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PHILHARMONIA ORCHESTRA CELEBRATES 75TH ANNIVERSARY in 2020

• PHILHARMONIA ORCHESTRA ANNOUNCES DETAILS FOR FIRST PART OF ITS 75TH ANNIVERSARY CELEBRATIONS

• THE SEASON OPENS IN JANUARY WITH A PROGRAMME CENTRED ON 1945, THE ORCHESTRA’S FOUNDING YEAR, AND THE WORLD PREMIERE OF A MAJOR NEW COMMISSION BY MARK-ANTHONY TURNAGE
   
• WARNER CLASSICS WILL RELEASE A MAJOR 24-DISC BOX SET, PHILHARMONIA ORCHESTRA: BIRTH OF A LEGEND, OF CELEBRATED RECORDINGS AND RARE GEMS FROM THE PHILHARMONIA’S FIRST TWO DECADES
   
• PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR ESA-PEKKA SALONEN CONDUCTS THE OPENING WEEKEND OF PHILHARMONIA AT 75 AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL ON 16 AND 19 JANUARY

The Philharmonia Orchestra today announces part one of a year of programming to celebrate its 75th anniversary, marking three-quarters of a century of world-class concerts, definitive recordings, technological innovation, community-led outreach and artistic adventure. Philharmonia at 75 opens in January 2020 with a pair of concerts conducted by Esa-Pekka Salonen focusing on the orchestra’s founding year and featuring the world premiere of a new commission from Mark Anthony Turnage, Towards Alba, a Horn concerto commissioned by the Philharmonia with support from John and Carol Wates.

The Philharmonia is a world-class symphony orchestra for the 21st century. Founded in 1945, in part as a recording orchestra for the nascent home audio market, today the Philharmonia uses the latest digital technology to reach new audiences for symphonic music. VR experiences featuring music by Sibelius, Mahler and Beethoven, placing the viewer at the heart of the orchestra, have been presented at Southbank Centre, where it is Resident Orchestra, and internationally. The Orchestra is led by Finnish conductor and composer Esa-Pekka Salonen. Fellow Finn Santtu-Matias Rouvali takes over from Salonen as Principal Conductor in the 2021/22 season.

Esa-Pekka Salonen said: “The Philharmonia started as a direct result of the advent of the LP. The orchestra’s founding was a response to the technological development of the day and ever since, the Philharmonia has been at the forefront of tech in classical music. Utilising pioneering technology and constantly being at the forefront of industry developments means that the orchestra adapts easily to new frontiers and new repertoire, because development has been in its DNA since its birth.”

On 16 January 2020, Salonen conducts a French Horn-themed programme inspired by famous French Horn players connected with the Philharmonia, including Dennis Brain, Richard Watkins (soloist in the world premiere of Towards Alba) and Salonen himself. The performances of Richard Watkins in Turnage’s Horn Concerto and Allan Clayton in Britten’s Serenade for Tenor, Horn and Strings are supported by John and Carol Wates.

On Sunday 19 January 2020, the Philharmonia performs a concert of music composed in 1945, the year the Orchestra was founded. Salonen conducts three very different masterworks composed for a world emerging from the destruction of the Second World War: Vaughan Williams Symphony No. 6, Richard Strauss’s Oboe Concerto (with Principal Oboe Tom Blomfield the soloist) and Stravinsky’s Symphony in Three Movements. This concert is supported by the Nathan Family.

In addition to the initial concerts, and to celebrate three-quarters of a century of remarkable recordings, the orchestra is partnering with Warner Classics, which owns much of the Orchestra’s back catalogue, to release a box set of recordings from the years the Philharmonia was run by its founder, Walter Legge (1945-64).

Philharmonia – Birth of a Legend features recordings with conductors that made the early Philharmonia one of the greatest orchestras in the world: Herbert von Karajan, Wilhelm Furtwängler, Guido Cantelli, Arturo Toscanini, Otto Klemperer and Carlo Maria Giulini.

Classic recordings sit alongside rarely-heard gems. A link to the modern-day Philharmonia is made with a bonus recording licenced from the BBC, of Esa-Pekka Salonen conducting Schoenberg’s Verklärte Nacht at Royal Festival Hall in September 2018.

Philharmonia – Birth of a Legend was coordinated by Jon Tolansky. The box set will be released internationally on 24 January 2020.

