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Month: April 2019

In Conversation with The Post Romantics

Written by Lily Martin on . Posted in Music.

Liverpool fourpiece The Post Romantics are engagingly illusive. Playing only a handful of gigs in the last six months, predominantly in their hometown, it’s perhaps therefore unsurprising that they have yet to establish a firm following in sister-city Manchester.

There’s an interesting dynamic when you meet this group. Liam, Cameron, Connor, and Sam are part of what feels like an unsettlingly coherent musical brotherhood; in fairness, three of them are brothers, with only a few years between them, and Sam comes across as an integral part of that family unison. They’ve not always been musical, “we were more into sports,” Connor explains. Nevertheless, they were “exposed to music” from an early age, and there’s a sense that this early influence has guided their musical development since their formation — a year ago, they scrapped everything and “started again”. Why? It meant they stopped trying, and now are “100% more comfortable.”

Surprisingly, there’s a lack of creative clashing, and when they argue, it’s rarely about music. “We each prioritise our own instruments,” explains Connor. “We know what each other are going to do,” Liam and Cam add. And it’s this I think which exemplifies their cohesion onstage and provides some serious promise for the future. Musical partnerships between siblings are like a two-sided coin — they either work, or they end in catastrophe. But so far, it comes across with there being a degree of respect between each other, probably aided by the brief hiatus they spent following their own educational paths, ranging from architecture to psychology.

As for their fanbase, it’s split between London and Liverpool. They wouldn’t describe it as distinct or defined, but it differs between live audiences and online streaming. It’s evident from their live set that they have a base of core fans and spending a few hours out with them in Liverpool’s nightlife proves that they are an integral artery to the musical network they are a part of. There’s a sense of them being representative of a generation, which can’t be considered especially original in the grand scheme of things, but nevertheless is poignant.

Musically, The Post Romantics embody their hometown. They’re dynamic, vibrant, nestled very much on the peripheral of Manchester’s swarming music scene, but making serious waves in our direction. They’re hard-working, which is essential and shows their determination to succeed. Liam explains how they were rehearsing until 6 am the morning before a support-slot at a hometown gig with Paris Youth Foundation at the effortlessly trendy, Jacaranda Records Phase One on Seel Street.

Their evolution feels present in their work; having started out as a metal band, they then delved into trying to blend multiple genres and ended up “very pop-y”. Now they seem to have found their identity — for the time being, and it’s not necessarily what you expect. Strong bass riffs and a driving beat is a signature to their tracks. However, at times, it felt as though they were repeating themselves musically and they really came into their own when the guitar solos were given more freedom.

Their tracks with prominent backing vocals feel stronger and better defined, giving the vocals some texture against robust songwriting. The Post Romantics demonstrated their skill and passion for their work during this set. Despite some technical issues, they kept the crowd engaged and presented professionalism onstage which is a serious credit to them. It’s possible they’re not quite as set on their style as they might like to think ∞ but I wouldn’t be surprised if they evolve into something that the music industry really has space for.

We’ve got considerably more to look forward to in what’s left of 2019. With festival season quickly approaching, brace yourselves to hear a new single in the next couple of months, and potentially an EP by the end of the year. This feels like a significant stride forward from a band that there are relatively little of in the scene at the moment. Hopefully, the release of a body of work means a subsequent tour in the autumn season, and an increase in their profile in Northern hot-spots such as Manchester, Leeds, and Hull.

Desperately friendly, confident, and comfortable in the image they have created for themselves in the music scene, The Post Romantics offer a promising new dynamic to what’s being produced in the North at the moment. I for one look forward to seeing them live up to the challenge they have set themselves in an increasingly competitive and ruthless industry.

The Post Romantics provide a subtle indication that times are changing in songwriting and musical tastes, and there’s nothing more refreshing than that.

Live Review: Charlotte Lawrence

Written by PASCALE CHALMERS-ARNOLD on . Posted in Music.

Blue light bounced off Deaf Institute’s huge disco ball as it hung over the excited audience, the anticipation palpable ahead of Instagram “It girl” Charlotte Lawrence’s arrival.

The set started with amused laughter after a clumsy entrance onto the smoke-filled stage, but Lawrence regained composure and immediately captivated the crowd with the natural beauty of her voice. As she sang the lyrics to ‘Sleep Talking’, it became instantly apparent Lawrence knew how to work a crowd.

Being the daughter of actress Christa Miller and Scrubs producer Bill Lawrence, Charlotte Lawrence is no stranger to the spotlight. With natural good looks and a lithe figure, it is also unsurprising that Lawrence has been signed to IMG Models since she was a child, counting fellow young stars Kendall Jenner and Kaia Gerber among her closest friends. While Lawrence was as stunning as you’d expect in person, it was clear to anyone in the room, her musical talent certainly shone brighter.

After a brief introduction to the crowd, Lawrence and her bandmates Scott and Andrew launched into a fun dance number called ‘Seventeen’, which describes that feeling of night-out euphoria. “Now it’s 5 AM and I feel something / You’re that something / You’re my something / 5 AM and we’re still dancing / Only us but we’re still dancing”, the crowd sang as they jumped up and down to the beat. Effortlessly, the band merged straight into ‘Young & Reckless’, one of Lawrence’s best songs, which talks of forbidden attraction. Clearly a real crowd-pleaser, at times it was almost hard to hear Lawrence’s strong vocals.

There is a confessional tone to much of Lawrence’s work as she writes her own lyrics, meaning she can talk about personal topics, like in ‘Keep Me Up’ where she describes her struggle with anxiety. Following this emotional track, Lawrence performed ‘Psychopath’, her song with Nina Nesbitt and Sasha Sloan. Asking the audience to “get angry”, she sang about regaining control after a breakup, blending sugar-sweet vocals with harsher lyrics.

While the set was plagued with multiple microphone mishaps, the quality of Lawrence’s performance remained, highlighting her genuine talent – proving she could more than hold her own when she was forced to sing ‘Wait Up’ without a microphone. This solo performance led in perfectly to Lawrence’s personal favourite ‘Everybody Loves You’, for which she took to the keyboard to deliver a haunting melody. Switching to the guitar, Lawrence then played her unreleased track ‘Bloodstream’, which was first shown on the Youtube Vevo DSCVR channel last November.

Switching things up, Lawrence provided a unique, slow cover of ‘Mr. Brightside’, which she told the audience was her Dad’s favourite song. “My dad would start every day by blaring that song in the car on the way to school. This one’s for him because I miss him”. Lawrence looked just like any other 18-year-old as she danced freely across the stage, reaching down to sing with her fans and peers.

Deep bass boomed through the room as the mood changed for the penultimate song ‘Just The Same’, while flashes from above bathed the audience in white light. Announcing to the crowd there would be “one more song”, Lawrence chose to close out her set with the dance anthem ‘Stole Your Car’. Watching the smiles of the crowd reflected in the expressions of the band, it was clear to see everyone was having an absolute blast. The small venue meant there was no ‘us’ and ‘them’ – just a sea of music lovers losing themselves in a perfectly crafted pop anthem.

