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Preview: Manchester Jewish Museum to mark Holocaust Memorial Day with two premiere performances

2020 heralds 75 years since the liberation of the Nazi death-camps.

On Monday 27 January, Manchester Jewish Museum will mark Holocaust Memorial Day (HMD), with two premieres of musical and theatrical performances, staged at Manchester Central Library.

Songs of Arrival

During the afternoon, music by acclaimed Israeli composer Na’ama Zisser,the first to introduce cantorial music into opera, will be performed together with a premiere of brand-new songs in a free pop-up performance installation, entitled Songs of Arrival, from 4pm in the Music Library. 

Pic credit: Manchester Jewish Museum

The Museum’s very own community song-writing group – who have been working with musician and composer Joe Steele to create original compositions – will also perform. These brand new songs will premiere at the Library, and bring to life the Museum’s oral history collection from where stories of arriving in Cheetham Hill in the 1930s and 40s originate. 

Of the four brand new songs written and performed for HMD by the Museum’s community writing group, two are based directly on stories from the museum’s oral history collection. The other two draw on themes of migration and cultural integration more generally; a song created with ESOL students at the Abraham Moss Adult Learning Centre takes as its inspiration the ubiquity of the phrase ‘Thank you, love’, which the students observed after arriving in Manchester, weaving together different translations including Arabic, Portugese and Welsh. Meanwhile, Celebration of Love, written by group member Andy Steele, brings a positive message of ‘making peace, not war’.

Opera Singer Peter Braithwaite, who is also the Museum’s Artist in Residence, concludes this interactive musical installation and line-up with one of Na’ama Zisser’s song Love Sick – performed in Hebrew and based on the Song of Songs (Shir Hashirim) a book in the bible which explores love.

Holocaust Brunch

In the evening of Monday 27th, the Museum’s commemoration of HMD continues with the Northern Premiere of Holocaust Brunch by London based, Canadian theatre makerand performer, Tamara Micner. Fusing and using comedy with beigels, this funny and brave solo show brings to life the true stories of two Holocaust survivors connected to Tamara, and pries open an intergenerational wound to explore why we remember the Holocaust and what it is like to live in the shadows of genocide and displacement.

Pic credit – Holly Revell

Holocaust Brunch tells a remarkable true Holocaust survival story. Micner reflects on her experience of growing up as a descendent of survivors, and explores how communities can heal from ancestral trauma. Holocaust Brunch is a dark comedy, recounting a story not typically told, and Tamara Micner serves up beigels and cream cheese as she pries open an intergenerational wound and asks why we remember, and what it might look like to forget.

Pic credit: Holly Revell

Created with a team of Jewish and non-Jewish artists, Micner’s moving, funny and thoughtful solo performance invites audiences to reflect how, as the next generation, we can keep memories alive. As part of the creation of Holocaust Brunch, Tamara Micner has collaborated with London-based printmaker Yael Roberts, who has made a series of original prints, The Trauma Documents, which respond to parts of the story and appear throughout the show as video projections. These will be on display at Manchester Central Library alongside the performance of Holocaust Brunch.

The Manchester Jewish Museum is currently based at Manchester Central Library until 2021 whilst work is underway to extend its original Cheetham Hill site.

Songs of Arrival is a free drop-in event between 4-5pm – more information is at https://www.manchesterjewishmuseum.com/event/holocaust-memorial-day-songs-of-arrival/

Holocaust Brunch stars at 7.30pm and tickets can be purchased at https://www.manchesterjewishmuseum.com/event/holocaust-brunch-by-tamara-micner/

 The Manchester Jewish Museum is currently based at Manchester Central Library until 2021 whilst work is carried out to extend its original Cheetham Hill site.
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Preview: NQ Jazz – 21.10.2019 – Sue Rynhart & Huw Warren

NQ Jazz is one of my favourites things.

Yes we have Matt and Phred’s and I give thanks to the gods of live jazz that we do.