HARPER LEE’S
TO KILL A MOCKINGBIRD
A NEW PLAY BY AARON SORKIN

DIRECTED BY BARTLETT SHER

Producers Scott Rudin, Barry Diller and Sonia Friedman Productions announced today that To Kill a Mockingbird, Aaron Sorkin’s new play based on Harper Lee’s Pulitzer Prize-winning novel, directed by Bartlett Sher, will open at London’s Gielgud Theatre in May 2020.

Harper Lee’s enduring story of racial injustice and childhood innocence has sold 45 million copies worldwide. 2020 will mark the 60th anniversary of its publication.  

Set in Alabama in 1934, To Kill a Mockingbird centres on one of the most venerated characters in American literature, the small-town lawyer Atticus Finch. The cast of characters includes Atticus’s daughter Scout, her brother Jem, their housekeeper and caretaker Calpurnia, their visiting friend Dill, a mysterious neighbour the reclusive Arthur “Boo” Radley, and the other indelible residents of Maycomb, Alabama.

To Kill a Mockingbird, celebrating one year on Broadway today, has not played to an empty seat and holds the benchmark of having become the most successful American play in Broadway history. A national tour of the United States opens at The Kennedy Center in Washington DC in August 2020.  

The British cast and performance dates will be announced soon.

Sign up at www.tokillamockingbird.co.uk for updates and priority access to tickets.  

Aaron Sorkin is a celebrated writer, producer and director known for his multi-award-winning work across stage and screen. Sorkin is probably best known as the creator and screenwriter of the Emmy Award-winning hit TV series The West Wing and films such as Steve Jobs and The Social Network for which he received an Academy Award, Golden Globe, BAFTA and Writer’s Guild Award for best screenplay. He is the writer-creator of The Newsroom and the Academy Award-winning 1992 film A Few Good Men, which he adapted from his 1989 Broadway play. His other credits as a playwright include Making Movies and The Farnsworth Invention.

Bartlett Sher is the multi-award-winning Director of the Lincoln Center Theater in New York, a post he has held for over a decade. His critically acclaimed stage productions include the Tony Award-winning South Pacific and Oslo, My Fair Lady and Women on the Verge of a Nervous Breakdown. He has also worked extensively in opera, staging productions at English National Opera, Metropolitan Opera, Seattle Opera and New York City Opera.

To Kill a Mockingbird is designed by Miriam Buether, with costumes by Ann Roth, lighting by Jennifer Tipton, sound by Scott Lehrer and an original score by Adam Guettel.

Tristan Bates Theatre – until 2 November 2019

Reviewed by Elizabeth J Smith

4****

When you look in the mirror what do you see?

This new writing from Perdita Stott, Ugly, explores a females perception of their image and the power that image can have on each of us.

In an age of technology where we are bombarded with the “right” images of how we should look, what we should wear and how our perception of these demands can influence everything in our lives.

When does this awakening of our own image begin?

The ensemble of female actors introduce us to a range of females old and young all who have issues with how they look.

We meet females who know they are pretty and suffer because of it.

We meet a child who’s mother instils a sense of worthlessness in her daughter and question why a Mother would do that to her child?

Is it that you are too fat, too thin, the wrong colour, the wrong accent, your face moves too much or too little.

The questions of ugliness are endless and as an audience we are shown the questions that we probably ask ourselves on a daily basis. The answers to these questions, if positive, will give us strength and make our world a better place but, like Samson’s hair, when cut down to negatives we lose our strength and attack from within.

Ugly takes you on a journey of exploration as to the why’s and wherefores of our deepest felt feelings about ourselves and shines the light on how futile, pointless and time wasting these thoughts can be.

Should we just stop caring? What would that look like? Or should we all try to be like a Disney princess and sing and dance our way through life, with a little help from little creatures on the way.

Congratulation to Perdita on an exceptional piece that makes you think about your own perception of ugliness. With an amazing cast of ladies who make you laugh out loud and shed tears of sadness.

My husband accompanied me to this performance and his observation was, “your not the only mad cow who thinks she’s ugly then”. Ugly is a female epidemic of our modern age. There is so much truth in this piece that if we could all care a little less about what others think of us and just
get on with life we would save 23 hours a week for better activities.

Thought provoking, masterly crafted piece of female empowerment.