Charlotte Lawrence’s star is surely set to continue rising if she continues to wow with quality performances like that – proving she is far more than another pretty face on Instagram.

9/10

Photo: The Mancunion

Live Review: Panic! At The Disco

Written by Eleanor Roberts on . Posted in Music.

Panic! At The Disco’s Hallelujah promises its fans “a moment you’ll never remember and a night you’ll never forget.” They certainly delivered on the latter. The band is, as lead singer (and only official member) of the band Brendon Urie reminded the crowd, almost 15 years old, and the wide range of musical sounds from that timespan was on show at the Manchester Arena.

The show was opened by Arizona and MØ, both of whom performed well, but the crowd truly came alive when Panic! took the stage. Following a countdown and an orchestral opening, Brendon Urie quite literally sprung out of the stage and burst into one of the first songs released from the latest album, ‘(Fuck A) Silver Lining’. Whilst the list was mainly comprised of the songs from the most recent album Pray For The Wicked and the one before, Death Of A Bachelor, the main singles from the first three albums, as well as a couple of songs from the fourth, were performed, reiterating once again just how much the band’s sound has changed.

Particularly noticeable amongst the songs from the fourth album Too Weird To Live, Too Rare To Die! was the one now claimed as a bisexual anthem, ‘Girls/Girls/Boys’. It came complete with a message of equality from Urie, and the audience came together in a show of solidarity by using their lights to create a rainbow flag. The atmosphere of inclusion was certainly something as Urie wrapped himself in multiple pride flags.

Something else which was certainly something to experience was the performance of the final song on Pray For The Wicked, ‘Dying In LA’. Urie travelled through the crowd, greeting fans and accepting roses on the way, only to be flown over the audience on a platform along with a white piano once the song began. Whilst this was certainly not Urie’s only piano piece (aside from anything else, the mediocre cover of Queen’s ‘Bohemian Rhapsody’ featured one) it was certainly the most striking due simply to the fact that a flying piano was not something anybody expected. Similarly, his drum solo towards the end of ‘Miss Jackson’ was also unexpected but still enjoyable.

Less enjoyable by far was Urie’s tendency to insert overly-high notes into as many songs as possible. Although he certainly has a wide range, he frequently lost musicality when reaching the highest notes he sang, leaving an unfortunate resemblance to screeching rather than singing. The presence of this tunelessness was very distracting from the skill shown in the remainder of the set; variation from the original tracks was interesting and showed skill when done in other ways, but the insistence on attempting to reach a pitch which Urie didn’t seem aware was just slightly outside his range was frustrating. A key example of this came in the cover of ‘Bohemian Rhapsody’, which felt like something of a torturous rendition of the classic song.

Regardless of this, the majority of the concert was enjoyable, with vibrant energy and an attitude from Urie which highlighted his delight at the presence of so many people who clearly love the band and the songs. Panic!’s touring musicians, Nicole Rowe, Dan Pawlovich, and Mike Naran, contributed to the atmosphere through their enthusiasm and skill, and overall the night was certainly worth enduring the high notes.

7/10

Preview: Greenman Festival 2019

Written by Olivia White on . Posted in Music.

Possibly the UK’s most understated festival, Greenman Festival, has finally announced the impressive array of talent it will be showcasing this August in the Brecon Beacons.

After hosting 2018 headliners with tantalising trio King Gizzard, Fleet Foxes, and The War on Drugs, it has certainly been an anxious wait to see if they could top such a strong year. Among this year’s headliners are Four Tet, Father John Misty, Eels, and Sharon Van Etten while the rest of the line-up screams confidence and variety unlike some of the UK’s larger festival announcements.

Current critic punk favourite’s IDLES also make Greenman’s stirring announcement poster alongside Khruangbin, Aldous Harding, Julia Jacklin, Pigs x7, Marika Hackman, and Car Seat Headrest.

After being awarded by both The Guardian and The Independent with 5 stars and priding itself as a communal, relaxed, and eclectic festival, Greenman certainly does appear to cater for just about everyone.

Greenman spans over 10 unique areas hosting interactive exhibitions, late night entertainment, a galaxy for the “little folk”, breweries, hideaways, spa treatments, solar panel fuelled stages, and comedy. Greenman offers a full-packed, cosmic experience that is intrinsically linked with the beautiful nature and scenery that it is embedded in.

Without a clearly stated message, the ethos of Greenman is refreshing, caring, and thrilling. The wholesome activities and entertainment you can engage in is a well-needed escape from the mundaneness of the every day and an act of self-care.

Greenman Festival takes place 15th-18th August near a small town called Crickhowell.

Visit Greenman Festival for any ticket types, payment plans, and travel information.

Don’t miss one of the UK’s strongest 2019 festivals. You will regret it.

Photo: Authorised Press

 

Photo: University of Manchester.

‘The greater good’: The ethics of animal testing in scientific research

Written by Jacklin Kwan on . Posted in Science & Tech.

Animal testing is often a controversial and emotionally-charged subject. It’s a mental space that people almost never encounter in their day-to-day lives: that animals, which are sentient and can feel pain, are being instrumentalised at a scale of approximately 4 million animals per annum in the UK alone. This mental space is made even more alien when it’s shaped by the extreme images of animal suffering that we interact with on social media or activism campaigns.

In this light, it is difficult to understand or appreciate what, if any, research would be worth inflicting this much prolonged suffering onto another living being. It is hard to reconcile with the moral thinking that govern our everyday lives.

Because the concepts are so foreign – even for those who do science degrees – it’s sometime easy to take a polarised stance such as “let’s completely banning animal research”. However, before taking a position, we should explore the animal testing that goes on closest to us first.

If you walk behind keycard-secured doors in the Biological Science Facility in the Stopford Building, you’ll arrive at their animal testing unit. After putting on scrubs, I was toured around their various divisions by Graham Morrissey, the Direstor of the Biological Science Facility. He guided me through the many rooms that houses zebrafish, dogfish, sheep, rats, mice, frogs, and lizards.

Each animal is used for specific traits that makes them indispensable to different areas of research: Dogfish are used to study how water temperature affects their development and behaviour; sheep are used to study heart disease; and rats and mice are used to study processes like brain surgery, the activity of parasites, and mental disorders such as schizophrenia.

All these animals are used by licensed researchers who were able to prove that animal testing could not be substituted by in-vitro (in the glass) methods or computer simulations. They also had to show that the number of animals they would use were minimised, and that steps would be taken to mitigate their suffering (e.g. with the provision of painkillers). These requirements are known as the 3R’s: Replacement, reduction, and refinement. Their application was be approved by a committee of scientists, statisticians, animal technicians, and laymen that would assess its strength for scientific and ethical rigour.

