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Month: October 2019

Photo: Ben Sutherland @Flickr

Opinion: All’s fair in love and VAR

Written by Kate Jackson on . Posted in Sport.

The use of the video assistant referee (VAR) in the Premier League continues to be a contentious topic this season. While the scores of mistakes and inconsistencies do not make VAR easy to defend, we still need to focus on improving the process, rather than eradicating the use of video referees entirely. 

A lot of outrage this season has come from the seemingly cautious nature of VAR. There has been a distinct lack of decisions overturned, many of which have seemed fairly dubious.

However, if the last round of games is anything to go by, there are signs that referees are beginning to change their approach to decision-making in relation to penalties.

During Everton’s defeat against Brighton (Gameweek 10), we saw the first penalty of the season be awarded via VAR. While this should have been a moment of progress for VAR, it was another moment, in a long list this season alone, that was marred with controversy. 

The penalty came just over ten minutes from the end of play, with Everton leading the game 2-1. A seemingly innocent moment in the box between Everton’s Michael Keane and Brighton’s Aaron Connolly, left Everton players in disbelief as VAR deemed the coming together enough to give a penalty for Brighton.

After putting the penalty away, Brighton managed to flip the game entirely; going on to win the game 3-2, and clinching a vital three points. 

While not as vital to the outcome of the game, Manchester United were similarly awarded a soft penalty by VAR in their game against Norwich, a day later. Dan James’ run-in with Norwich’s Godfrey in the box appeared to further the evidence against the Welshman as a serial diver, yet a penalty was controversially awarded.

While the home fans were disgusted with the decision, justice was served as Tim Krul managed to save Rashford’s poor spot-kick.

If the events of this weekend are anything to go by, it appears that VAR may be going too far in the other direction; going from no interference in penalty decisions to deeming any form of contact in the box worthy of a spot-kick. 

Due to the nature of the game, there is always going to be an element of subjectivity in decision-making. However, it is the inevitability of bad, or contentious, decisions that has led many to believe that the sport is being ruined, rather than improved, by VAR.

Many argue that such a subjective game is bound to lead to imperfect decision making. As such, VAR has not just failed to remove bad decisions but also caused long breaks during games, tentative celebrations rather than joyous ones, and confusion for stadium fans. 

Clearly, critics of VAR have plenty to be upset about, but it does not mean that this is the end of the road for VAR. There is still a lot of potential, it just needs to be tweaked.

The biggest change in VAR should be the encouragement of on-pitch officials using the designated Referee Review Area. Admittedly, this brings further delays to the game, but it would bring control of the match officiating back to the person who should be making the decisions.

While I can see why fans are so concerned about the inconsistency in penalty decisions, it’s difficult to have sympathy for those who are concerned about the small margins occurring in offside decisions. No matter how small the margins are, as an objective part of the game, the correct decision in this area will always reign. Even if it is just by centimetres, we have no reason not to respect offside calls.

If people are truly concerned about officials getting things right, then they should not care about how long the decision takes, nor how ‘close’ the decisions are.

Imagine your team losing a cup final due to a goal that should have been given offside? It is difficult to think that VAR has no place in the game when thinking about your team losing a trophy over something that could have been avoided.

Yes, it is perhaps inconvenient that ‘trial and error’ of such a complicated method of refereeing is being conducted in one of the biggest leagues in the world, but we should see that as a benefit to the process rather than a hindrance. 

The eyes of the footballing world will continue to scrutinise every decision made, and that will, no doubt, push the FA, and other governing bodies, to improve the implementation of video refereeing in the game. It may take time, and it may be frustrating, but, eventually, the league will have fewer refereeing mistakes and fewer games decided by poor decisions.

Before we get there, however, the unpredictability of VAR can still provide plenty of excitement for fans or, at least, neutrals.

I don’t know about anyone else, but watching a team, especially your rivals, think they have won a game in the last minute, only to have it taken away by a dubious decision by VAR? Priceless.

Review: Rich Kids: A History of Shopping Malls in Tehran

Written by Bayse Genc on . Posted in Theatre.

I attended the press night opening of Javaad Alipoor’s Rich Kids: A History of Shopping Malls in Tehran at HOME Manchester. The show is co-created by Alipoor along with Kirsty Housley. Both took centre-stage to guide the audience through an immersive and interactive digital journey.

I knew the production would be unlike anything I had seen before, and I didn’t really know what to expect, despite having interviewed Alipoor previously. Before entering the theatre, the staff requested audience members to follow an Instagram page carefully curated for the show. This account was to be a central digital prop which created a very interactive and collective atmosphere. The creators even gave a disclaimer at the start of the show, explaining that it would not be a problem if the phones went off since that a was part of the show.

The premise of the production is based on a car crash involving the children of the Iranian elite. The show traces the accident back through history to reveal a multitude of different perspectives and events. The two creators complimented each other very well on stage and conveyed a lot of passion about the topics in discussion. The production dealt with very intriguing and interesting topics such as the presence of the rich on social media, the history of Iran’s revolution, the stark differences between political figures and their children across the world, and climate change.

The multi-media show drew upon images and videos from the Instagram account, as well as music. Peyvand Sadeghian utilised Instagram’s Live feature numerous times during the show, and the echoing of her speech from the phones of the audience created an encompassing effect. It was certainly a uniquely experimental show, and refreshing in the new methods and techniques it employed onstage.

The show was definitely very thought-provoking, and by the end of it, I was left with an acute sense of confusion regarding all the different topics that were discussed. At certain times during the production, I lost sense of where the story was heading, and during others I was completely drawn into the narrative. Mark Fisher, writing for The Guardian, described the show as: “Dazzling, discombobulating and alarming,” which sums up how I felt by the end of it. I believe it is definitely a production that everyone will find something different in.

Rich Kids will be running at HOME Manchester until 2nd November. Enjoy this unique show, and immerse yourself in an interactive production.

Review: Scottee: Class

Written by Kayleigh Crawford on . Posted in Theatre.

Returning to HOME theatre after last year’s Fat Blokes, Scottee makes the journey up to Manchester with his final solo show, Class. Taking over the main stage this time, Class is Scottee’s show “for the middle classes,” which sees him become unapologetic in embracing his working-class identity.

From the beginning, Scottee challenges the audience to confront their class privilege. He asks the audience to identify themselves as either working class or middle class by cheering at the appropriate times. It came as no surprise when the vast majority of voices cheered for the middle-class option. Scottee tells us that he expected such a result: “You know how I know? Because this is a theatre!”

He’s right: theatre is still a predominantly middle-class space. Scottee’s show rails against the privilege of the middle-class and the ignorance of how that privilege aids them through life. The very fact that Class is performed in a theatre is symbolic. By taking up centre-stage in a space usually reserved for the middle-class, Scottee makes a statement through his very presence.

Class makes the impersonal personal as Scottee forces the audience to recognise that class hierarchy is still a very real problem within the UK. With anecdotes from his own background, growing up poor in Kentish Town, and chilling statistics about poverty rates in the UK, Scottee takes something which many see as not their concern, and makes it so.

The show opens with Scottee making jokes and telling stories from his childhood in a way that prompts laughter from the audience. This narrative is flipped on its head as Scottee revisits these stories later on in the show, once the harsh realities of working-class life under austerity have been revealed. “We all laughed at that earlier,” he reminds us once the atmosphere has turned sombre and chilling.