But Manchester needs even more and NQ Jazz gives us that more in a gloriously dark, underground befitting location that is The Whiskey Jar.

The rather marvellous Richard Isles Trio at The Whiskey Jar

To speak in New York terms (because, of course), if Matt and Phred’s is Birdland, The Whiskey Jar is Smalls (I’m basically using this opportunity to show off about the fact that I’ve been to both).

This Monday 21st October sees Dublin singer and composer, Sue Rynhart, take to the atmospheric Whiskey Jar basement bar, with pianist (and composer) Huw Warren.

Sue previously visited our fair city with a performance at the Manchester Jazz Festival and brings sounds which are an edgy blend of modern jazz mixed with contemporary sounds.

Credit: Karl Burke

Welsh pianist Huw, a BBC Jazz award winner, carries with him an international reputation for innovative music making.

Fresh from the release of their new single We Are On Time (Flower Seeds), join them (and me!) this Monday 21 October and kick start the week with a little NQ Jazz therapy.

For more details, visit https://nqjazz.com/

To hear Sue and Huw’s new single, visit Spotify – We Are On Time (Flower Seeds)

NQ Jazz is every Monday at the Whiskey Jar, 14 Tariff Street, Manchester.

Entry £5 (£4 students with ID), doors at 8pm, live music from 8.30pm…

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Food and Drink Manchester preview Preview/review Restaurants

The Fisherman’s Table – pull up a seat as Marple favourite introduces sister restaurant to Poulton-le-Fylde

It probably won’t have escaped your notice that I wasn’t born and bred in Manchester (and surrounding areas).

I mean, the clue’s in the name.

Growing up on the Fylde Coast until moving to Manchester in 2000, I was excited to find my two worlds colliding in the form of a fabulous fish restaurant.

Marple has hosted The Fisherman’s Table since late last year and the restaurant, offering all locally sourced produce, has enjoyed high praise in the short time it’s been open.

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And so, like little old me (because this and everything else is about me), the restaurant is straddling the two counties and has opened its second in Lancashire’s Poulton-le-Fylde. Like my good self once upon a time (all about me), owner and fishmonger, Jamie Barrett, lives in the area and couldn’t wait to bring his fine fare back home.

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Throwing its doors open proper tonight, Saturday 7 September, I attended last night’s launch to test out the fixtures, fittings, fizz and, most importantly, the fish.

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The stylish space is classically furnished in dark wood, with open brick walls adorned with photography, paintings and sculptures depicting the restaurant’s raison d’etre; the sea and all who stem from it.

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The assembled Fylde Coastians , a title I’m still entitled to, were treated to (and it was a treat) a selection of teaser canapés and starters from the menu to salivate over. I was going to say ‘and salivate we did’, but this is starting to conjure up a bizarre and frankly unpalatable image.

They were delicious, is what I’m clumsily saying.

We first tried the smoked haddock croquettes with tartare sauce…

Deliciously seasoned, these almost little fishcakes were crunchy on the outside, soft on the inside and with a smoky heat beautifully offset by the fresh, light tartare sauce. I could have popped them all night.

Also on offer was the crispy chilli calamari with harissa aoili. With a light batter, the chilli didn’t overpower and provided a tang to the melt in the mouth squid rings.

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A new canape on me was the crispy haddock skin with oyster mayonnaise. At the risk of doing it a disservice, it was like a lovely fishy crisp (and I love crisps, to the point of disgrace), with a delicate dip to boot and touches like this are a strong indicator of a kitchen and restaurant which is keen to mix the traditional with the innovative whilst staying faithful to everything that is wonderful about fish and seafood.

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Oysters and fizz are one of those classic combinations like cod and lemon, cockles and mussels erm…Vic and Bob. Whilst in the early 19th century, oysters were actually cheap and seen as one of the almost staple foods of the working classes, they are now a sign of decadence and never more so when taken with a glass of sparkling wine. The selection of Pacific Rock Oysters on offer last night typified the establishment’s approach to dining – classic, stylish but, most of all, delicious.