However, it should be noted that much debate still remains regarding the adequacy of the 3R’s, and whether they fully capture important ethical concepts. Throughout the tour, I experienced a feeling of discord that I cannot fully articulate. Graham would show me elements in the animals’ enclosures that would ‘enrich’ their lives. I saw sheep with shaved chests and mechanical hearts that would kill them, scratching against a wooden pole; mice with stitches still visible on their heads, running through toilet rolls; pigs squinting after major eye surgery, squealing in delight as they take a bath.

Retrospectively, those pieces of enrichment seemed like sticking plasters over a more uncomfortable truth: That animals, unlike human beings, are secondary to the scientific question. And perhaps, it is for this reason that there has been yearly increases of lab animals being used despite the slow development of other alternative methods.

The necessity of such techniques was advocated by a senior researcher at the facility. The studies that were being produced could one day save hundreds upon thousands of human lives, and even benefit animals outside of cages through an increased understanding of their behaviour and how can be impacted by phenomena like climate change. A consistent theme was that the complexity of a live organism is needed for accurate testing, that computer simulations or in-vitro methods will never be as intricate as the dynamic systems of an organic body.

At times, the tone with which the researcher approached the subject was radically different. He even seemed exasperated with the UK’s sometimes obstructive regulations that delay responsive research, but it’d be too simple to assume that the interests of scientists and the animals they work with are always diametrically opposed.

Dr Robert Kirk, a historian at the University, has written on how the increased standards of sanitation in animal testing produced more resilient and healthy test subjects: “There is a balance to be struck between the needs of a given scientific procedure and the welfare of animals used within that procedure. One could see the needs of science and those of animal welfare as being in tension in the sense that they are connected and need to be managed. However, they are not necessarily in opposition or in conflict.”

The tension between scientific inquiry and animal welfare is not an easy one to mediate. However, Kirk says it is important: “Managing this tension appears as a core driver of change responsible for improvements in experimental technique as well as improvements in animal welfare… As a lay person, as a member of the public, I feel I should be as informed as I need to be in order to critically understand the role animals have played in making the world I inhabit.”

Our attitudes towards animals are always fluid as we learn more about their internal lives and our interactions with them in an ecosystem much larger than our own. In these dynamic ethical boundaries, it is critical that the public always be aware and reflect upon what constitutes humane behaviour, and what trade-offs we are willing to make.

If you would like to learn more about animal testing in Stopford, visit their website where you can take a virtual tour of their facilities.

In Conversation with Heir

Written by Olivia White on . Posted in Music.

Lively Leeds-born indie pop quintet Heir are currently 7 dates into their ‘After Forever’ tour leaving a glimmer of nourishing warmth behind them as they progress.

This soothing symphony are back on the road having released their latest single ‘After Forever’ just over a week ago armed with an irresistible intro and plenty of opportunities for questionable dance moves.

‘After Forever’ is an illuminating accumulation of the band’s work thus far proving to be one of the band’s strongest tracks yet. Harnessing a glorious Haim-like groove that soaks you in warmth and serenity, ‘After Forever’ leaves you merciless to that inner core that subconsciously starts to move to the beat. Frontman Tom describes the song’s grounding in experiences of short-lived relationships, whether it be “meeting someone at a party or in the street” but romanticising and immortalising the possibility of what could have been. This nostalgic and stirring imagery is perfectly encapsulated in the song’s catchy chorus.

It appears Heir have spent a lot of time stealing cups of tea at nan’s houses as they “don’t like writing in Leeds”. They can often be found at keyboard player “Sam’s grandparent’s house in Devon” or frontman Tom’s nan’s in Northumbria recording new material. This is not surprising given the duo’s distinctive dad dancing which spreads nothing short of wholesome joy during the band’s live performances.

Kicking the tour off with a sold-out show at their hometown venue The Lending Room, Tom highlights the nervous excitement that was shared between the band of playing new songs to an audience that hadn’t before left the studio but reassuringly the “faith of Leeds” pulled through and the compelling atmosphere Heir curated left “everyone dancing”.

Taking inspiration from Haim, Fleetwood Mac and more recently Parcels, Heir are slowly but surely securing their place in the indie dream-pop scene. With songs that make you want to dance but with a USP of “not just writing about love”, Heir breathe a gush of fresh air on indie’s currently evolving scene. The band’s setlist even consisted of a song written purely off “(their) spare room advert” which epitomises Heir’s enjoyment with creative freedom and wit.

However, the band had not always been headed in this particular creative direction as nearly 3 years ago, the 5-piece had a discography composed of “9 songs” that no longer define the group and have been wiped from their streaming platforms. Despite believing the “songwriting was there”, the band “lost the connection” with the material that they wrote whilst “still at uni”. Since then, Heir have extracted “I’ll Pick You Up” and formed their more confident and exciting track list which is truer to the creative undertones they now have a cohesive group.

With only a few tickets left on the door and an audience that certainly wasn’t shy to the front rows of Manchester’s intimate venue, Gulliver’s, Heir humbly took their places on the stage. Commenting on the lack of room to dance wasn’t at all a defeat for the boys who from the second the lights dimmed, had the room swaying back and forth mirroring the perfectly executed dance routine on stage.

Having seen Heir a few times before, there is no comparison in how at ease they clearly felt in the limelight. With charming commentary and breezy beats, Heir had their audience “wooing” and clapping to fill every spare moment.

Perhaps what you have is not ‘Better in Silence’ boys?

9/10

Review: Ghost the Musical

Written by Jess Johnstone on . Posted in Theatre.

 

Photo: @Pamela Raith Photography
Photo: @Pamela Raith Photography

A rom-com like no other, Ghost threw audiences headfirst into a story of love, loss and betrayal. Directed by Bob Tomson, the 2019 tour  boasts new music and original staging, along with a stellar new cast ready to pull on the heartstrings of unassuming audience members. Based on the 1990 hit film of the same name the stage show certainly doesn’t disappoint!

Following lovers Sam (Niall Sheehy) and Molly (Rebekah Lowings) as they start their lives together in an up and coming Brooklyn apartment. The first few scenes whizzed by and could perhaps have benefited from a slightly slower pacing so we as an audience could grow more attached to the couple before the fateful scene in which Sam is shot and murdered.

The lighting change and use of misdirection as our ‘alive’ Sam seamlessly reappeared as a ghost whilst an inconsolable Molly wept over his body was superb. As an audience member you don’t know where to look and our confusion as to exactly how they did it matched Sam’s confusion over what has happened to him. Sheehy and Lowings made a very convincing couple and their on stage chemistry served well in making the audience  feel for them. This was especially true in the recreation of that iconic pottery scene made famous by Patrick Swayze and Demi Moore.