The impact of Class wouldn’t be so hard-hitting were it not for Scottee’s masterful control of the audience and the atmosphere. With many call-and-response moments and audience participation, Scottee involves the audience throughout, tying them into his narrative.

The mood switches from lighthearted to sombre in a matter of seconds. Scottee would crouch lower as a tale that started off funny took a serious turn, and the lights would fade from yellow to blue as sinister sounding background music starts to play. Just as quickly, Scottee would then jump up, the lights would raise, the music lift, and the atmosphere restored as the show continued in much the same vein as before. This fast back and forth kept the audience alert, luring us into comfort just long enough to make it hit harder when the reality was shown.

Class makes a spectacle of its audience as Scottee draws on stereotypes of the middle class to highlight the way that the working class is constantly caricatured through media. References to Waitrose, detached houses and posh accents are plenty as Scottee allows the audience to experience what it’s like to be on the receiving end of such comments. The difference being, of course, that they will be able to return to their lives unaltered after the show is over. After all, what’s an hour of being subject to mockery compared to a lifetime?

There’s another question that runs throughout the course of the show, and that is the question of agency. We, the audience, chose to come and see this show. Those who are born into poverty do not choose it. Scottee asks us whether the working-classes need love or money the most, before stating that it’s atrocious not to think that both are necessary.  Even Class itself, he reflects, is a demonstration of how the working-classes are made to exploit themselves in order to live the same life that middle-class people take for granted.

This is the stance Scottee takes as he demands radical empathy from the audience. Radical empathy, recognition of privilege, and a question: why are we here? To pity? To earn ally points? To be grateful that’s not us? Or simply to empathise?

Although Class may be an uncomfortable watching experience for some, that is exactly the point.

Intersectional Feminism photo:Marc Nozell @flickr

Intersectional Feminism: Don’t touch my hair

Written by Mabel Banfield on . Posted in Lifestyle.

For as long as I can remember, I’ve known I was a girl. Most of my friends were girls; we shared a mutual alliance that came in handy when we were banned from boys football. But I learned I was black. And, even more recently, that I was a black woman.

This idea challenged my understanding of feminism as a ubiquitous fight for the collective female experience. Often, we’re ready to label someone as racist or defend a victim of gender-related discrimination, but sometimes we don’t acknowledge that the cause of both of these prejudices is mutual. In other words, they are intersectional.

Intersectionality recognises identity as multifaceted; it consists of categories like race, gender, class and sexuality. Rather than taking each category individually, it introduces the notion of multiple marginalisations occurring simultaneously and identifies the nuanced experience belonging at each intersection. This opens up an inclusive dialogue within movements such as feminism, that may otherwise be neglected. For the first time, I could address the social reality that my gender and race afforded me as a black woman, instead of the binaries of being black or a woman standing as separate entities.

One of the ways I came to learn I was a black woman was through the repeated microaggressions I would face on an almost daily basis. Microaggressions are where the prejudices people hold seep into everyday language and interactions, making you feel ‘othered’. The confidence people possess when they touch my hair is one of the many subtle indignities I have to face regularly. Solange wrote a whole song about it, ‘Don’t Touch My Hair’, drawing on the feeling of exoticisation, and rejecting the idea of beauty being synonymous with Eurocentrism. In that seemingly innocent act of curiosity, I’m made to feel alienated.

Popular culture celebrates features that fit the Western ideal for beauty, like my ‘white’ nose or (only recently trending) Kylie Jenner lips. It took a white female to popularise the big lips that black women had previously been demonised and mocked for. We need to recognise beauty outside of this narrow Western perspective to allow girls of all races to feel beautiful.

To say you’re not attracted to ‘X’ girls, or ‘only move to lighties’ perpetuates this Eurocentric standard of beauty; it’s colourism. It refers to the preferential treatment of someone with lighter toned skin, typically in the same racial group. It’s so ingrained in our society, particularly affecting darker toned females. Beyoncé released a song ‘Brown Skin Girl’, celebrating the beauty of black women, yet it was met with complaints about not being inclusive. These responses merely highlight the necessity of such a song, as it is a privilege that gives people the ability to disregard the fact that many songs already exist that celebrate their beauty.

Black History Month may be over, but these issues prevail. In a predominantly white space, we share a common responsibility for educating ourselves on the privileges we may hold, and how this can affect how we are treated or treat others.

Feminism needs to be intersectional in order to be feminist, as this all encompassing experience is not the reality for all women.

Black Midi

Live Review: Black Midi at the White Hotel

Written by harryhetherington on . Posted in Music.

The most talked-about band in the country graced Salford’s White Hotel on Tuesday night, crashing through much of their debut album Schlagenheim and improvising and deconstructing as they went.

The math/noise rock band began 2019 as the darlings of the indie music press, and they have only enhanced that cultish status through the year. Just six months separated the unbelievably tight-sounding KEXP set on YouTube in January and their Mercury Prize nomination in July.

Like the band, for many the venue is something heard about in whispers and rumour long before actually being experienced. The unassuming space, with its stage tucked into the corner, is itself hidden off a back road among car parks and old warehouses. The two are well-matched in their peculiarity.

Black Midi emerged wordlessly through a red-lit haze, greeted by the sound of a distorted synth note  and began several minutes of improvised playing, all frenzied drums and shrill guitars. Here and for the rest of the set, vocalist Geordie Greep circled and tip-toed the stage, head tipped downwards and with his eyes firmly upon his bandmates. His presence complimented the unbridled drumming talent of Morgan Simpson, the standout performer of the set. Simpson toyed with the band throughout the night, as impressive in the cacophony of these improvised passages as when keeping his guitarists in check during songs from the album.

From this came the first recognisable track ‘Of Schlagenheim’, which was marred by the fact that Greep’s microphone was inaudible for its duration. Technical issues all resolved, the sparse ‘Speedway’ came next, built around two notes flitting between friendly simplicity and something impending, and underscored by Cameron Picton’s bass. Picton also delivered vocals for the track, deadpan lines cataloguing those landmarks of the outer city: ‘new flats’, ‘stock car racing’, ‘dogshit parks’.

The majority of the crowd, who weren’t quite the right fit for openers, the hip hop outfit 404, were of an age that could probably remember the peak years of The Fall, formed by Mark E. Smith while working over at Salford Docks. Comparisons between the two bands were abound, if not quite sonically then definitely in spirit. Towards the front and among the younger members, there was a loud back-and-forth between two groups which never spilled over into anything, interrupted only by the songs themselves which came and went rapidly.

‘Bmbmbm’ was as heavy played live as I had hoped. The band here continued to mess around with the shape of songs, stop-starting, reconstructing. A few seconds of the ‘Friends’ theme quickly became that distinct, ominous stabbing riff. Greep was at his most striking here: insisting and cooing, cawing in infantile howls (‘shemoveswithapurposeanditissuchamagnificentpurpose’).

Guitarist Matt Kwasniewski-Kelvin’s shrieked vocals on ‘Years Ago’ were another highlight of the set, before Black Midi ended with the closing track on Schlagenheim, ‘Ducter’. The complex intensity of some of the album’s other tracks were a bit lost on the night in the fog of noise (‘Of Schlagenheim’, ‘Reggae’, ‘Neat DT, MI’), but this one survived intact. That repeated rising build-up in the song, calling back to bands like Slint, was brilliant to hear live. I also would have loved to see the seven-minute track ‘Western’, probably omitted from the setlist for being too melodic.