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A launch is intended to provide a taster, a suggestion, a spoiler, even, of what’s to come from something new be it a restaurant, bar, festival or hotel. And from my couple of hours spent at The Fisherman’s Table, they have me hooked.

Pun, fully intended but heartfelt.

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The menu proper is select but a perfectly balanced deep dive into all the glories to be found in our seas. Importantly, step forward one Irish Sea, from which local Fleetwood fish is rightly represented in dishes such as Fleetwood Smoked Haddock and Clam Chowder on the starters and Seared Fleetwood  Skate Wing with Clams, Samphire and Capers on the mains.

The menu also draws on neighbour Morecambe, as the Bay’s famous Brown Shrimps make an appearance in the selection of sides.

I look forward to drawing up a seat at The Fisherman’s Table proper and for those in Greater Manchester, hotfoot it into Marple quick smart.

For those on the Fylde Coast and surrounding areas, head over to the gastronomic stretch that is Breck Road, to this fantastic addition to the area’s dining scene.

For me? I like to think of myself as having dual citizenship to the two counties, something I now have in common with The Fisherman’s Table. Whilst I would never dare suggest I’m an asset to either, I would venture that to Greater Manchester and Lancashire, The Fisherman’s Table is a great catch.

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To be one of the first to book in at The Fisherman’s Table in Poulton and to see full details of the menu, head to https://www.thefishermanstable.co.uk/poulton/.

You can also book at the inaugural Marple restaurant here, and see why in 10 short months, the Fisherman’s Table has been nominated for two awards at the http://foodanddrinkfestival.com/awards/

 

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Preview: Penguin Pride 2019 (part of Pride at HOME)

Last year I shared my immense joy at what was an evening of entertainment, enlightenment, education and laughter (I couldn’t find a synonym for lolz beginning with ‘e’, ok?):

Penguin Pride – less a review, more a tribute

Well it’s back and I’ll be there and you should be too. And I’ll tell you for why…

This year, Penguin Pride will take place on Wednesday 21 August at my own home from home – erm, HOME.

In this, the year commemorating 50 years since Stonewall, Penguin Pride will be looking back and celebrating how far LGBT rights have come, where we are now and what the future may hold.

This year’s line-up includes a mix of old and new Penguins Live faces:

Multi-award winning poet and playwright, Toby Campion, returns as MC and yes, you may have even seen him outside that photo booth in those adverts with his BFF…

Other writers and performers taking part include award-winning Yorkshire poet Andrew McMillan, arts writer and Attitude columnist Paul Flynn, Glasgow based author, Kirsty Logan, Liverpool based writer, Emma Morgan and LGBTQ+ writer roo

For full details and tickets, head to https://homemcr.org/production/penguin-pride/

To read about last year’s event which included performances from this year’s Toby Campion, Paul Flynn, Kirsty Logan and Andrew McMillan, head here to Penguin Pride – less a review, more a tribute

If it’s half as good as last year’s, I’ll run out of superlatives.

See you there…

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Preview: Dracula – The Blood Count of Heaton

Last summer I spent a very happy evening wandering round Heaton Park, not lost (although I’ve done that too), but at Romeo and Juliet – a production that took its audience to different locations round the park giving depth and reality to the oft told tale.

So this year I’m thrilled that I’ll get to do this again, swapping the Bard for Bram Stoker as Feelgood Theatre presents Dracula – The Blood Count of Heaton.

Celebrating their 25th anniversary, this is the show Feelgood’s audiences voted they’d most like to see again – so it already comes complete with a glowing recommendation.

A contemporary reimagining of the classic tale, we’re promised hypnotic music, vibrant dance, magic and illusion created by Peter Clifford who has worked with Derren Brown and David Blaine – impressive!