Returning to the stage in the unforgettably iconic role of Ode Mae Brown was Jacqui Dubois, who more than filled the pretty monumental shoes left by Whoopi Goldberg’s original film portrayal! The comic timing of Dubois was impeccable and oh my, what an incredible voice!

Photo: @Pamela Raith Photography
Photo: @Pamela Raith Photography

Dubois was matched only by Lowings in terms of her characterisation. Lowings heart-breaking rendition of ‘With You’ reduced me to tears, her skill as a performer was outstanding and I genuinely felt for her character. Equally Sergio Pasquariello’s turn as corrupt banker Carl so nuanced, sometimes a rarity in musical theatre. Often the typical ‘villain’ in a show such as this can be turned into something of a stock character and Pascquariello did well to avoid this. Sheehy, however, slightly overacted and at times his reactions felt contrived and forced in comparison to his co-stars.

The ensemble worked incredibly well together. The sharp, fast paced choreography from Alistair David served to create the busy nature of NYC, and the set and lighting design (Mark Bailey and Nich Richings) worked wonders to invite the audience into the world of Molly and Sam.

Ghost brought an evening of laughs and tears, I was unprepared to have my heartstrings pulled so much!

An open letter to Manchester, my wonderwall

Written by Holly Kathleen Crystabell Ktorou on . Posted in Lifestyle.

When I first got accepted into The University of Manchester I distinctly remember crying, out of sheer excitement and relief. Fast- forward a few years and I remember crying at the thought of staying here to finish my degree, after a particularly hard break-up. I started dating someone when I came to Manchester and soon we were inseparable. I came to love Manchester through someone else’s love for it. After we inevitably broke up I was left with the city that I had loved through our relationship, one I hadn’t discovered alone. It did not feel like my city anymore. Had it ever really been mine?

I often think I should have sat down at a table and drawn up a relationship agreement. I would have written down what I wanted from that relationship and for myself. Like a business agreement, we would both attempt to compromise. But, soon we would agree that we are not what either of us really needed. I do not like football; in fact I detest it. He did not like reading; in fact he just did not read. Rather than to change and mould someone, I should have gone in with the mind-set that changing people is (apart from morally dubious) near impossible. If we came to the table short of what we wanted, we would have split ways before it all started.

Now I know this kind of agreement does not happen and I would be the first to roll my eyes at the idea of a relationship contract. But the premise of mutual compromise exists in friendships. So why do we not go into romantic relationships in the same way? Why do we seem to get so consumed by romantic relationships that we often fail to see the red flags?

Romantic relationships and friendships are not world’s apart. Both require respect, patience, time and ultimately love. Romantic relationships are like the dessert of a three course meal. They are great and definitely won’t go a miss. But when it comes to the main- friendships are basis of the whole meal. Because let’s be honest: living off just desserts is not sustainable, healthy nor particularly fun after you get past the initial indulgence. When romantic relationships crumble (if you’ll pardon the pun) and it feels like a part of you has too, your family, friends, music, and sometimes even your city will be there for you.

I intend to spend my time alone, not labelled as ‘single’ but in becoming the person I want to be with: driven, hard-working and excited for the future. After all, relationships will not heal you and being single certainly will not kill you. And maybe the very city that I came to love with someone else will help me to love myself.

It will start with listening to the bands I shared with them, the favourite lunch spots that became ours will become mine again, and along the way I will set out to discover new loves. All the time making sure to appreciate these adventures alone before sharing with another. So to Manchester, the city that taught me the intense love its locals have for football, music (mostly the Gallagher’s!) and day drinking, and most importantly for myself. Perhaps Manchester has taught me that my ‘wonderwall’ does not have to be a person at all. But the city itself, and everything it has to offer. Or likewise what I have to offer it.

 

 

Photo: Palace Theatre

Abigail’s Party Review

Written by Jess Johnstone on . Posted in Theatre.

Sarah Esdaile’s touring production of Mike Leigh’s 1977 classic suburban tragi-comedy Abigail’s Party invites audiences across the country to revisit the garish yet homely interior of loveless suburban couple Beverley (Jodie Prenger) and Laurence (Daniel Casey) as they host a get together for their neighbours.  However, what I expected to be a nostalgia fuelled evening filled with hilarity fell flat with Esdaile’s direction feeling forced and farcical.

Honestly, I just didn’t find it funny. The jokes felt dated, some belonged firmly in the 70’s and the delivery from all involved was flat. A few references to rape felt very out of taste and were met with groans from the audience, along with the mention that Beverley was not permitted to drive by her husband.

It was almost as if the actors were relying on the audiences’ knowledge of the iconic TV version to coax out laughs. Admittedly this could also just be that I have no attachment to the references throughout and therefore the humour was not targeted at me. Judging by the demographic of audience who were laughing it may well be the case that Abigail’s Party works because of the nostalgia it creates for an older audience.

Prenger’s performance as pushy host Beverley (originally made famous by Alison Steadman) felt overdone and much of the humour was covered by an excess of laughter from Prenger. There was very little nuance to her performance and her portrayal made Beverley feel like a stock character rather than allowing us to see that she is a woman trapped in a loveless marriage who’s overzealous insistence of fun, pineapple and ‘Demis Roussos’ are covering the lack of fulfilment she has in her life.

To make matters worse Prenger’s accent, with the play being set in “theoretical Romford,” was a struggle to listen to. Harsh and extremely nasal it felt as if she was mocking the accent rather than it being a sign post of the characters working class background. Swanning around in a paisley dress, every movement and interaction felt forced as if she was playing for laughs, rather than letting the dialogue and character dynamics speak for themselves.

The second half picked up the pace, and Rose Keegan’s performance as luckless divorcee Sue drew a couple of genuine laughs, alongside Vicky Binns’ measured portrayal of eager-to-impress new neighbour Angela. Playing opposite Binns’ Calum Callaghan failed to match up as her unimpressed husband; from the offset his performance was bland and one-note throughout. There was no build to his aggressive outburst at Ange towards the plays finale, as from the offset he’d been unnecessarily harsh and acting almost like a bully towards his hapless wife. Daniel Casey’s performance as Beverley’s long suffering husband deserves credit as his characterisation was subtle but effective, but again this was lost in lacklustre direction and overpowered by Prenger’s excessively heightened performance.

The final nail in the coffin came when Vicky Binns threw a cigarette case to Prenger and Casey who were sat on the sofa centre stage and neither of them could find it. Binns, Keegan and Casey maintained composure and continued in character while Prenger and Callaghan corpse mid-scene and were unable to regain their composure for some time. This was met by rapturous from the audience but felt hugely unprofessional and ruined any tension that had been building towards the climactic scene final of the play in which the tension reaches its peak and ultimately leads to Lawrence meeting an untimely end and having a heart attack.