Greep’s three bandmates departed and left him curiously alone on stage. The crowd clapped expectantly, three staggered rounds of applause for what turned out to be just him slowly putting on a mac. Then he disappeared, too, still wordless.

7/10

The Innovator, The Jazz Messenger, The Freedom Rider: A Century of Art Blakey

Written by Will Stonier on . Posted in Music.

‘The Freedom Rider’, taken from the record of the same name, is the beat to the Civil Rights Movement;  a collage of polyrhythm, a one-man percussive orchestration. There is no air between Art Blakey’s beats until the very end of the recording, a solo-piece extending beyond 7-minutes, when the membrane of the drum — secured by the rim of the snare — is finally permitted to exhale. Art Blakey’s sonic world becomes unleashed from the end of his drum sticks. 

 On October 11th Art Blakey would have turned 100 years old. Born in 1919 in Pittsburg, Pennsylvania, Blakey was originally not a drummer. After an incident in a nightclub where, as legend states, Blakey refused to make way at the piano for Errol Garner, an incident which resulted in Blakey being held at gunpoint, Blakey decided to switch to the drum sticks.

He went on to cut his teeth as a drummer with the likes of Dizzy Gillespie and Charlie Parker, themselves jazz iconoclasts who refused to conform to traditional notions of jazz that catered to musicians such as Garner. Parker and Gillespie, the vanguards of modern jazz, instilled in Blakey a core dynamism and spinal charge that would become central to his music. The confrontation with Garner, though, is a manifestation of two opposing jazz pedagogies: Garner, a virtuoso in his own right, sure, would go on to be held back by the maximalist muscle of Blakey and bebop.

Though Blakey emerged from the rebellious tradition of bebop, it was not the subgenre of jazz in which he would flourish. In 1956, in collaboration with pianist Horace Silver, The Jazz Messengers was formed.  The Jazz Messengers become synonymous with the name Art Blakey and the subgenre now labelled hard-bop. The group saw a constant oscillation of members with the only constant being Blakey himself, with the group ending when Blakey died in 1990.

From the late 1950s to the mid ‘60s, the group released a number of seminal hard-bop recordings on legendary Blue Note records, including: The Big Beat, Mosaic, Free For All and, in 1959, the most iconic of all: Moanin’, where Art Blakey’s hard-swinging style exhibits itself at the forefront of an emerging rhythm section. The title track is now a weathered jazz standard — rightly so — but often unappreciated is ‘The Drum Thunder Suite’. It is clear, when listening, why Blakey’s contemporary Max Roach — a drummer who also arose from bebop — didn’t affectionately nickname Blakey as ‘Thunder’ for nothing. Blakey’s now seminal records from this period are not just owned and listened to by jazz anoraks — sitting covered in dust as museum pieces — but also used by beat-makers and producers — look no further than Madlib for evidence of this.

In the 1960s, Blakey neglected the psychedelic celestial exploration by the likes of Alice & John Coltrane, Pharoah Sanders, and the Sun Ra Arkestra in favour of tightly arranged thundering hard-bop compositions. Though what was so special about the framework of Blakey’s Jazz Messengers is that it allowed his musicians to evolve and operated as a vehicle for young jazz musicians — such as Wayne Shorter, only 26 when he joined Blakey’s group — to cut their own stylistic approaches to a genre that was constantly developing; proliferating. The Jazz Messengers was a vehicle like no other, although it could not quite keep in time with the wider development of jazz and its consequent tonal experimentation. 

Ultimately, as bebop became unfashionable, so too did hard-bop. With no interest in newly emerging jazz fusion, Art Blakey was seen as being out-of-touch, and the young musicians he once coveted and attracted in waves began to look elsewhere to new electronic styles of jazz. Donald Byrd, for instance, a trumpeter who cut his chops in Blakey’s Jazz Messengers, turned away from hard-bop to the fashionable jazz-funk, seeing sales of his records increase more than they ever did, or would, with the hard-bop sound. Blakey’s Jazz Messengers largely subsisted throughout much of the 1970s, though it did, to an extent, remain a group responsible for the harvesting of jazz talent: Wynton Marsalis, still a mainstay in American contemporary jazz, would join the group in 1979.

 

Photography by Ben van Meerendonk
Photography by Ben van Meerendonk

In researching this piece I looked to my favourite Art Blakey performance on Youtube. It is a performance of ‘Dat Dere’ with 800,000+ views. I decided to look at the comments for some inspiration. One reads: “Born too late. Dammit again”.  I see these exasperating comments all too often on Youtube, particularly when watching videos of iconic, historical musicians. However, whilst jazz is currently experiencing an implosion of talent in the UK, with groups such Ezra Collective playing frenetic Glastonbury sets and Kamaal Williams selling out venues traditionally associated with dance music, the renaissance of jazz is, and will always be, indebted to the stylistic and sonic innovation of Art Blakey. That Youtube user, then, is wrong.

Though the first century of Blakey’s music has ended we now enter into his second, with Blakey’s beat still going on.

Damian Vo @ Wikimedia

Déjà-Review: Singin’ in the Rain

Written by jamesmccafferty on . Posted in Film.

Given its reputation as one of the most iconic films from Hollywood’s Golden Age, Singin’ in the Rain’s return to cinemas as a part of the BFI’s musicals season provides a unique opportunity to see one of cinema’s greatest musicals on the big screen.

With incredible musical sequences ranging from the tender ‘You Were Meant For Me’ to the brilliantly funny ‘Make ‘Em Laugh’ and ‘Moses Supposes’ standing alongside a thoughtful reflection on the purpose and power of cinema, the film strikes a perfect balance of comedy and romance to produce an utterly spellbinding piece of cinema.

Originally conceived by MGM producer Arthur Freed as a production to showcase his musical back catalogue, the film stars Gene Kelly, Debbie Reynolds and Donald O’Connor and chronicles the end of the silent film era.

In particular it focuses on Don Lockwood (Kelly), a silent star who initially struggles with the transition to sound. Don, with the help of best friend Cosmo Brown (O’Connor) and love interest Kathy Selden (Reynolds), is able to convince the studio employing him to convert their first disastrous attempt at a “talkie” into a musical, thus saving both the film and his acting career.

From its very beginning, when Don concocts a fictional rise to fame in order to hide his background as a comedy performer and stuntman, the film asks questions about what cinema should be.

During their first meeting in a car, Kathy remarks that Don’s profession is not very impressive and derides film as cheap entertainment for a mass audience. Both of these moments reflect a genuine anxiety in Hollywood that the films they were creating weren’t valuable in the same way as more traditionally respected art forms like theatre.

A fundamental part of what makes Singin’ in the Rain such an enjoyable films to watch is the way that it appreciates cinema’s ability to delight. O’Connor’s magnificent performance during ‘Make ‘Em Laugh’ epitomises this. The song has a clear message, that actors should never forget their fundamental role is to entertain the audience, and it embodies this message thanks to his brilliantly funny and technically incredible performance.

Despite several accounts of behind-the-scenes disharmony, the film’s central trio seem to share an effortless rapport. Kelly and O’Connor provide one example of this in “Moses Supposes”. In preparation for his first speaking role on film, Don is sent to an elocution expert but Cosmo’s arrival means the lesson instead erupts into a musical sequence brimming with humour.