Not only that but Clifford takes on the title role so we’re in for a treat!

Audiences are encouraged to dress the part, with a prize given each night for the best costume – so polish those fangs and dust off your capes.

On until 11 August, tickets can be purchased from http://www.jumblebee.co.uk/Dracula or in person from the Farm Centre Cafe in Heaton Park.

For more information, head to http://www.feelgoodtheatre.co.uk/

Now where’s that wooden stake.

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Events Manchester Popular culture preview Preview/review The Arts Theatre

Review: Frozen Peas in an Old Tin Can (Greater Manchester Fringe)

I won’t repeat my love for fringe theatre all over again (I’ll just casually leave this here – Review – Talk to Yourself at The Kings Arms and actually probably will repeat it in this review anyway).

One reason for my love of fringe theatre which I’m not going on about again (am) is the creative use of space – the departure from the traditional curtains/stage/theatre experience.

Last Sunday I found myself watching a play in a church which was slightly meta – Review: Studio ORKA’s Tuesday (Manchester International Festival). This Sunday I found myself watching a play in a pub cellar.

Now Frozen Peas in an Old Tin Can was intended to be performed in the beer garden of the Kings Arms, Salford. But our delicious British Summer had other plans…

This was a slight disappointment as it was to be my first play in a beer garden (although not my first in the great outdoors). Disappointment quickly turned to happiness as we were directed down the stone steps into the bowels of the pub into the cellar – my first play in a cellar and I do love a good cellar (it is not for us to question why).

I really do like the title of the play but for lazy reasons I shall, going forward, refer to it simply as ‘Can. Although I could have written the full title several times over for the time it’s taken me to write this explanatory paragraph.

Anyway, ‘Can, written and directed by Joe Walsh and performed by Paul Tomblin (Barney), Leah Gray (Sarah), Craig Hodgkinson (Derek), Owen Murphy and Ella Fraser.

We meet the trio as they fantasise about where they’d take a holiday (in case you’re wondering, Southport – I get it, fun times had at Pleasureland in the 80s…). To do so, means to put on a street gig armed only with a guitar, a, yes, tin can of frozen peas (freaky dancing a plenty) and a pan and wooden spoon.

It made me ‘chuckle’ (great gag) and genuinely ‘laugh out loud’. Not like when you acknowledge that something is funny and you want to outwardly indicate that you appreciate ‘what they’ve done there’ by making a noise and smiling. There was actual involuntary laughter.

But of course there was a serious message being delivered here.

By the old school friend of Sarah’s we had the voice of ignorance, the homeless should be helping themselves, they’re lazy etc and so on. And we also had the back stories as to why these three people were out on the street living in the ‘fort’.

Sarah had lost a sister to cancer, Barney had unravelled when his grandad had died, smashing up his place of employment, Curry’s’ as a final act with debts and fines sending him straight to the streets, and Derek…

Now this was a bold device and if my deduction is knee-jerk and massively wrong, I apologise but Derek is a paedophile. Caught by his wife, he tells us, looking at images on the computer, who immediately called the police sending me to prison.

Derek is an affable chap, caring for the other two with an honesty and affection. But as an audience, what do we do with this information? Squirm, feel uneasy, shocked but also slightly impressed by that the writing took this brave leap which perhaps took away what could have gone down a fairytale, whimsical tale of twee togetherness on the streets.

So, bravo.

Culminating in a singalong as we, the play’s audience became audience to Derek and The No Homes to Go (thank you for the rustic karaoke lyrics scrawled on cardboard – I’m shocking with a lyric), the production was immersive, heartfelt and even fun.

So as ‘Can made us laugh, sing, give money to the cause both in the play and in reality afterwards (details below), that hour in the pub on Sunday was brilliantly well spent (most fun I’ve had sober in a pub since I was granted that hallowed second packet of Quavers when I was 8).

Loved it.