The only redeeming feature was the absolutely wonderful set design. Janet Bird’s attention to detail was outstanding and the pre-set which made it appear that you were a neighbour looking in through the window of the house and then lifted away to reveal the full extent of the interior was ingenious. The period detail was astonishing; from geometric print curtains to a bookcase/cocktail cabinet and the fibre optic light all aided the feeling that you really were getting a sneak peek inside a 70s living room.

Overall the script and staging felt stagnant and in all honesty should perhaps be left in the 70’s and remembered nostalgically by those who witnessed the original. Unfortunately unless it were to be revisited for the current decade I’m not entirely certain of the life span of Mike Leigh’s classic.

Photo: Johan Persson

Review: Hair the Musical

Written by Louise Avey on . Posted in Theatre.

Hair is a celebration of bohemian life, sexual freedom, polyamory, racial integration, expression, and unity.

The neon lighting of the staging: from the tapestry hanging with the words ‘we won’t fight another rich man’s war’ and ‘end the war before it ends you’. This literally and figuratively set the backdrop for the central war theme that Hair explores.

Hair does not shy away from the controversial themes that underpin ‘hippie life’. One area being polyamory, of Greek origin meaning ‘many’ and ‘love. This was explored in a way I have never before seen on stage or other mediums. The notion of the ‘unicorn’ in the polyamorous relationship (Claude in this case) with the associated feelings of loneliness and jealousy was interestingly explored in an empathetic way.

Hair succeeds in showing that platonic relationships are sometimes much more integral than romantic relationships, highlighting the multi-faceted complicity of relationships on the whole.

The critiques on American life offered felt sometimes incongruous, as Marcus Collins (playing Hud) flits between his hippy character of Hud and an aggressive American war-loving father. However, again, the character development was excellent. What at first seemed disjointed became a vehicle to reveal the dark side of the American dream.

Hair shows how sometimes care and concern is masked in forceful and dangerous parenting, such as the storyline where Claude is sent off to war, much to the parents’ delight, a very real conclusion for some people in the 60s when Hair was originally made and performed.

Even the somewhat outdated Black Boys and White Boys songs which superficially feel ridiculous and offensive, create a rare opportunity for two women to sing respectively about their love for each other’s race, important and relevant. This is the same for the scene where men and women lean on each other’s shoulders while sat open-legged in a full circle, in such a simple gesture, the leaning suggests a unity of gender, races and people.

A great strength of Hair is that even seemingly small characters were explored in depth. This is true of the small character of Margaret Mead. As a drag character, serving light humorous relief, she was so well developed that it stole the most laughs in the show. The audience participation was genius, with Margaret Mead sitting on an laps in the audience. Her commitment to this character was amazing and bewitching, capturing an all-laughing audience who were enthralled and invested in her southern belle character. Her very real comments on the insignificance of gender and her hints at gender performance, such as clothing, makeup and drag were beautiful and intricate, unexpectedly progressive. Hair set out to push boundaries, and it definitely does that, even for a 21st century audience, who aren’t shocked by much.

Hair is still a revolutionary performance, a force for change, proving now more than ever, theatre and art can always spark a revolution, if people are willing to watch with an open heart and an open mind.

Photo: @Richard Davenport of The Other Richard

Review: West Side Story

Written by Amy Hagan on . Posted in Theatre.

One of Broadway’s most iconic musicals has arrived at the Royal Exchange Theatre, with artistic director Sarah Frankcom and choreographer Aletta Collins putting together a splendid and breath-taking production of West Side Story. 

The Romeo and Juliet story set in 1950s Manhattan was given a fresh and tasteful lift as Jerome Robbins’ original choreography was replaced with new, energetic dance routines. The results were mixed, with some of the routines involving a small number of the cast not quite hitting the mark. Those involving the two gangs were dynamic and tense, still reminiscent of Robbins’ physicality. Immense credit should be given to the musical supervisor and director, Jason Carr and Mark Aspinall, for the high quality performance of Bernstein’s score. This is noted particularly during ‘America’ and ‘Somewhere’. The audience felt the band and players were in the theatre with them when in fact they were located in an isolated box outside. 

Photo: @Richard Davenport of The Other Richard
Photo: @Richard Davenport of The Other Richard

Gabriela Garcia and Andy Coxon played the lovers Maria and Tony, who battle to keep their relationship alive despite coming from rival gangs. It is easy to see why they were chosen to play such iconic roles. Their chemistry was organic and combined with their excellent vocal ranges, Garcia and Coxon gave romantic and heart-breaking performances. Most notably, Coxon delivered an outstanding rendition of ‘Maria’, as his utter devotion and infatuation with his lover brought tears to my eyes. Garcia was exquisite playing the mischievous and innocent Maria, and her impressive voice and musicality allowed her to create a presence on stage that was her own, separate from Tony’s. 

Standout performances also came from Jocasta Almgill, cast as Maria’s confidante Anita, and Fernando Mariano (Bernardo) and Michael Duke (Riff). Duke and Mariano conveyed a powerful and intense relationship between the rival gang leaders and their desire to ensure the survival of their own, no matter the cost. Overall, the entire cast were impressive in their depictions of troubled youth, loyal friends, and the devastating impact of violence and prejudice. 

The set design was interesting, with designer Anna Fleischle creating an abstract and minimalist environment to represent the streets of Manhattan. Probably what was kept in mind was to create open spaces for the actors’ dance routines, involving all areas of the round, although at times during the performance it did feel empty because of the lack of set pieces. Nevertheless, the use of white climbing frames allowed the cast to make use of the space around them, which they did so quite successfully. 

This 2019 version of West Side Story highlights the senselessness of gang and street violence, an issue that is still prevalent today. Sixty years after its Broadway debut, the musical remains a favourite, and the successfulness of the Royal Exchange’s production is evidence of the lasting impact and relevance it has. 

Photo: @Richard Davenport of The Other Richard
Photo: @Richard Davenport of The Other Richard
Photo: The Mancunion.

Planned ResLife reforms delayed after staff opposition

Written by Josh Sandiford on . Posted in News.

Plans that would have seen ResLife staff living in with first-years have been delayed after a feverish period of consultation saw many existing staff members concerned about student wellbeing.

Planned changes to ResLife Advisers, originally reported by The Mancunion last month, will now be delayed by a year until September 2020.

Additional consultation is now planned, with staff told they will find out more on the 29th of April.

Original concerns about the proposed changes included first-years feeling “uncomfortable” about their behaviour around full-time ResLife staff, ResLife staff becoming isolated, and the feasibility of the plans.

An email sent to staff this morning and seen by The Mancunion reads: “I’d like to take this opportunity to update you on the proposed changes to the ResLife Team in Residential Services, for which we are currently involved in a consultation period.”

The email goes on to say that the planned changes attracted a “range of feedback”, and notes that whilst some feedback was positive, there were concerns raised about whether the proposed changes would “achieve the desired aims of further improving the student experience” within halls.