Outside the main cast, there’s a sublime Oscar-nominated performance from Jean Hagen as Lina Lamont, Don’s self-absorbed co-star. Obsessed with fame and concerned only with her own success, she provides a definite counterpoint to the three protagonists. Despite different ambitions and levels of success, Don, Kathy and Cosmo are all motivated by a passion for entertaining that Lina distinctly lacks.

Although every Hollywood musical since its release has attempted to capture some of the film’s sparkle, few have come anywhere near. By the time the superb ‘Singin’ in the Rain’ sequence begins, it is nearly impossible not to have been captivated. With characteristic charm and grace, Gene Kelly embodies the feeling of unapologetic and indescribable joy that makes Singin’ in the Rain one of the most delightful films ever produced.

5/5.

Review: Zoonation’s Some Like it Hip Hop

Written by caraconte on . Posted in Theatre.

Zoonation’s Olivier Award-nominated Some Like it Hip-Hop puts a uniquely modern spin on the classic film Some Like it Hot and Shakespeare’s The Twelfth Night. In this all-singing, all-dancing musical extravaganza, women won’t take no for an answer, and the men get more than they bargained for in the form of defiance, resilience, and determination.

The story is told entirely through song and dance, with little narration, guaranteeing two hours of unadulterated, foot-tapping entertainment. The antagonist of this spectacular sung-through narrative dance, the widowed Governor, is so engulfed by grief that he blocks out the sun, burns all the books in the city and makes women subservient to men to keep his people compliant, redefining his city under totalitarian rule.

Jojo and Kerri, the female leads, are discovered reading and are exiled from the city. Forced to return in disguise as ‘Joe’ and ‘David’, they prove that hard work, charisma, and wisdom know no gender boundaries.

The opening scene sees the male characters engaging in a dark (literally pitch black – with only single spotlights efficaciously illuminating the men in turn), sinister breakdance number. The Governor dances in unison behind them one by one, which is clearly intended to be metaphorical of the dictatorship under which the city will now be run. The men dance like puppets, and this sets the tone beautifully for a story of sin and strife.

After being banished from the city for reading a book, Jojo and Kerri go incognito and pass a series of tests in pursuit of regaining access to the city to work among their male counterparts. ‘Joe’ and ‘David’ turn out to be better men than most of the men, winning sparring contests and thriving in a Man’s World – with no need for a woman.

While the audience is shown the ongoing cruel and illiberal mistreatment of the female servants in the workplace, Joe (Jojo) strikes up a dubious bond with rule-breaker Simeon, the only man in the city brave enough to read, and reveals her true identity to him.

The scene that stood out most to me is the one which sees Simeon ask his fellow men how he should go about impressing a love-interest, and is told the ‘rules of seduction’. These include buying her a gift (a hoover) and avoiding any attempts to engage in conversation beyond her capability (such as politics and accounting) – do I smell a stereotype? This mimicking of Victorian-esque attitudes to etiquette and conjugal roles elicited a mixture of audience laughter and boos – the irony of the whole scene being personified by the very presence of the lady Simeon wants to impress, dressed, and very successfully posing, as a man!

Of course, anarchy ensues, and this musical tale of revolution and female empowerment leaves the audience on a high, desperate for more.

The set-design was sombre and simple – the use of lighting created an impeccable sense of tyranny and oppression. A scene depicting the male workers’ sleeping conditions showed only a thin sheet separating the citizens from the eyes of their oppressors – the sheet lit up blood red, nicely befitting the aura of dystopia.

A later scene saw the Governor’s inner turmoil conveyed through a solo dance; the impeccable staging and lighting projected an unnervingly big shadow behind him. It alluded to him as a domineering figure whilst amplifying the internal conflict and struggle being experienced by him, as he contemplates his morals, principles, and the authoritative mad-man he has become. Both the set and the mood onstage lifted boasted exuberance and optimism once the cathartic resolution of the story unfolded.

What this show-stopping extravaganza all comes down to though is the sheer excellence of the dance-numbers and the music that carry the weight of communicating a story with no dialogue. Hip-hop is an athletic yet evocative medium, which Kate Prince (director and choreographer, alongside Tommy Franzen and Carrie-Anne Ingrouille) exploits to a remarkable degree.

This show is one back-flip away from an Olympic gold medal; with an all-star cast including Tommy Franzen (So You Think You Can Dance, Blaze, Goldberg), Lizzie Gough (So You Think You Can Dance, Blaze) and Jade Hackett (Blaze, Into da Hoodz: Remixed, Sylvia, Nine Night), it’s hardly surprising.

The music (Josh Cohen and DJ Walde) is not limited to hip-hop; the show exhibits a delightful blend of Motown, blues, Prince, and even some folk. It was so good that before the curtain went down, I’d already downloaded the soundtrack! The original, eclectic soundtrack beautifully complements the diverse cast. When faced with adversity in a city situated outside of any obvious real-life epoch or geographical location, these characters bring to life a boundless story of rebellion and optimism that is timeless.

The audience lapped up every second of this (eventually) feel-good musical, and with the cast not letting us go home without joining them in one final song and dance, all I can say is that this show made every other theatre experience I’ve had seem nothing short of boring.

Some Like it Hip Hop continues its UK tour into November.

Want not Waste Sustainable photo: Georgina Davidson @ The Mancunion

Want Not Waste: The future of sustainable shopping?

Written by Georgina Davidson on . Posted in Lifestyle.

The recently re-established zero-waste shop Want Not Waste has finally opened its doors next to Manchester Academy on Oxford Road. The modestly sized shop with a colossal, and uniquely designed, window features a brightly decorated display of the various zero-waste items available inside – most of which are from quirky, independent and sustainable brands.

In past years, the vegan food market has remained somewhat of a niche, but initiatives such as Want Not Waste help make vegan food options and a sustainable lifestyle more accessible. Want not Waste is completely student-run and is conveniently placed right beside the Student Union. The shop facilitates the switch to zero-waste for both students and local by-passers.

Want Not Waste has existed for over a year but didn’t have as much visibility as their new location as it was tucked well into the University’s Students Union. This move also prompted a more cohesive branding, which has now been established. Previously their window was overcrowded with sporadic marketing, but it now showcases designs that make their message unmistakable: that a zero-waste lifestyle is not as out of reach as you might assume. Their ethos is reflected inside the shop with a positive integration of both a safe-space atmosphere and a whole-foods store. Thier café offers delicious food and drink which sits amongst the range of everyday essentials, often available to purchase by weight.

We spoke to volunteers Laetitia and Lily to find out how well Want Not Waste compares with other contenders in the market, and find out their opinions on the efficacy of the store in promoting this ever-growing lifestyle. Laetitia described the store as one which offers “a great place for reflection” and is “looking at ways we can make a difference in society through our actions”. She also emphasised the importance of providing a welcoming and safe atmosphere with an initiative to build a community of like-minded people. This will in turn create collective support and appreciation for each consumer’s sustainability-conscious efforts.

The prices, often beginning at 20p per 100g of product, are not usually the cheapest options, bearing in mind the bargains you can find in Lidl or Asda. But Lily feels that buyers get “complete value for money”. For example, Lily said she paid for a whole spice jar for 16p, even though you can pay up to £2 at a regular supermarket.