Ps Barney’s crying over Barry Chuckle here

Epilogue

Now for a touch of reality, any of us who live, work, visit Manchester will be no strangers to the growing issue of homelessness.

Doorways, pavements, canalside, underneath the arches, the problem cannot be avoided both conceptually and in actuality.

As the programme notes shocking point out, sleeping rough has increased by 102% in the U.K. since 2010.

To learn more about Shelter and to donate, please head to Shelter.org.uk

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Events LGBT LGBTQ+ Manchester Popular culture preview Preview/review The Arts Theatre

Review: First Time (Refract Festival 2019)

A funny and frank autobiographical solo-show, First Time (from Dibby Theatre) is written and performed by theatre-maker and HIV activist, Nathaniel Hall and returned to Sale Waterside Centre as part of Refract Festival.

Diagnosed just two weeks after his 17th birthday and only months after coming out as gay to his family, Nathaniel kept his HIV status from almost all for over 14 years.

In late 2017, Nathaniel ‘came out again’, as it were, and is now advocating for better contemporary representation of HIV in popular culture. The show is a vehicle to break down HIV stigma and contribute to the UNAIDS aim of ending HIV within a generation.

With humour, honesty, a great deal of both heart and heartbreak, Nathaniel Hall stood (and danced – nice Ketchup song moves) before us and told us his story.

Like all the best Fringe theatre, the set was simple, tube lighting in the form of a colour changing triangle (my favourite being blue to depict Stockport – that god forsaken pyramid!).

Accompanied by beats and bantz (yes I did that – I just needed a bit of alliteration) we were in his flat, on that bench where he met his first, at his prom, on his holiday when he first fell ill, in his doctor’s waiting room, in the clinic when he got his diagnosis…

The diagnosis that he wasn’t to share with his parents for another 14 years.

Like everyone else who was around at the time (I was very young though, ok?) the AIDS advert was terrifying in itself without me really understanding the substance behind it.

AIDS advert – 1986

We were asked not to die of ignorance – whilst things have improved medically and concerning awareness there is still ignorance surround HIV and AIDS to this day.

  • Whilst not in the realms of Dot Cotton in Eastenders circa 1987 not wanting to wash Colin’s smalls in the launderette because a) he’s gay b) he must have full blown AIDS c) she’ll ‘catch it’ through touching his pants – yes I’m currently OBSESSED with classic Eastenders on Gold – there’s still lots for us all to learn.
  • And so, thank god (or who/whatever) we have people like Nathaniel who having contracted HIV at 16 has dealt/is dealing with his diagnosis in such a selfless, giving (funny and entertaining – no really, First Time is a one-man show of two halves, as it were) way.

    An immersive experience, we took part in an HIV quiz – no we did!

    Speaking of first times, I had one shouting

    I love orgies

    in Sale.

    Like the candlelit vigil in Sackville Gardens at each Manchester Pride, we were shown images of those who had lost their fight whilst we held candles of our own.

    Getting to me good and hard was the picture Nathaniel showed to us of himself in his cream suit at his High School Prom. You see he was waiting to pick up that suit when he met his first time encounter ‘Sam’ on a bench in Stockport in 2003.

    It may be me applying the knowledge of what was to come when I saw that picture (and my failing eyesight) but I saw the little boy at the end of the film Big as he walks down the road in his too big Tom Hanks suit.

    I’m sure Nathaniel’s cream suit fitted perfectly and he looked amazing. You get where I’m coming from.

    I have a copy of the letter in my bag that Nathaniel wrote to his parents and eventually even gave them (not before it was anonymously read to crowds at one candlelit vigil by an actor).

    I’m not crying you’re crying.

    Yes Nathaniel is HIV+, contracting this from his first time (he doesn’t blame ‘Sam’ by the way). But do you know what? He’s a bloody good actor, writer and performer – funny, witty, creative and giving.

    Heading to Edinburgh Fringe, you can go see the show there (thanks to those who contributed to the Crowd-Funder to help take solo show First Time to Edinburgh Fringe).