Senior ResLife bosses are now taking the time to explore in detail the objections and suggestions raised during the consultation process.

Whilst many students and staff members will see the delay as a win, there is still concern regarding the future of some wardens and deputies working in halls of residence. Staff will not know more until discussions continue on the 29th of April.

One anonymous staff member, who was against the original plans, said: “This is a huge step towards crafting a meaningful pastoral care system that works for all involved. Undoubtedly there are issues that need addressing but hopefully, by providing more time and a larger platform for discussion amongst stakeholders, we can ensure that the best system is found.”

A University of Manchester spokesperson said: “The ResLife team is extremely important to those living in our Halls of Residences and the team’s priority will always be the welfare and support of our students.

“After extensive consultation with students and staff, we recently proposed some changes to the ResLife provision at the University. However, we have decided to postpone one aspect of those the changes relating to Senior ResLife Advisor and ResLife Advisor team roles. This comes after listening to further feedback from staff and students.

“We will now conduct a longer period of thought and consultation and any changes to the Advisor roles will therefore be implemented from September 2020.”

Preview: Foxdog Studio’s Robot Chef

Written by Anuli Changa on . Posted in Theatre.

Photo: @Foxdog Studios
Photo: @Foxdog Studios

Lloyd Henning and Peter Sutton studied Computer Science at the University of Manchester and formed Foxdog Studios as an IT company which has led to many endeavours including a comedy act. What started as entertaining their friends with tech they built, led to acts that combine live comedy and technology. Their upcoming show in Salford, Robot Chef, is their cooking show in which the audience draw cartoon characters on their phones to control the Robot Chef. With so many cooks, “the cooking doesn’t work very well, so you have to laugh”. Winner of the Leicester Comedy Festival’s Best Show 2019, Robot Chef includes music, audience participation and cooking sausages.

Henning and Sutton explained that their shows are alternative comedy, at university their impression of comedy was “just stand up” but there’s more to it than that. Robot Chef is a chance to see other kinds of comedy, this time with the twist of technology created by IT professionals.

The Foxdog Studios duo will return to Edinburgh Fringe this year. Looking back on their first Fringe experience and their performance skills they candidly admitted “we sucked when we started, but we had a lot of enthusiasm”, it was certainly a learning curve. Henning and Sutton have performed at all types of venues including science festivals like Bluedot (they will be returning this year). Although the show is very technical, they are done on a low budget, they bring their own equipment (and play an electric drum kit).

The duo explained: “we always make the point of making our shows as approachable as possible” and so “you don’t have to know everything about technology”. However, they also commented that “there’s nothing like getting off stage and having a nerd coming to complain about what you’ve done wrong”.

Robot Chef will be on at Social 7 in Salford on 30th April with a 25% student discounts on the tickets.

Follow Foxdog Studios on Twitter, Facebook and Instagram

Photo: Martha-Cecilia Dietrich.

Documentary on the big screen: UoM graduates at the RAI film festival

Written by kizzybray on . Posted in Film.

The annual Royal Anthropological Institute Film Festival (RAI) was held at the harbour side Watershed in Bristol on the 27-30th March 2019. The festival highlighted some of the best ethnographic documentary films being produced around the world, with six films by University of Manchester graduates screened.

Photo: Martha-Cecilia Dietrich
Photo: Martha-Cecilia Dietrich

Horror in the Andes

University of Manchester alumni Martha-Cecilia Dietrich opened the second day of the festival with her new feature length documentary Horror in the Andes. The film follows the materialisation of three big time dreamers, Bruce Lee enthusiasts, and determined directors’ passion project, a horror film set in Ayacucho in the Peruvian Andes, which they hope will be just as successful as those produced in “the outside”, AKA Hollywood.

An impressively original documentary subject lends this film to being memorable, sweet, and unique amongst a utilitarian schedule of film-after-film-after-film for the four day event. The relationships between the cast are sincere, their jokes natural, and their passions real. I found myself intrigued by the outcome of the film they were making, genuinely hopeful that it was a success for them.

This is where the documentary left me a bit wanting, however. A particularly wonderful scene finds one of the men showing Martha his Inca statue he bought in Lima. He announces that at the first screening of the film he will get someone to present the statue to him as an award. “Hollywood have the Oscars, we have the Inca!” The brilliance of a scene of a man buying his own award to be presented to him aside, the documentary could have gone further to film this opening night and the presentation of the award. Instead the documentary ends on the three friends editing the film. Perhaps it was a conscious decision to only show the bubble of the film-making experience rather than it be burst with audience reception, but I rooted for these men, and would have enjoyed seeing what became of their horror film.

Certain dips in sound quality during interviews, though frustrating, could be overlooked when the charisma and eccentricity of the film-makers exploded on screen. “People say I am a nutter, but nutters made the world!”

Find out more about the film here. 

3.5/5.

Photo: Saranya Nayak
Photo: Saranya Nayak

Niishii: Night Worlds

UoM Master’s graduate Saranya Nayak created a masterpiece in 22 minutes with her sensorial experience of the town of Dubrajpur in West Bengal, India, at night. Niishii explores the people who inhabit the town after dark. Those selling goods in the night market, secretive husbands hiding from their wives in drinking “dens”, the chitter-chatter of families home to eat, and even the thrills of an amusement park illuminated.

What is excellent about this film is not only the technical triumph of shooting in extremely low light, but also the ability to create a world that seemed so extensive through sound, textures, light, and motion in such a short amount of time. The shot from a swaying ferris wheel, though some what sea-sickening, was a great example of film-making that really evokes a response from the audience (even if that response was vomit).

Nayak uses the space of Dubrajpur’s night world to explore how electricity has effected and changed the place, the people, and the stories told in the town. Those featured in the documentary recall stories of the “light ghost” that used to terrorise the town at night prior to electricity. Men in the drinking den wonder why anyone would want electric lights at all, especially when they are trying to hide from their wives in the first place.

Niishii is an excellent example of a film that completely situates the audience within the world it represents. It’s the last rung on the ladder before virtual reality, and can be seen for free here.

5/5.    

Photo: Miguel Ángel Cavieres
Photo: Miguel Ángel Cavieres

This is My Face

P.h.D scholar Angélica Cabezas Pino is the brains behind this heart-felt observation of men living with HIV in Chile. The documentary follows a number of men diagnosed with the disease in a country that, according to Pino, stigmatises the issue so much that many men live in silence and secrecy surrounding their condition.

For many of these men, the documentary was the first time they were able to publicly express their diagnosis, and as the title suggests, put a face to the disease as an attempt to de-stigmatise HIV in Chile. The trauma these men recall in their accounts on film can only be described as courage many of us will never have to employ.

This film is highly collaborative, and it shows. The men take agency in how they would like to be portrayed. We see them staging their own photo-shoots, telling their own stories their way, snap-shots of what they think the world needs to know about them as men with a HIV diagnosis.