Lily and Laetitia also emphasised the importance of having affordable products on offer that are made to last so as to provide and promote the multi-use of products. Laetitia mentioned that her favourite shampoo bar available at the shop “has lasted the two of us in my house for almost a year now”. This reflects the cost-efficiency of buying products that are designed to be long-lasting. She also pointed out: “We are all volunteers who have no salary at the shop, which reinforces that we are not here to make profit – just to provide people with more eco-friendly solutions.”

Lily reminded us that “any money the shop makes goes back into an eco-fund for supporting sustainable initiatives like tree-planting, for example”. This highlights one of the central ethos points of the sustainable-living movement; of course you could purchase items such as grains or washing powder from Lidl, but would you receive the same quality and guaranteed sustainable sourcing? Or, indeed, the clear conscience of knowing that your money is being directed into a worthy initiative rather than the hands of a chain-owner? It is a question of ethics.

In terms of what we can expect to look forward to in the near future from Want Not Waste, Laetitia and Lily reminded us of the monthly themed events that take place. For this month, the shop’s theme was fashion. They hosted a clothes swap which encouraged the recycling of unwanted clothes that would otherwise sit for millennia in landfills – polyester, being the most commonly used material for clothing, is non-biodegradable. Instead, unwanted clothes now find themselves in the wardrobe of someone who can appreciate these as new pieces, while those who forfeited these clothes will benefit from the same exchange.

Upcoming in late October as well is a free (!) slow stitch repair workshop that will teach the traditional Japanese ‘Sachiko’, among other styles.

Overall, Want Not Waste creates a valuable and positive impact on the student and local Manchester community. They facilitate the switch to zero-waste, make these difficult-to-find products accessible and keep them reasonably priced. Be sure to pop into the store to discover the unique brands and items available, and perhaps even to initiate your switch into a more sustainable lifestyle!

photo courtesy of Uplift Manchester

Uplift Manchester on empowering activity

Written by Aisha Al-Janabi on . Posted in Lifestyle.

It turns out that the Fallowfield Student Group (FSG) can be used for more than complaining about noisy neighbours. I got to meet with Emma Price and Effy Kaethner – two third year students – who have created Uplift Manchester, a community to link mental health and fitness, as the result of an FSG post by Effy earlier this year.

I spoke to them about their ambitions for this new organisation, and their goal of “empowering activity.” Effy described Uplift Manchester as “facilitating the transition to a more active lifestyle for those who might be intimidated by the gym,” with Emma adding that they want to link mental health and fitness.

This isn’t new information – we know that movement and exercise improves your mental health, but simply being aware of this doesn’t make it easier to become active. And that’s where Uplift Manchester comes in – through their community they are reducing the obstacles that are preventing people from going for a walk, or trying weightlifting, for example.

Emma found that “exercise was a form of relief in first year, and something I keep coming back to when I know I’m stressed,” which I myself can relate to. When I’m tensed and stressed, and I have the time, there is nothing better than getting sweaty and releasing some of that nervous energy that builds up after sitting at a desk all day.

The main focus and benefit of Uplift Manchester is a buddy system where volunteers are paired up with participants based on their interests and expertise. Volunteers are not personal trainers, but they do have safeguarding training from the Students’ Union because Emma and Effy “want [volunteers] to be able to deal with difficult situations if they ever do arrive”. This is especially important as mental health is an equally significant aspect of Uplift Manchester – it’s not just about getting ripped. With your buddy you can have two to three sessions, after which participants will hopefully “have a little bit more confidence to go on their own”. Volunteers will have autonomy over their sessions making it a personal experience and empowering for both volunteers and participants.

Importantly, Uplift Manchester will continue to provide support outside of these buddy sessions for those interested. There will be discussions cover topics like “body dysmorphia, body confidence [and] gender roles in the gym”. The group will also provide workshops focusing on skills and techniques. Emma mentioned that “a lot of people don’t know how to do compound lifts” and doing formal workshops will ensure that people are safe in the gym as well as improving confidence.

They also mentioned that the personal trainers at The Gym Group in Fallowfield have been supportive of their new venture. They are planning on sharing their expertise and will help out by running workshops, including one on mental resilience and self-defence.

It’s clear that the Uplift duo are excited to talk about their organisation and share their future plans. This includes creating a workout handbook with input from all the volunteers because they “want it to be easy for people to go to the gym” and they  “don’t want to put restrictions on things.”

The pair did acknowledge that they aren’t suggesting you can only be active by going to a gym; they suggested boxing sessions in the park or running with your buddy. Effy clarified it’s “more of a movement thing then a gym or weights thing.”

On their Instagram, Upliftmcr, they have Workout Wednesday posts with workout ideas. Both Effy and Emma emphasised that they are being careful not to promote the unrealistic images, including expensive gym wear and a seemingly sweat-free session, that we are used to seeing on social media.

It’s clear that this is the beginning of something exciting, as throughout our conversation both Emma and Effy exclaimed “I just had an idea”. I’m excited to see what this group turns out to be.

If you would like to get involved as a volunteer buddy, or a participant contact Uplift Manchester on their social media and follow them to get up-to-date information about what they’re up to.

Photo courtesy of Uplift Manchester
Photo courtesy of Uplift Manchester

CulturePlex: Manchester’s Newest Ultimate Hangout

Written by ryjackson on . Posted in Food & Drink.

Cultureplex, a new social and cultural hub in Ducie Street Warehouse, is Manchester’s best new hangout. 

When you’re young, you need less. Ten years old, hanging out in your treehouse with a couple of your friends, your den isn’t much more than a few seats, some leaves and a couple of decaying squirrels. As you get older, wiser, and more tasteful, you want more. Much more.

Manchester’s newest culture centre is everything you could want and more. The Cultureplex offers an range of possibilities including films, music, seminars, panel talks, classes and debates.

Just a five-minute walk from Piccadilly Gardens, your Friday nights, weekends, Sunday lunches and Monday mornings are all going to be occupied… 

Cultureplex, the latest venture from the owners of London’s Bistrotheque, has all of the features to a great night out, slow morning or drunken lunch. Converting an old railway warehouse on Ducie Street, this new Northern Quarter jaunt is an understated venue comprised of a bar, restaurant, cafe, and cinema. 

Photo: Stephen Richards @Geograph

The first of the foursome is a restaurant. Serving a range of simple yet delicious dishes, the restaurant boasts a menu built on variety. Head there for a protein shake after the gym or a soft shell crab burger before signing up to the gym. Next is the bar; arguably one of the most stylish places for a drink in Manchester. Moreish cocktails and regular DJ sets – it’s a great start to any night.

Or, alternatively, the perfect way to ease yourself into a movie night at their cinema. Programmed by the beloved HOME, Cultureplex’s “mini cini” showcases classics, cults, documentaries and more. Grab a ticket for The Shining one week and Corpus Christi the next. Oh, and there’s a cafe…

To us, Cultureplex is the ultimate den. The centre offers everything you could want as someone who wishes to spend their free time wisely. Your treehouse has never looked so good.

photo: Simarchy @flickr

UCU hold vote on industrial action over ongoing pension and pay disputes

Written by Nicole Wootton-Cane on . Posted in News.

Staff at the University of Manchester are amongst a group of lecturers and university employees across the country currently voting on whether to take industrial action over pension and pay disputes.

The Universities and Colleges Union (UCU), who are the largest trade union and professional association for academics in the UK, are encouraging members to vote in favour of strikes as part of an ongoing effort to protect their pension scheme and protest pay issues.