Leeds Grand Theatre – until 9 November 2019

Reviewed By Dawn Smallwood

5*****

Leeds Grand Theatre is currently hosting The King and I which came direct from London’s West End and is currently on a national tour. With an international line up being led by Annalene Beechey and Jose Llana The King and I is certainly one of the most awaited musicals to be hosted at the theatre.

The King and I, a Lincoln Center Theater Production, is based on Margaret Landon’s Anna and The King of Siam and set to Richard Rodgers’ music and Oscar Hammerstein II’s book and lyrics. The musical was first premiered on Broadway in 1951 and in the West End two years later and subsequently filmed in 1956 starring Yul Brynner and Deborah Kerr.

The story is set to Anna Leonowens’ memoirs when she, a governess, was invited to Siam (Thailand) by the King during the 19th Century to teach English to his children and his wives and also to share with them an insight into the British culture. The King of Siam (Llana) wants Anna (Beechey) to be part of his ambitious plans to modernise Siam and also for the country to fight off any colonial invasions that were happening at the time.

Coming from contrasting cultures, the King and Anna initially don’t see eye to eye especially the equality and position of women. There is also reluctance from the King to honouring Anna’s contract and how she and her son, Louis (Alfie Turnbull) have to be bounded by the palace rules.

The Royal Household (Ensemble) and Anna receive eye opening experiences when they exchanged and shared cultures and traditions from the East and the West. Differences and misunderstandings are noted, clarified and put in perspective amid humourous moments. Eventually, despite the differences, mutual trust and acknowledgement emerge between the King and Anna and unbeknown at the time love begins to grow. There are some sad moments however their presence, influences and mutual understanding will surely live on in generations to come.

Set to an incredible musical score; musically led by Mr Malcolm Forbes-Peckham, with show stopping musical numbers such as the memorable Whistle a Happy Tune; catchy and entertaining but legendary Shall We Dance; and the ever wonderful and cute Getting to Know You when Anna meets the Royal Children and their mothers. In between the musical numbers one gets a glimpse of the country’s culture and traditions and also the political landscape at that time when the neighbouring countries were being colonised by different ones.

Michael Yeargan’s sets are breathtaking and eye catching which compliment Donald Holder’s creative lighting, Scott Lehrer’s soundscapes and Catherine Zuber’s colourful costumes. The production has a lavish stage presence throughout which sells the performances so well. Every scene is a highlight especially the The Small House of Uncle Thomas ballet with Tuptim (Paulina Yeung) narrating and the Royal Singers and Dancers (Ensemble) performing – choreographically pleasing with the story being colourfully told with dance and movement.

Bartlett Sher directs a production that one in the audience is engaged and transfixed from beginning to end. The King and I offers a lot as far as entertainment is concerned with plenty of cultural exchanges. The cast delivers a legendary musical which will live on in generations to come. It’s a must see musical and one understands why it was a sold out season in London’s West End and it is evident why this touring production is currently being well received and supported.

UK tour announced for the premiere of Night of The Living Dead™ – Remix

“They’re coming to get you Barbara”

To celebrate Halloween, imitating the dog and Leeds Playhouse are delighted to announce the full UK tour for the premiere of their unique shot-for-shot stage recreation of George A. Romero’s classic 1968 zombie movie – Night of The Living Dead™ .

Night of the Living Dead ™- Remixwillrun at Leeds Playhouse from the 24 January-15 February. It will then tour to Liverpool Playhouse (18-22 Feb), Exeter Northcott (25-26 Feb), Theatr Clwyd (28-29 Feb), Brewery Arts Centre, Kendal (2-3 Mar), Nottingham Playhouse (10-11 Mar), Dundee Repertory Theatre (13-14 Mar) and HOME, Manchester (18-21 Mar).

In 1968, Night of the Living Dead started out as a low-budget independent horror movie telling the story of seven strangers taking refuge from flesh eating ghouls in an isolated farmhouse.

Fifty years on, seven performers enter the stage armed with cameras, a box of props and a rail of costumes. Can they recreate the ground-breaking film, shot-for-shot before our eyes, using whatever they can lay their hands on?

With 1,076 edits in 95 minutes, it’s a heroic struggle. Success will require wit, skill and ingenuity and is by no means guaranteed.