Some scenes are so brutally honest and difficult to watch. One photo-shoot led to Oscar, one of the main men in the film, asking his mother to recreate something she used to do daily: bleaching the entire bathroom after her son had used it, from fears of catching HIV. The confusion and fear around HIV has been prominent in the emotional history of the men, but the message in the film is clear: these men can and do live a normal life, and they want you to know who they are.

4/5.

It Was Tomorrow

Alexandra D’onofrio, UoM P.h.D alumni screened her directorial It Was Tomorrow on three Egyptian men living in Italy who have just been awarded legal residence on the Thursday of the RAI festival. After living in Italy for ten years undocumented, being granted legal residence means security and belonging that the men have been desperate for for a decade.

The film began strong, with beautiful use of line animation to illustrate what it’s like to be trapped, refused access and objectified in the immigration process. The film focused on memory and place in the interviews and shots. However, the powerful message the animation portrayed began to feel slightly lost on a road of different kinds of artistry and drawings to animate the mens memories, which felt at times confusing, and occasionally unnecessary.

Memory is a difficult topic to visually represent in documentary film, and It Was Tomorrow didn’t quite make these memories condensed enough to stay engaged for a 52 minute run. However, the film-maker tackles an extremely politically charged and important issue with incredible access to very personal stories told by these men and should be congratulated on her exploration of immigration, access and longing for home. As a PhD project it was inspiring to watch, especially as many of the other films had a far bigger crew and far more funding behind them.

2.5/5.

Photo: Camilla Morelli @ Amazonimations

Amazonimations

Unsatisfyingly short, simply because it was so enjoyable, Amazonimations is the collaborative project between P.h.D scholar Camilla Morelli, animator Sophie Marsh and the indigenous Matses people of the Amazon rainforest. The film covered multiple stories that the Matses people wished to tell such as their use of poisonous frog’s blood, the children’s tales of the animals that roam the rainforest (and which ones are the tastiest), as well as what happens to those that move away to cities.

Powerfully, the latter reminds the audience that just because Matses are indigenous does not mean that they cannot wear trousers and trainers. Holding a job as a cleaner in a city does not make them any less indigenous. The city Matses hold signs that say: “We have the right to change”.

The animations themselves are well illustrated with colour and sounds of the rainforest. The children’s stories use drawings made by the Matses children themselves, much like something you would see tacked to a fridge door by a proud mother in Chorlton.

Amazonimations manages to touch upon the unknown and the familiar in what feels like a playfully animated storybook, all within an impressive seven minute running time.

You can find out more about Amazonimations here. 

4.5/5.

Photo: NASA Goddard Space Flight Center @ Flickr

Scientists capture the first image of a black hole

Written by Jacklin Kwan on . Posted in Science & Tech.

Before the 10th of April, every picture you have ever seen of a black hole has been a rendering. Earlier this week, scientists were able to finally capture the real thing: a black hole in a galaxy called Messier 87.

Scientists have long predicted the existence of black holes. A body of such high density that even light could not escape it was theorised as early as 1784 by John Michell. However, it wasn’t until 1915 that the theory began to gain speed. Albert Einstein published his theory of general relativity, which rightly concluded that light was influenced by gravity. Other physicists in the following decades began solving Einstein’s equations, and peculiar behaviours began to appear in some of the mathematical solutions (such as an object whose gravitational field was so strong that not even light could escape its pull).

Since then, physicists have followed the breadcrumbs of black holes. Experimental observations such as the orbit of stars and, more recently, the gravitational waves emitted from the merger of two black holes have been recorded as evidence. This year, scientists have finally captured the mugshot.

Previously, images of black holes have been difficult to observe as they have been either too small or too far away. Since black holes do not emit light themselves, we need to capture the light around them. Black holes are composed of an event horizon (a boundary beyond which no light can escape), and the accretion disk that surrounds it in a halo. This accretion disk is made of gas and dust that orbit the hole at such a velocity that the particles heat up and emit high energy x-ray and gamma rays as they collide.

This light has to travel to Earth through light years of obstructions in space before finally penetrating our planet’s atmosphere. Since the Earth’s atmosphere is relatively opaque to most wavelengths of light, scientists were forced to detect a specific window: 1.3mm radio waves. NASA coordinated eight ground-based radio telescopes, which together are referred to as the Event Horizon Telescope array (EHT). Four of the dishes were in North America, two in South America, one in the South Pole, and the last two in Europe.

The astronomers used a technique known as Very Long Baseline Interferometry. Researchers can emulate a huge radio dish with a diameter equal to the distance between a pair of smaller telescopes. The two dishes take readings simultaneously so they observe the same radio signal, all while correcting for factors such as atmospheric noise and calibration. At every one of the eight locations of the EHT is an atomic clock that enables its operators to keep time to precisions of a few attoseconds (10-18s).

After this data is collected, it is pieced together using algorithms into one cohesive image. To ensure accuracy, the data was given to four independent teams which used different techniques to generate an image. These four teams were led by Katie Bouman, Andrew Chael, Kazu Akiyama, Michael Johnson, and Jose Gomez. Once all four teams arrived at very similar end results, their images were “sewn together” with an algorithm made by Mareki Honma that filled in all the missing pixels by analysing the ones that surrounded it.

Katie Bouman has since become a viral sensation for her valuable contributions to the project. Specifically, she was key in developing an algorithm known as Continuous High-resolution Image Reconstruction using Patch priors (CHIRP). CHIRP helped sort through the huge amount of data obtained from EHT so that only the black hole-relevant observations would be included to generate an image.

The black hole image is not only a technological triumph, but one that would not have been possible without the teamwork and dedication of international groups of scientists. Being able to directly observe a black hole will be integral in understanding the nature of our universe and how it continues to evolve.

Art in Mancunia: Shona Sterland

Written by Bella Jewell on . Posted in Arts.

Most of us have undergone a break-up. Whether messy or amicable, these life events can seem emotionally monumental before the pain begins to subside. It is this subject that second-year photography student, Shona Sterland, has chosen to document in her latest project.

After the collapse of a four-year relationship, Sterland decided to find closure through the medium of photography; “I made a book comprised of images taken on a 110 film camera I bought when I was with my ex and revisited some of the places we went together.”

The minimalist and blurred images evoke a painful emptiness that many of us can identify with, in fact Sterland describes how she “started the book with dark images and journal entries from the start of [her] breakup which showcase [her] emotions.” The photographs are occasionally paired with a single journal entry, which powerfully verbalises the sentiments of the viewer; ‘I wish I was dead’, ‘I miss you, I miss us’.

Photo: Shona Sterland

However, as our emotional state processes post-break-up, so does the tone of the photography and text, it is a real insight into the human condition. Sterland describes how “as the book goes on, the images become lighter and so do my journal entries.”