    If First Time ever returns to Sale Waterside Centre for a third time – go see it there.

    Find out what else is on at the brilliant Refract Festival here…Back with a Bang! Refract festival returns to Sale this Summer and of course here…Refract 19

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    Culture LGBT LGBTQ+ Manchester Popular culture preview Preview/review The Arts Theatre

    Review: All I See is You

    Bank Holiday Monday and I was whisked back to the 1960s last night.

    A time when Woolies was still a thing, Donovan was number 3 in the charts and who you loved or even just fancied could consign you to a prison cell and a place of deep shame and castigation in society.

    All I See is You is first and foremost a love story.

    It’s also a two hander, starring Ciaran Griffiths as Bobby and Christian Edwards as Ralph, both gay, both living different lives.

    Bobby, gregarious yet inexperienced, soon embraces his sexuality, albeit in a society where homosexuality was a criminal act and measures must be taken. This is largely aided by acceptance in his family (Dad dealing it with through denial) and guidance from his also gay boss on the record counter at Woolies.

    Ralph, however, while more experienced, is retreating further into society ‘norms’; his chosen career as a teacher and his more strait-laced family, leading to common measures of that cruel era, from typically taking a girlfriend to the more extreme of aversion therapy.

    Written by Kathrine Smith, this two hander about concealing love and sexuality ironically leaves nowhere to hide.

    In the 70 minute performance, all eyes and literal spotlight is on the actors. Aided only by brief insertions of musical memories from the era and simple yet effective lighting, the acting is the thing.

    No props, just a stage and its actors.

    There is a mix of inner thought monologue to the audience and performance between the two actors. In short, it is a privilege to bear witness to such talent in the intimate setting that fabulous fringe theatre allows.

    The silences saying as much as the dialogue, the actors connect with the audience to the degree that you’re with them down ‘The Trafford’ as they enjoy a drink together in the shadows, in Ralph’s bedroom as his father appears at the door, on the hospital ward as…I’ll leave it there.

    The contrast between the two characters’ lives is akin to their demeanours and personalities on stage.

    Bobby (Griffiths) brings the passion, the comedic, the unabashed enthusiasm, the physical…Ralph (Edwards) brings the maturity, the considered, the pathos, the…passion.

    Together the characters and indeed the actors bring smiles and tears, joy and heartache and a reminder of how far the lgbt community has had to come and what they’ve had to battle – all just to be in love.

    Written in response to the 50th anniversary of the partial decriminalisation of homosexuality, I urge you to go and be entertained, moved, and reminded that while the U.K. has come this far, many countries (and indeed individuals) still have not.

    Visit https://hopemilltheatre.co.uk/events/all-i-see-is-you/ for more information and to book.

    On until Saturday 1 June, don’t miss out.

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    Culture Manchester preview Preview/review The Arts Theatre

    Review: Hamlet at Hope Mill Theatre

    Forgive me, Manchester theatre world and community, for I have sinned.

    Despite being a fairly frequent theatre-goer and the space being in operation since 2015, this week was the first time I entered the wonderful world that is Hope Mill Theatre.

    Forgive me further, Girl Gang Manchester and Unseemly Women, if I take a moment to talk about the venue as well as the show which drew me there in the first place, Hamlet.

    Like most fringe venues, Hope Mill is delightfully tucked away, leaving the visitor with a sense of discovery when rounding that corner to see the fairy light lit entrance, inviting you in to experience an evening (or indeed afternoon), of wonderful theatre.

    The candle-lit bar with its glorious (yes, glorious) pizzas, acts as the perfect warm-up for the performances on offer as you step through the curtains and take your seat.

    And so, my seat was taken for the all female Shakespeare production of Hamlet.

    A quick summary of the long-told tale of tragedy as gifted to us by the Bard himself, Hamlet returns from University to Denmark, only to discover that not only is his father dead, but that his mother has now married his Uncle and is the new King.