Romero’s original was an apocalyptic vision of paranoia, the breakdown of community and the end of the American dream. In their new stage production, masters of digital theatre, imitating the dog, create a love-song to the original 1960s film, a remaking and remixing which attempts to understand the past in order not to have to repeat it.  Their version is in turns humorous, terrifying, thrilling, thought-provoking and joyous. Above all, in the retelling it becomes a searing parable for our own complex times.

imitating the dog have been making ground-breaking work for theatres and other spaces for 20 years. Their work, which fuses live performance with digital technology, has been seen by hundreds of thousands of people in venues, outdoor festivals and events across the world. Past productions have included Hotel Methuselah, A Farewell to Arms and most recently Heart of Darkness.

Leeds Playhouse is one of the UK’s leading producing theatres; a cultural hub, a place where people gather to tell and share stories and to engage in world class theatre. It makes work which is pioneering and relevant, seeking out the best companies and artists to create inspirational theatre in the heart of Yorkshire.

Presented by courtesy of Image Ten, Inc,  Night of The Living Dead ™ – Remix is directed by imitating the dog’s co-artistic directors Andrew Quick and Pete Brooks. Casting will be announced in the coming weeks.

For more information visit www.imitatinthedog.co.uk (Twitter: @imitatingthedog)

Rosie Kay Dance Company returns to Leeds

to discover what makes dance beautiful

Rosie Kay Dance Company

Fantasia

Thursday 21 November

Stanley & Audrey Burton Theatre, Leeds

theatreleeds.com

Returning to Leeds after a sold-out visit in 2017, Rosie Kay Dance Company is back at the Stanley & Audrey Burton Theatre next month with their latest production, Fantasia. Bringing ballet and tutus into the 21^st century, Fantasia will be performed on 21 November 2019 for one night only.

Rosie Kay’s newest work fuses dance and science to create an exquisite performance of pleasure, beauty and finesse. Following work with neuroscientists in the UK and Denmark’s Center for Music in the Brain, Rosie Kay explores how dance can trigger sensations of pleasure and fulfilment in the brain, and what makes dance so beautiful to watch and experience.

Fantasia is a work of pure joy inspired by music and the body’s response to it, featuring three bold female dancers as they discover love, loss, emotion and joy. With sumptuous costumes that defy expectation, this production explores the currently unfashionable aesthetic concept of beauty.

With a soundtrack of Vivaldi, Purcell, Beethoven and Bach, arranged by Annie Mahtani, Fantasia features designs by Louis Price and lighting by Mike Gunning.

Rosie Kay, Artistic Director and choreographer says: ‘The audience will come in and be transported over an hour with delightful dance that is designed to draw you in and entertain you. This will be a deceptively simple yet complex work that will stir your heart and your mind.’

Tickets for Fantasia by Rosie Kay Dance Company at the Stanley & Audrey Burton Theatre, Leeds are on sale now and can be booked online at theatreleeds.com or by calling the Box Office on 0113 220 8008. Tickets are priced at £18.50.

Theatre Royal, Windsor – until 2 November 2019

Reviewed by Liberty Noke

3***

I have to be honest that before tonight I had never seen Footloose not even the film version. Although I was familiar with the songs as I’m sure most people are, so was looking forward to this show.

The opening number Footloose was the classic we all know and love but with a slight modern twist. The dancers performed with infectious energy that made me want to dance along with them. Anders Callaway gave a very convincing performance of Ren, a teenage boy from Chicago who moves to the small town of Bomont with his mother after his father abandoned them. He is shocked to find out that dancing has been outlawed by the Reverend but with the help of some new friends Ren convinces the Reverend to allow dancing once more.

Samira Muusa brought plenty of sass to the role of Ariel and I found Rana Abid-Ali’s portrayal of Vi rather moving as you could hear the character pain in her voice as she sang.

It was fantastic to see so many talented young people in this cast and although this was an amateur youth performance the cast were professional. At one point the table on the stage broke and fell to the ground. Despite laughter from the audience the cast continued as if nothing had happened. The entire cast also maintained convincing American accents throughout most notably Thomas Witheridge playing Willard.

Overall a very enjoyable show with lots of fantastic musical numbers. I would definitely watch Rare Productions perform again.

FESTIVE FAVOURITE THE SNOWMAN RETURNS TO THE OPERA HOUSE

“A Joyful Celebration of Life” Sunday Express

Raymond Briggs’ festive favourite The Snowman has whisked generations of children off to a wintery wonderland for a festive adventure year on year. Now Birmingham Repertory Theatre’s magical live stage show journeys to the Opera House Manchester from 7-10 November.