The results of the ballot are expected in the first week of November, with 14 days of strike action possible from mid-November. Strikes at Manchester could still go ahead if the ballot receives above a 50% turnout and a majority vote in favour from the UoM branch (UMUCU), even if the national vote is rejected.

The University of Manchester have said they “recognise the rights of staff members to take industrial action,” and will endeavour to maintain normal operations and ensure students are regularly updated should this be necessary.”

The potential strikes are part of a long-standing dispute over pay issues and changes to lecturers’ pensions that saw extended industrial action over several months in 2018 after a series of unsuccessful negotiations with Universities UK (UUK).

Several ballots have been held over future strikes, most recently last February, but have consistently failed to reach the 50% turnout threshold. However, historically strike action has been favoured amongst those who have voted, with 70% of voters supporting a strike last February.

In a statement on their website, UCU general secretary Jo Grady wrote: “Voting now will improve the union’s bargaining position. If we beat the 50% threshold for strike action employers will seriously consider making us an offer before any action happens, because they will remember how effective last year’s strikes were.”

Students appeared to broadly support the lecturers, although they did share some concerns about what strikes could mean for missed contact hours.

Second-year PPE student Sam Cox Griffiths told The Mancunion: “If it impacts on us, it’s because the university are treating the staff unfairly. These people want to work and if they’re striking it’s the university’s responsibility to treat their staff fairly to avoid interruptions to our study.

“It benefits us as students to have lecturers who have a higher level of financial security. It will also mean the university is more attractive to potential lecturers in the future so the standard of teaching will most likely improve.”

Chris Waugh, a teaching assistant at the University who voted in favour of industrial action called the proposed pension changes “ludicrous”, but cited them as only one of a number of factors that motivated his decision.

“I would hope that it [a strike] will bring universities back to the table. I hope it will be a chance to draw attention to the issue around pensions, pay, and most importantly mental health. Regardless of the outcome of the strike, I for one know I won’t stop talking about it.”

The potential industrial action was also supported by Manchester Labour Students, who told The Mancunion: “Manchester Labour Students will be firmly supporting industrial action from the upcoming UCU ballot. This is the second time in as many years that higher education workers have had to threaten industrial action over pensions and MLS will be making it clear that our student community will not stand by while employers threaten our right to education and fair employment, for their own corporate greed.”

Grady’s statement continued: “From 2011 to 2017 our employers made a series of incremental cuts to our pensions. But last year they became overconfident. They tried to abolish the guaranteed, defined benefit element of the scheme. Because we forced them to withdraw that proposal they have reverted to their original ‘death by a thousand cuts’ plan.”

“We have to send employers a message that we have remained vigilant and will not tolerate any more downgrades to our pensions, either now or at the 2020 valuation.”

A spokesperson for the University of Manchester said: “Alongside Universities UK (UUK) and the Universities and Colleges Employers Association (UCEA), the bodies representing employers in the pension and pay negotiations respectively, we are hopeful that any industrial action can be avoided as such action is always highly regrettable.

“As an institution with social responsibility at its core and as a living-wage employer, we pride ourselves on providing generous pay and benefits packages to reward and retain our excellent staff.

“So, whilst we recognise the rights of staff members to take industrial action, we hope it will be a very last resort only taken once all other avenues of dialogue have been exhausted.

“At present, these talks are ongoing, but if such measures were voted for the University will endeavour to maintain normal operations and ensure students are regularly updated should this be necessary.”

Photo: Sheila Burnett.

Review: The Lovely Bones

Written by Ella Broadbent on . Posted in Theatre.

Audiences at The Lowry were transported to a world of heartache, drama, love and loss as Alice Seybold’s bestselling novel The Lovely Bones was brought to life onstage. The play gave a fresh and unique take on the gripping, coming-of-age tale which has warmed the hearts of the nation for years.

Set in 1980s suburban Pennsylvania, the narrative explored the ways in which the family of murdered 14-year-old Susie Salmon learned to move on and carry on living, all told from the perspective of Susie in the afterlife. The play subtly interwove the dialogue with quotes from the original book. which was enjoyable to audience members such as myself who have read and loved the novel. 

The notion of the original book, a blurred boundary between life and death, and the relations between the two, is one that is unusually complex. I was intrigued to see how the play would approach such a difficult concept onstage, but from the moment the curtains went up, I was hugely impressed. The innovative and creative use of the stage, lighting and props was astonishing, and gave the audience a theatrical experience that was unforgettable.  

The stage was set up with a mirror as a backdrop, which was used to reflect the action from different angles and perspectives. There was also a raised section within the mirror which helped the actors play around with ideas of space and distance, leading to a very experimental and beautiful depiction of the play’s various settings. Interestingly, the use of a box drawn in chalk on the stage acted as a boundary for the afterlife, allowing the protagonist Susie to interact with the action of the living world onstage, while still being seemingly ‘trapped’ in her version of heaven. The use of the mirror created a sense of Susie looking down on the action while still being involved, perfectly capturing the sense of her detachment from the real world, which is central to the narrative.

The use of lighting and music was also very abstract and unusual, but worked well in enhancing the drama unfolding onstage. The play began abruptly with a shocking flash of bright light, which immediately grabbed the attention of the audience. The use of red lighting in some of the darker scenes made the drama much more sinister, and combined with sound effects such as distant screaming and threatening music, really made the scenes quite terrifying.

Alternatively, the use of familiar songs from 1980s pop culture such as David Bowie’s Space Oddity in certain scenes made the otherwise sombre play much more lighthearted. The inclusion of live music and some original songs further showcased the talent and creativity of the cast and director. 

The actor’s performances were emotive and heartfelt, and really brought to life the characters they were depicting.  The leading actors, Catrin Aaron (Abigail Salmon), Fanta Barrie (Lindsay Salmon), and Charlotte Beaumont (Susie Salmon), gave performances which were both serious and raw, while also being tastefully funny and witty.

Likewise, actor Nicholas Khan portrayed serial rapist and murder Mr Harvey in a way which was deeply chilling and believable. The use of actors playing dogs in the play added a relieving sense of lighthearted comedy, which made it much easier to watch. 

The use of props and movement was very original. For example, puppet dresses were used to represent other murdered children in the afterlife, as opposed to using real actors. Also, certain scenes were dramatized using props for emphasis; in one scene, people moved giant shards of glass through the air simultaneously to represent the crucial and symbolic moment when Susie’s father Jack Salmon smashes his snow globe.

Overall, the play was deeply touching; I know I won’t be the only one to say that the final scene brought a tear to my eye. It was clear that every element of the production had been carefully and cleverly thought through, and the hard work really did pay off.

The Lovely Bones encourages audiences to contemplate the relationships in their own lives, and teaches important lessons about happiness, love and moving on. I would recommend the play to all audiences, as it was a truly remarkable performance.

photo courtesy of Phoebe Moore @The Mancunion

Let’s Get Away: Madrid

Written by Phoebe Moore on . Posted in Lifestyle.

A weekend getaway is the perfect escape from a busy semester. It’s the chance to clear your headspace and take a well-earned break from the workload and pressures of university, all while exploring a new city. It could be to one of Manchester’s neighbouring cities in the UK or a European metropolis further afield. Take a trip with your mates, or go solo, and experience the culture, history and traditions somewhere new, all while on a student budget.