Photo: Shona Sterland

The obscure images and scrawled entries are punctuated by screenshots of text exchanges with Sterland’s ex-boyfriend. The inclusion of these messages, Sterland explains, make the work “relatable to many people who are facing something similar,” and forges a powerful connection between artist and viewer. Sterland, therefore, has achieved a work which is both deeply personal, whilst also representing a universal human experience.

Sterland summarises this artistic process as “both heartbreaking and cathartic” detailing how it helped her achieve “clarity and closure” — the endpoint we all pursue following the fragmentation of a relationship.

Photo: Ellie Johsnon

Art in Mancunia: Ellie Johnson

Written by Theo Bennett on . Posted in Arts.

Ellie Johnson, an art student in Manchester, is interested in bread. She’s made it the subject of a series of photographs that she has submitted to The Mancunion as part of the Art in Mancunia series.

Surprisingly, her interest in bread doesn’t stem from the fact that it’s an unbelievably versatile, essential component of a huge number of tasty snacks, or from its nutritional value as a good source of carbohydrates. Rather, Ellie’s art ties in with what she feels are the historical connotations between bread and women, with bread viewed as a symbol of domesticity.

Ellie’s research posits a long-established link in the consciousness of men between bread and aspects of procreation, and identifies a woman’s bread-making ability as a key quality by which her worth was determined during certain periods of history.

Photo: Ellie Johnson.

Set against a garish bubble-gum pink background, Ellie’s work sees her models posing with slices of bread, garnered in aprons and kitchen gloves – items that represent domesticity and suburbia. Ellie pays reference to the archetype of the ‘Stepford wife’, a term denoting a docile housewife who’s role in a marriage is one of subservience to the husband.

Judging by the expressions of the models in the photographs – hardly those of ‘submissive’ women – it seems that this is art that aims to challenge that notion of subservience. Let’s hope that if this work achieves anything on any kind of subliminal level, it’s replacing those connotations of bread with passive domesticity with new ones of glamorous, pink, feminist fun.

Photo: Ellie Johnson.

Ellie also credits Louie Caulfield Johnson with art direction assistance.

Photo: University of Saskatchewan @Flickr

Shock economics exam reschedule causes revision chaos

Written by Emily Broncz on . Posted in News.

Students enrolled on the Macroeconomics 2 module at the University of Manchester were informed by the University that the exam had been moved forward nearly three weeks, due to a data omission.

The exam, originally due to take place on 31st May, has been brought forward by a fortnight to 13th May, leaving students with less time to prepare.

Email and text alerts were sent out to students to notify them of changes, however, there have been complaints over the exam not displaying on the MyManchester website.

The unit is a compulsory element of the economics course at the University and its rescheduling has resulted in widespread dissatisfaction amongst the affected student body.

Speaking to The Mancunion, second-year Politics, Philosophy, and Economics (PPE) student Mia Edwards commented on the issue: “I’m not actually sure how many students [have been affected], but they have one it to multiple modules so it will be hundreds… there are hundreds in my module alone.

“I feel so let down by the University, who claim that mental health is such a significant issue amongst its students but then show this lack of organisation. This puts enormous mental strain on all of us. I would like to see that the University realise the immense impact that this has had on hundreds of students.”

Mia also revealed that she knew of students who were not going to be in the country for the new exam date, as many believed that exams could not be rescheduled to a date outside of the official period.

One first-year student taking the exam, who chose to remain anonymous, said: “Whilst inconvenient, it’s not quite a big deal for first years.

“However, for second years their marks count and it’s really not fair that they not have an exam outside the exam window in a week they have essays. Not to mention how we also now get two less weeks to revise and the fact the exam’s not showing up on our timetables.

“The University needs to clearly explain why this change has occurred, it’s annoying for them to hide behind ‘unforeseen circumstances.”

The University has now apologised to students and told The Mancunion that the School of Social Sciences is now working to find an ‘alternative solution’.

A University of Manchester spokesperson said: “First and foremost the University would like to apologise to students for any confusion or anxiety this may have caused as we approach exam season.

“The School of Social Sciences is now working with the Exams Office to find an alternative solution that will better suit everyone involved, whilst still ensuring the exam can be administrated and delivered fully and fairly in accordance with the University’s exam guidelines. Our priority is to ensure that all students are examined fairly and equitably.

“The exam boards whose students this affects will take these events into account.”

Update: The University of Manchester will now allow economics students to choose one of two dates to sit the Macroeconomics 2 exam. Students can now either take the exam on the 13th or 28th of May. 

Photo: @Mark Dawson Photograph

Review: American Idiot

Written by Kayleigh Crawford on . Posted in Theatre.

American Idiot tells the story of three friends from lower-working class backgrounds who feel suffocated by their small town, and escape to the city in search of bigger things. Set in a time of political strife in the US, American Idiot lays its foundations in the doubt and uncertainty that characterised the USA post-9/11. Lost and lonely in ‘a world of make believe’, the three characters lives are intertwined with the politics of this complicated period of US history.

Green Day’s music is the thread that ties the story together; with all of the songs from the musical’s namesake, and a few featured songs from the band’s follow-up album, ‘21st Century Breakdown’. American Idiot is story-driven, and features a full cast of lively characters. The energy on stage was raw and angry; decked out in early 2000’s punk attire, the cast felt authentic and of the time.

Within the set design (Sara Perks) the stars and stripes of the US flag were found everywhere, even as Johnny (Tom Milner) and the ensemble sang about their loss of American identity.

Siobhan O’Driscoll’s professional debut as Heather, a young woman who becomes pregnant unexpectedly, was both heart-warming and poignant opposite Samuel Pope (Tunny), who leaves his friends to be a father. Unlike his friends, Tunny stays behind in the ‘suffocating’ town, and Pope was confined to a specific section of the stage throughout the show to reflect this. Despite this, his performance couldn’t have been more dynamic, and together with O’Driscoll, both actors perfectly encapsulated the struggles of a high-stakes relationship.

Tom Milner shone in the lead role of Johnny, epitomising the raw punk-rock energy of the original album and commanding audience attention whilst on stage.  Milner’s performance as Johnny echoed the style and charisma of Green Day’s lead singer and lyricist Billie Joe Armstrong, making the musical feel more like a concert than a performance at times, especially during the band’s famous single ‘Boulevard of Broken Dreams’.

This concert-like atmosphere further broke down the barrier between the political themes of the musical and the lives of the characters. The audience were made to feel a part of the system that Johnny et al were victimised by. This was especially clear towards the end of the performance where the cast came together as one to direct their words to the audience.

Lively, vibrant, and exciting, American Idiot deals with heavy themes in a way that doesn’t pull any punches. The cast were unapologetic in their portrayal of struggle and lost identity, stuck in the space between ‘insane and insecure’. American Idiot sees the personal meet the political in a way that is representative of the punk movement, bursting with energy and rage in a true homage to Green Day’s original album.