabaret Club

Victoria House

Bloomsbury Square

Holborn

London WC1B 4DA

Ticket Prices From: £27.54

ATG Productions, Chichester Festival Theatre, Gavin Kalin Productions, Glass Half Full Productions, present
Chichester Festival Theatre’s production of

KING LEAR
by William Shakespeare
Directed by Jonathan Munby

Duke of York’s Theatre, London from 11th July to 3rd November 2018

£5 TICKETS MADE AVAILABLE AS PART OF CHICHESTER FESTIVAL THEATRE’S PROLOGUE SCHEME FOR 16-25 YEAR OLDS.

Chichester Festival Theatre’s highly successful Prologue scheme, which enables 16-25 year olds to purchase £5 tickets across all productions in the theatre’s Festival season, has been extended to include the eagerly anticipated West End run of Shakespeare’s King Lear.

With an ensemble cast including Ian McKellen (King Lear), Sinéad Cusack (Kent), Danny Webb (Gloucester) and Kirsty Bushell (Regan), this critically-acclaimed production, directed by Jonathan Munby, will run at the Duke of York’s Theatre in London for 100 performances only from 11th July to 3rd November 2018, following a sold-out season at Chichester Festival Theatre last year.

The limited number of £5 Prologue tickets to King Lear can be purchased by 16-25 year olds, on the day of performance and in person from the Duke of York’s Box Office, when proof of age ID will be required.

Chichester Festival Theatre is committed to providing affordable tickets to world-class theatre, and particularly in reaching and growing younger audiences with the aim of encouraging independent theatregoing and kick-starting a life-long love of theatre in young people. Under the leadership of Daniel Evans (Artistic Director) and Rachel Tackley (Executive Director), the price of Prologue tickets for 16 to 25 year olds has been brought down to £5 with tickets made available for all productions in the Festival season including talks with casts and creatives, late night cabarets and other social events for young theatregoers.

For further information and to sign up to the Prologue scheme, visit the Chichester Festival Theatre website.

The cast of King Lear at the Duke of York’s Theatre will include Kirsty Bushell (Regan), Richard Clews (Gentleman Informer / Old Man), James Corrigan (Edmund), Sinéad Cusack (Kent), John Hastings (Curan / Doctor), Anthony Howell (Albany), Lloyd Hutchinson (Fool), Jake Mann (Burgundy / Lear’s Knight), Michael Matus (Oswald), Ian McKellen (King Lear), James Millard, Johanne Murdock, Jessica Murrain, Claire Price (Goneril), Daniel Rabin (Cornwall), Caleb Roberts (King of France), Scott Sparrow (Albany’s Man), Luke Thompson (Edgar), Anita-Joy Uwajeh (Cordelia), John Vernon, and Danny Webb (Gloucester).

It is also announced that King Lear will be broadcast live to cinemas across the UK and internationally on Thursday 27th September with National Theatre Live. NT Live currently screens to 2500 venues across 60 countries.

Two ageing fathers – one a King, one his courtier – reject the children who truly love them. Their blindness unleashes a tornado of pitiless ambition and treachery as family and state are plunged into a violent power struggle with shocking ends.

Tender, brutal, moving and epic, King Lear is considered by many to be the greatest tragedy ever written.

ATG Productions, Chichester Festival Theatre, Gavin Kalin Productions and Glass Half Full Productions present Chichester Festival Theatre’s production of King Lear by William Shakespeare which is directed by Jonathan Munby, designed by Paul Wills with lighting by Oliver Fenwick, music and sound by Ben Ringham and Max Ringham, with movement direction by Lucy Cullingford and fight direction by Kate Waters.

THE NORTHERN POWERHOUSE

THE HISTORIC PAVILION THEATRE

SET TO BECOME CREATIVE HUB ONCE AGAIN!

SELLADOOR WORLDWIDE & WINTER GARDENS BLACKPOOL

COLLABORATE TO PROGRAM EXCITING NEW WORK ACCESSABLE TO NORTHERN AUDIENCES & RESTORE THE PRESTIGIOUS GRADE 2 LISTED BUILDING

As the Winter Gardens Blackpool today celebrates its 140^th anniversary, plans have been unveiled revealing a partnership between global producers Selladoor Worldwide and operators Blackpool Entertainment Company to bring a fresh lease of creative life to the historic Pavilion Theatre, based within the grade 2* listed venue. During this joint venture, Selladoor Worldwide will lead on programing the space with both produced and received work, whilst Winter Gardens Blackpool will focus on the renovations to save and restore the theatre back to its full former glory for future generations to enjoy.

Selladoor Worldwide are one of the UK’s leading Regional Theatre Producers, producing 8 productions in 2017 that performed outside of the country’s capital, with a total of 9 productions set to do so throughout 2018. From the very outset, the company’s aim has been to make accessible work for all audiences, which has therefore invigorated Selladoor Worldwide to create a base in the North of England, to ensure full coverage across the country.

Selladoor’s Northern Powerhouse will be based out of the Pavilion Theatre in Blackpool, the oldest venue in the Winter Gardens complex. The venue was part of the original 1878 build and was an entertainment hub, catering to large crowds at the turn of the 20th century. Although a stunning and richly decorated building, with opulent interior designs, this building is no longer used as a theatre, and is currently listed as ‘at risk’ by the Theatres Trust.