So grab your piggy banks, or create that savings pot on Monzo, and get ready to make some fabulous memories.

This week we’re exploring the Spanish capital of Madrid. It’s a treasure trove of culture and, as I lived there for five months during my year abroad, I’d definitely recommend it as a student-friendly city. It boasts grand art galleries containing famous Spanish masterpieces and impressive architecture – particularly the towering white buildings sweeping all the way up its main street, Gran Via. There are charming little shopping streets such as Calle Fuencarral and the most beautiful park, El Retiro – the perfect place to spend an afternoon in a rowing boat on the lake. Madrid is the place to try sangría, indulge in chocolate con churros, and swap the bar crawl for a tapas crawl, trying out the different miniature dishes (or tapas, meaning snacks or appetisers) that each bar has to offer.

As an international capital, most people you meet in cafés and shops will speak English but don’t be afraid to try out the lingo and say “¡hola, buenos días!” or the informal “¡hola, buenas!” if you want to sound more like a local.

After a traditional savoury breakfast of tostada con aceite y tomate (toast with tomato and olive oil), perhaps in the Spanish café chain Rodilla, a good place to start is Madrid’s art scene. Museo del Prado exhibits a wealth of classical art including Spanish artists like Goya and Velázquez. Head to Museo Reina Sofia close by for more modern artwork like Picasso’s immense painting of Guérnica – both can be visited without paying a penny. El Prado has free admission 6-8 pm Mon-Sat and 5-7 pm Sunday (otherwise 7.50€ for students), and you can see certain exhibitions at Reina Sofia for free after 1:30 pm on Sundays (successfully avoiding its hefty 10€ ticket price.)

Madrid photo courtesy of Phoebe Moore @The Mancunion
Madrid photo courtesy of Phoebe Moore @The Mancunion

Enjoy lunch by the lake in the nearby El Retiro park, at one of the café bars, and test your rowing skills by hiring a boat for an hour for 6€ Mon-Fri and 8€ Sat-Sun. From the park, you can make your way up Gran Via towards the city centre, where you’ll find two of Madrid’s main squares which are definitely worth a visit. In the first, Puerta del Sol, you can find the ground mark for the geographical centre of Spain – it’s worth queuing up to get a group photo of your feet upon it; the perfect addition to the inevitable photo album. Afterwards, you can bask in the sun trap of Plaza Mayor within its surrounding striking redbrick walls.

From here, the Royal Palace is the next place to visit, exploring its luxurious interiors for only 6€ for students – so bring your Manchester student card and reap the benefits! If you don’t fancy splurging on visiting the Spanish royal family’s official home, you can marvel at the wonderful views from the Templo de Debod, a few minutes walk away. This is an Egyptian temple that was brought over and reconstructed in Madrid to protect it from flooding; it is one of the only wonders of ancient Egyptian architecture outside of Egypt. The best time to visit the hilltop temple is to watch the sunset over the western outskirts of the city.

It is difficult to suggest a specific place to enjoy tapas as each bar or restaurant has its own speciality dishes, but by exploring the districts such as Malasaña, Chueca, or La Latina you can find cheap and cheerful eateries. I’d recommend a few of the following traditional dishes; patatas bravas (fried potatoes in a spicy tomato sauce), tortilla española (Spanish omelette), albóndigas (meatballs), croquetas (filled croquettes) and jamón ibérica (Iberian ham). Finish the meal with a visit to the historic Chocolatería San Ginés, serving chocolate con churros 24-hours a day. If you fancy treating yourself further, head to Teatro Flamenco Madrid, in the Malasaña district, for a flamenco show costing 18€ pp, which you can book online for one of its three nightly performances.

The metro is the fastest way to travel around the city – a tourist travel pass costs 8.40€ for one day’s worth of unlimited metro travel, including travel to and from the airport. Otherwise, you can buy a general travel pass for 2.50€ or ‘pay as you go’ with each trip costing 1.50€. Download the metro app to help with directions and head to the stop Sol for the city centre. However, everything is easily reachable on foot, so you could easily skip the metro ticket and save the cash.

You can fly to Madrid in January 2020 for a long weekend from £30 return with Ryanair – a perfect treat to celebrate the end of Semester 1 exams! I’d suggest you need 2-3 days in Madrid to visit all the main sites and enjoy all that the city has to offer.

We hope this go-to guide has inspired you to travel to this fabulous city and reap its rewards; until next time with another wonderful student-friendly destination.

Flight prices correct at time of publication. Book early to avoid disappointment!

Review: Negative Space

Written by Rosemary Russett on . Posted in Theatre.

A stark stage, simple costumes and no talking. Reckless Sleepers’ Negative Space has all the classic marks of contemporary theatre and, rather than following a simple narrative, has characters explore the space in which they’ve found themselves.

A lone woman pushes against walls and reaches up to where her companion just exited. A pair pop their heads up from trapdoors and stare at each other and then at us. The entrances and exits are constantly innovative and compelling. These moments are at times contemplative, at times funny, and certainly building up to something.

The moment when hammers burst through the walls, startling a domestic scene of two characters mirroring each other on chairs on the otherwise bare stage, makes us jump but is exciting and signals a change of pace. Actions are repeated in a skewed way and the stage starts to be smashed apart.

In moments of calm we are left to reflect on the destruction in front of us and wonder what will happen next. A person is used as a battering ram, someone bursts through the wall, and through the whole thing there are small interactions between various characters – sometimes violent, sometimes playful, sometimes flirty. There was, however, an unfortunate amount of moments in which a man would pin a woman against a wall, or himself, in a way that I found disturbing.

The moment when a woman pushed a man through a wall that she had punctured with hammer marks stayed with me as something different; a fun, playful, yet, still semi-violent, act that changed the narrative. The plaster continued to scatter onto the audience, the stage was slowly falling apart, and we were still surprised by small peek-a-boos as the actors poked their heads through new holes in an endearing fashion.

Overall, the ideas are wonderful explorations of the self and reality, but there seemed to be a lack of motivation in the performance. Personally, I felt like the play needed something to help it come together which would justify the characters smashing the stage or a constructive element to compliment the destruction. Despite this, there were a lot of funny moments performed in a very genuine fashion, and the destruction of the confining stage was very liberating to watch.

Photo Nick Harrison. (c) Jason Lawton.

Negative Space was performed at the relatively new Manchester theatre, the New Adelphi Theatre (pictured). This theatre is in the New Adelphi building, which is nestled in one corner of the University of Salford, shining brightly among the surrounding buildings. The inside of the theatre is small and cute, making the perfect venue for smaller, more intimate performances. Watch out for their various live comedy, music and theatre shows as well as their regular film nights, which are sure to be a hit!

Avenue Q – Preview Event

Written by Alexia Pieretti on . Posted in Theatre.

Avenue Q was a hit when it opened on Broadway in 2003, winning 3 Tony awards and becoming one of the longest-running musicals in Broadway history. The musical, a raunchy parody of Sesame Street, is most well-known for its use of puppetry.

The press event made it clear that this is a comedic show that is certainly not suitable for children. It was held at Oscar’s Bar on Canal Street. With theatre posters all over the walls and speakers playing show tunes, this is already a bar cultivated for theatre fans. The atmosphere was casual, with the cast (and three of the puppets) sitting and chatting at a table, amongst the audience.