    I wondered how an all female cast would manifest itself – whether it would form a distraction, a detraction (either positively or negatively) from the performance – was it a novelty? Of course it wasn’t. It was a cast of actors who happen to be women…who also happen to be hugely talented and engaging.

    In fact, and correct me if I’m wrong, but it’s not about male vs female actors. It’s about removing ‘tradition’ and barriers. In this case, female characters written to accommodate male domination. Indeed, as the programme to the play lays bare – ‘themes of fragility and weakness run rampant’ (in Hamlet).

    It’s a leveling up.

    As often the case with fringe theatre, the set is simple, allowing the performances to play out in the spotlight, allowing no distractions or indeed back-ups to the acting.

    Indeed, none needed.

    In the title role, Eve Shotton, commands attention not only when the performance demands overt physicality, declaration and swagger, but in the sensitive moments and aspects of the play.

    Hamlet would never have struck me as one of Shakespeare’s most comedic of texts, yet the humorous lines and situations were grasped firmly by the scruff of the neck by all involved.

    With great timing and delivery, not to mention facial expressions (nothing can beat the intimacy of fringe theatre between cast and audience), this aspect of proceedings landed perfectly, providing much mirth and, dare I say it, laugh out loud moments.

    As matters moved from the comedy to the more tragic, the cast join the shift in mood, providing the shade to the injections of light, and deliver a resounding production, which in the round, is all about balance.

    Balancing the comedy and tragedy in the performances.

    Balancing the aesthetic between historic and modernity in the costume.

    But more importantly, a rebalancing of gender contribution to one of the most famous texts in the world of literature and theatre. Not only in its performing cast, but in its entire cast of creatives.

    The late, great Richard Griffiths, as Uncle Monty in Withnail and I, proclaimed,

    It is the most shattering experience of a young man’s life when one morning he awakes and quite reasonably says to himself, ‘I will never play the Dane’…

    This wonderful all female outfit shows that while not every young woman can play the Dane as well as Eve Shotton, it needn’t carry the extra layer of this being for reasons of gender.

    For all details, visit Hamlet at the Hope Mill Theatre

    The play runs until Saturday 11 May.

    Photography credit: Lucy Ridge Photography

     

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    Culture dance Events Manchester Music Popular culture Preview/review The Arts Theatre

    Review: Kingdom – part of Viva festival at HOME

    Tensions were reaching fever pitch last night.

    Two words, two cities – on everyone’s minds, on everyone’s lips, up and down Deansgate, in squares…

    Albert, Exchange, Peter’s,  Anne’s – all the squares.

    Manchester

    Barcelona

    And as we headed to the theatre of dreams, we knew that this date would be imprinted on our memories for the rest of our lives.

    That theatre is HOME Mcr. Where one Barcelona based theatre company, Senor Serrano, came face to face with some Manchester based audience members.

    Basically I’m making a point that Kingdom, headlining Viva Festival, had a few parallels with the Champions League football game going on in Manchester between United and Barcelona, ok?

    Where I go next is…actually I have no idea.

    There is no way I can describe what I witnessed within Theatre 1 last night that will make any sort of sense. But I think I can praise the creativity, the talent (musical, poetic, artistic, vocal, dance…) of the five men that took us all on a journey, nay a trip

    and it really did feel like a ‘trip’

    as in the midst of a cloud of marijuana smoke, they made us realise what we’d known all along but never dared to say out loud

    Bananas are the lynchpin of society and where we will find all our answers.

    Do you know what? I’m going to leave this one here.

    And say get yourselves down to HOME Mcr until Saturday 13 April.

    Hear rap, hear music, see strobe lighting, inhale weed (through your ever open mouth) and learn why the book of Genesis has been leading us astray all this time.

    It’s performance theatre on acid.

    King Kong.

    Sexy bananas.

    (It’s bloody brilliant).

    Kingdom at HOME