Based on the much-loved film and book, the enchanting stage adaptation features exquisite dancing, magic and live music, including the unforgettable classic Walking in the Air.

The family favourite follows the story of a young boy’s adventures when his snowman comes to life on Christmas Eve. Featuring a dazzling array of colourful characters including dancing penguins, a beautiful snow princess, her wicked beau Jack Frost and of course, Father Christmas himself, The Snowman is the perfect Christmas treat for the family and a wonderful introduction to dance for the very young.

Inspired by the film directed by Dianne Jackson and produced by John Coates, The Snowman has become a must-do Christmas activity, “guaranteed to melt the heart of even the most cynical Scrooge” (The Guardian). Featuring choreography by Robert North, direction by Bill Alexander, design by Ruari Murchison, lighting by Tim Mitchell and timeless music and lyrics by Howard Blake, the performance has been seen by millions.

The Snowman is visiting the Opera House as part of a UK and international Tour.

Suitable for all ages

LISTINGS

Thursday 7 November – Sunday 10 November
Manchester Opera House
https://www.atgtickets.com/shows/the-snowman/opera-house-manchester/

THE WEST END SMASH HIT MUSICAL SIX

COMING TO THE BRISTOL HIPPODROME 7 – 11 July 2020

The West End smash hit musical SIX written by Toby Marlow and Lucy Moss, today announces it will be coming to The Bristol Hippodrome 7 – 11 July.

The touring Queens will be played by Lauren Drew (Catherine of Aragon), Maddison Bulleyment (Anne Boleyn), Lauren Byrne (Jane Seymour), Shekinah McFarlane (Anna of Cleves), Jodie Steele (Katherine Howard) and Athena Collins (Catherine Parr), with Alternates Jennifer Caldwell, Cassandra Lee and Harriet Watson. The cast are backed by the show’s all-female band, The Ladies in Waiting.

SIX opens its nine-month UK tour at the Yvonne Arnaud Theatre, Guildford on 24 October 2019, visiting 33 venues until 25 July 2020, including a Christmas season at The Lowry Quays Theatre from 3 December 2019 to 5 January 2020.

The SIX phenomenon shows no sign of abating. Two years to the day since the show premiered as a student production at the Edinburgh Fringe Festival, SIX announced its Broadway transfer to the Brooks Atkinson Theatre in New York following sold out runs in Chicago and Boston.

Back in London where SIX continues to sell every seat for every performance at the Arts Theatre, the show was nominated for five 2019 OIivier Awards, including Best New Musical, Best Choreography and Best Costume Design. The show will open at the Sydney Opera House in January and is due to reopen in Chicago next summer. Productions are being planned for China, Japan, South Korea and Canada.

From Tudor queens to pop princesses, SIX sees the six wives of Henry VIII take to the mic to tell their own personal tales, remixing five hundred years of historical heartbreak into an 80-minute celebration of 21st century girl power. The songs from the show have proved to be a chart storming sensation racking up 50 million streams and adding 300,000 daily. Ann Boleyn’s song ‘Don’t Lose Ur Head’ has been shared over half a billion times on the TIK TOK app.

These Queens may have green sleeves, but their lipstick is rebellious red. Think you know the rhyme, think again… Divorced. Beheaded. LIVE!

SIX is co-directed by Lucy Moss and Jamie Armitage, featuring choreography by Carrie-Anne Ingrouille. The design team includes Emma Bailey (Set Design), Gabriella Slade (Costume Design), Paul Gatehouse (Sound Design) and Tim Deiling (Lighting Design). The score features orchestrations by Tom Curran with music supervision and vocal arrangements by Joe Beighton.

Associate Choreographer Freya Sands, Musical Director Katy Richardson, Associate Musical Director Arlene McNaught. SIX is produced by Kenny Wax, Wendy & Andy Barnes and George Stiles.