Selladoor Worldwide are therefore extremely proud to partner with Blackpool Winter Gardens to protect and revitalise this venue to once again be an important entertainment hub for the town of Blackpool and surrounding northern cities such as Manchester and Liverpool. The theatre space will be used for event theatre as well as non-conventional and immersive theatre, helping to diversify the artistic programming and cultural experiences available to the residents of Blackpool.  Due to Blackpool having one of the lowest engagement rates in the UK, Selladoor Worldwide and Winter Gardens Blackpool have been working closely to establish what will benefit and empower the members of the public to ensure engagement rates increase and sustain for future generations, as well as restoring one of the city’s most important and historically significant buildings back to its former glory.

Executive Creative Producer David Hutchinson for Selladoor Worldwide says: “A town as bold as Blackpool is the perfect location for our Northern producing base to make waves in the north of the country. Our decision to base a dedicated team in Blackpool will enable us to focus on cultural development and engagement in the town and surrounding areas. With a new and stimulating programme of work to feature at The Pavilion Theatre, complimented by a broad selection of Selladoor’s touring productions that regularly perform at the Winter Gardens, we are extremely excited to see a town that is very dear to our hearts, flourish and succeed as it’s members of public deserve”.

Michael Williams, Managing Director at Blackpool Entertainment Company, operators of the Winter Gardens Blackpool says: “We are delighted to launch the partnership between Blackpool Entertainment Company (BECL) and acclaimed producers Selladoor Worldwide. This heralds an exciting new direction, which will offer unparalleled opportunities to the local community whilst bringing back into year-round use of the Pavilion Theatre. In addition, we will be utilising other spaces in the venue for a wide range of exciting and engaging projects over the coming years.

The partnership is a unique and exciting opportunity to use the arts as a catalyst for positive change and a vehicle to encourage both opportunity and aspiration through a wide range of commercial and community developments”.

Tom Stickland from the Theatres Trust has said: “The Winter Gardens’ Pavilion Theatre has evolved throughout its life to reflect the changing tastes for public entertainment opening as a music hall before becoming a theatre in 1885 and adapted for cinema in the 1930s. Restoring performance use to this historic space will unlock one of Blackpool’s jewels and help protect it for the future”.

MAMMA MIA! CAST COOL OFF AT MANCHESTER’S HISTORIC VICTORIA BATHS

The ensemble cast of Mamma Mia! landed in Manchester during the hottest spell of this Summer’s heatwave and as you would expect from performing night after night in a high-energy musical, the dancers from the hit show were very much feeling the heat.

Luckily for them, Manchester’s Victoria Baths is just down the road from the theatre and offered the eight dancers the perfect chance to chill out and cool down in-between performances.

Posing for photos in their wetsuits and flipper costume as seen in the show, the cast had fun hanging around the magnificent Gala Pool and were all smiles for the cameras as they squeezed into the traditional changing cubicles which are lined up alongside the poolside.

The dancers even had a chance to practice their moves at the bottom of the newly-restored pool – but luckily for them, the pool was empty and their costumes remained dry and ready for the evening’s performance!

Described as ‘the most splendid municipal bathing institution in the country’ when the historic building opened its doors in 1906,  Victoria Baths was built of the highest quality materials with many period decorative features including stained glass, terracotta tiles and mosaic floors.

Victoria Baths has today been partially restored, thanks to £5m in total which has been raised from a number of sources, by far the biggest being a grant from Heritage Lottery Fund which came to Victoria Baths as a result of winning BBC’s Restoration programme in 2003.

MAMMA MIA! is showing at the Palace Theatre until 14 July. For tickets and latest availability, visit www.atgtickets/manchester or call 0844 871 3019.    

A Touring Consortium Theatre Company Production in association with Everyman Theatre Cheltenham and Ewing Entertainment

POPULAR YORK ATTRACTION RETURNS TO THE TIME OF RICHARD III

This summer The York Dungeon is celebrating the reign of the Yorkist King.

History has no lack of controversies, and there is certainly no other English monarch that has invited more argument and debate than Richard III. First there was the question of whether he should be buried in York or Leicester, but this summer, The York Dungeon is asking one question that still has no answer: was Richard III a Hero or Villain?

The Dungeon is inviting guests to decide for themselves, as they take some of their most popular shows back in time to the Wars of the Roses, when Richard III ruled over the city.

“We’re all hugely excited here at The Dungeon” says performance manager John Andrews, “The new changes  tell a story we’ve never told before, and the audience, as always, will be directly involved in that story, with plenty of surprises on the way”.

Richard III marks the 3^rd character in the yearlong Yorkshire Rogues & Legendscampaign at The York Dungeon, and John hopes it will reignite some debate about the Yorkist King.

“Obviously you have Shakespeare’s version of Richard III, as this grotesque villain, but we want to portray the Richard that York loved; the man who had so many connections to the city, that a lot of people seem to have forgotten”.

Stuart Jarman, General Manager adds ‘The burial debate was one of great interest and conflict in York as many believed it should have been Richard’s final resting place but the Dean of York’s back door deal with her old haunt; Leicester denied the city, and Richard, of this’.

Families and other guests can still expect the full Dungeon experience, with the attraction open every day this summer.

As John summarises: “You’ll still meet all of York’s famous characters, from the Vikings to Dick Turpin, with plenty of scares and laughs to be had!”

Richard III – Hero or Villain? runs from the 21^st July to 2^nd September.

For more information, head to: www.thedungeons.com/York