WINNER! BEST ENSEMBLE IN A PLAY OR MUSICAL

The BroadwayWorld Awards 2018

WINNER! BEST COSTUME DESIGNER

The BroadwayWorld Awards 2018

WINNER! BEST UK CAST RECORDING

The Curtain Up Show Album of The Year Awards 2018

WINNER! MUSICAL OF THE YEAR

The Spy in the Stalls Awards 2018

WINNER! BEST OFF WEST END PRODUCTION

WhatsOnStage Awards 2019

NOMINATED FOR SIX WHATSONSTAGE AWARDS

Best New Musical

Best Off-West End Production

Best Original Cast Recording

Best Choreography

Best Lighting Design

Best Costume Design

NOMINATED FOR FIVE LAURENCE OLIVIER AWARDS

Best New Musical

Outstanding Achievement in Music

Best Actress in a Supporting Role in a Musical (The Queens)

Best Theatre Choreographer

Best Costume Design

BOX OFFICE INFORMATION

Tickets go on sale at 10am on the following dates:

ATG TheatreCard: Friday 1st November

Presale: Tuesday 5th November

General: Wednesday 6th November

Sign up for 48 hours’ priority ticket access here: https://www.atgtickets.com/six-bristol-signup/

Want access to tickets before the crowds? ATG TheatreCard Members get 6 days from 1st November to book before the general public, plus priority booking all year round at The Bristol Hippodrome! Find out more: www.atgtickets.com/membership

StoryHouse, Chester – until Saturday 2 November 2019

Reviewed by Julie Noller

4****

Calendar Girls is approaching the end of it’s UK tour, StoryHouse is your very last chance to catch it in the North, you have been warned. It’s seen a plethora of famous faces over the years; all have taken to the stage to do justice to the well known true story of life within a small Yorkshire town and more so to blow the stereotypical views of the Women’s Institute out of the water.

Gary Barlow and Tim Firth work well together to bond music and lyrics, this helps to differentiate the musical from the play and more importantly the 2003 film of the same title.

My day started not by watching the musical but being invited to meet the cast for a photo call, whilst there I was lucky enough to sit and enjoy coffee with members of some of the local W.I’s, what can I say? They were bright and welcoming from sunflower socks to shiny sunflower broaches. They were engaging, witty; the laughter flowed and I was hopeful the cast would be as enthusiastic on stage as the sunflowers of Chester are in real life.

I have seen Calendar Girls previously and I know that this musical is always very well supported wherever it’s being performed. As the ladies themselves informed me, it’s not all jam and Jerusalem these days, they are modern, fun loving women. Not all following in their mothers footsteps.

I believe the Calendar Girls are more role models than just a mere story. But what a story it is from teenage angst to middle age anxiety. It covers more than the sad loss of a life partner to cancer. There’s members of the W.I. swearing, there’s friendship that’s survived the years, men who understand more than the women around them. But more so there’s the transition from daughter into mother and the telling tale of what goes around comes around. Plus I really never thought I’d say the words I saw Ruth Madoc naked… ok there was knitting covering her modesty.

Sarah Jane Buckley is Annie who is dealing with the illness and then death of her John (Phil Corbitt) she is supported by her friend and producer of many mad-capped schemes Chris (Rebecca Storm). Julia Hills as Ruth is one of the quieter, down to earth characters ‘My Russian Friend and I’ is one of the more funnier moments, I’m sure most of us can relate to having been aided by dutch courage at some point. Lisa Maxwell is Celia ex air hostess who has had a little work much to the eye popping teenage son of Cora, it’s fair to say that Sue Devaney (Cora) loves the stage, her energy bounds across the stage into the audience. They are all brought to attention by Ruth Madocs as ex headmistress Jessie who glows as the elder stateswoman proving there is no such thing as being too old. Age should never be a barrier and that is surely one of the reasons to belong to the W.I. not because you are old but for the camaraderie and I suspect chinwags and naughty antics of growing old disgracefully. The youngsters Tommo, Jenny and Danny (Tyler Dobbs, Isabel Caswell and Danny Howker) remain as upbeat, funny and energetic as they were a couple of years ago.

Despite the laughs, behind is a harrowing tale, the sofa for a hospital waiting room even the naming of a hospital wing after our brave sunflowers bared all for a charity calendar – posing in those stereotypical cake making, tea drinking, piano playing that the W.I is famous for.

It is time for a rest for Calendar Girls, it’s had a long successful tour. Been extremely well supported and still last night managed to bring me to tears and a few others I suspect. The songs are Take That worthy, applause to Mr Barlow for those toe tapping catchy numbers. But more memorable are the words, those blunt hard hitting Yorkshire-isms that quite possibly should be acknowledged for helping to modernise The Women’s Institute.

Here’s to Victoria Sponge cake and scones but there is only so much cake anyone can eat, bake or watch surely. Soon enough enough we’ll be ready for another slice with a great big dollop of plum jam too.