Firstly, we were treated to Lawrence Smith performing ‘Purpose’ with the puppet of Princeton. Smith also plays Rod. At first, I was unsure whether to watch him or the puppet he was controlling, but I settled on watching them both – and that is what really made the performance. The puppet’s mouth moved entirely in time with his and therefore you can really appreciate how much effort is being put in by the performers who have to sing, act, and give life to their puppets. The song was accompanied with beautiful harmonies from the ensemble seated around the bar.

Next, Cecily Redman, who plays Kate and Lucy the Slut, sang the Act One finale, ‘There’s a Fine, Fine Line’. This was followed by the comedic duet, ‘Schadenfreude’, performed by Ellis Dackombe, who was covering the role of Nicky, and Nicholas McLean who plays the human character, Gary Coleman (yes, that one). This number had me giggling as they recounted laughing at the suffering of others, such as when a vegetarian finds out they’ve accidentally eaten chicken.

The audience were then encouraged to ask questions, all of which were answered in a pleasant conversational manner. McLean revealed that the greatest struggle in the play is having to look the puppets in the eyes when he is onstage, rather than the performers themselves. Meanwhile, Redman talked about the process of controlling the puppets. It took the cast months to learn how to do it, and she reflected back on how bad she must have been at puppetry during the rehearsal process.

Jasmine Beel, who understudies several female roles in the show, talked of how scary it is to be told just fifteen minutes before the curtain opens that she is going on that night. However, it is also an incredibly exciting experience. Smith joked that the puppet sex scene taught him a lot about heterosexual sex, receiving laughter and applause from the audience, who were, of course, sat in the middle of Gay Village.

Lastly, the actors all reminisced about how some audience members reacted to the more adult themes in the show. In one of their performances, they could see a very religious man crossing himself. Another time, there was a family with children in the front row who, no doubt, thought a musical with puppets would be family-friendly. Apparently, the parents were gasping throughout at each rude joke.

Avenue Q is playing at the Palace Theatre until 26th October.

Photo: TheOtherRichard.

Review: The Exorcist

Written by caraconte on . Posted in Theatre.

Creating an equally terrifying, equally blood-curdling, edge-of-your-seat stage-adaption of arguably the most notorious horror story of all time is quite a tall order. The 1973 film was the first of its genre to be nominated for Best Picture at the Oscars, so playwright John Pielmeier had some high expectations to live up to.

Did it disappoint? Meh.

The Exorcist comes to Manchester’s Opera House for the final leg of its 2019 tour and brings with it Paul Nicholas (Just Good Friends) as Father Merin, Sophie Ward (Holby City) as Chris MacNeil, and Ben Caplan (Call the Midwife) as Father Damien. The star of the show, however, is undoubtedly the fantastic Susannah Edgley. Her portrayal of the possessed, demonic twelve-year-old Regan MacNeil was carried out beautifully – there’s even a 360 degree head-turn, which I am still baffled by.

The plot stays pretty much true to William Peter Blatty’s original novel. Set in Washington D.C., it sees only child Regan finding her body inhabited by a perverted demon, after playing with a Ouija board in the attic and befriending ‘Captain Howdy’.

Under the control of the havoc-wreaking demon (voiced by Ian McKellen CH CBE), who claims to be the Devil himself, Regan predicts and executes the death of Burke, her mother’s drunken colleague and friend, inadvertently kills Father Merrin and Father Karrass, projectile vomits a putrid green substance, and performs a number of other disturbing acts. The more conservative members of the audience will have undoubtedly been left flustered by the crucifix masturbation and violent demands of rape, among other brazen, vulgar gestures.

The complexity of the story, based on true events, goes beyond sheer terror and challenges the struggle between belief and doubt, life and death, innocence and evil. The reason the story is so horrifying, after all, is because it happens to a little girl, and her mother, with much apprehension, is forced to watch it all unfold and either accept her daughter as incredibly hysterical and mentally ill, or accept the nemesis of something much darker.

I was sceptical about just how scary a stage production of The Exorcist could be, and my verdict is – not very. The shock factor was definitely present, with perverted sexual references and criticisms of Catholicism pervading the play, but I wouldn’t say that the production is anywhere near as disturbing as the film adaptation.

Lighting and sound were used to immaculate effect, creating tension and eeriness with great precision. Before the play even began, we were thrown in at the deep end, immersed in darkness and intense music without warning. I can’t deny, my hairs were raised before anything even happened onstage.

However, for me, the fear instilled by the use of lighting, sound, and jump scares was pretty much where the element of horror reached its limit. The voice of the demon was pretty cringe-worthy, lacking in the authentic rasp that Mercedes McCambridge gave to the original film, and sounding more like a parody voiceover put together by a group of struggling film students.

My burning question before seeing the play was if and how the producers would go about attempting the famous spider-walk and levitation scenes, and the answer is, they didn’t (they have wires don’t they?!).

The story of The Exorcist is theatrical in nature – it’s overwhelmingly dramatic and emotional, and the omission of some of the most iconic scenes and a rather abrupt ending left me admittedly feeling as though the mark had perhaps slightly been missed. Nonetheless, it was two hours well spent, and seeing one of the most infamous and controversial stories brought to life was definitely an experience to remember.

Protein Shakes photo: Derick McKinney @Unsplash

What’s the fuss about protein shakes?

Written by canselhashim on . Posted in Lifestyle.

Protein shakes are everywhere, and the trend seems to be increasing every year with recent data indicating that the global whey protein market value is likely to reach USD 9 billion by 2021 (and was USD 7.7 billion in 2016).

Although it is widely accepted that people with different fitness goals may want to add protein powders to their diets, currently there don’t seem to be any well-grounded studies that provide a reasonable explanation for the rapidly increasing numbers of protein supplement consumption.

The question is, why do we need protein supplements when we can easily obtain the necessary amount from our diet? Is the protein in our diet sufficient?

Firstly, it’s important to understand what proteins actually are. Proteins are one of the three main groups of macromolecules in all living organisms with various roles; these include immune function, enzymatic function, signal transmission, transport as well as being a structural component of muscles and tissues. All proteins are built of essential amino acids (EAAs) and non-essential amino acids (NEAAs), the difference being that NEAAs can be synthesized in the body whereas the EAAs must be obtained from our diet.

Protein powders are made from natural protein sources such as whey, soy, and casein. Whey protein – made from milk – is the most popular option  because it contains all nine of the EAAs and is water-soluble making it easy to make a protein shake. On the other hand, soy protein is widely consumed by vegans but only contains some of the EAAs and does not fully dissolve in water.

So, are there any benefits to drinking a protein shake? Reaching the recommended daily protein intake can sometimes be challenging, particularly for professional and non-professional athletes whose recommended intake is up to twice as much as that of less-active individuals. A number of studies have previously demonstrated that consumption of protein supplements increases the performance of both resistance and endurance athletes, and contributes to the optimal nitrogen balance in their bodies. Other occasions which might require increased amounts of protein consumption include building muscles, starting a new fitness program or making it more intense, recovering from sports injuries, or changes in eating habits such as going vegetarian or vegan. As well as in situations when individuals have impaired appetites, or require additional calories for various reasons. However, in some cases protein shakes are used as a way to control appetite in an attempt to lose weight.

Keep in mind that you can also achieve these goals by consuming a variety of nutrient-dense foods packed with many other minerals and micronutrients alongside the necessary proteins. The recommended daily intake is dependent on body weight, you need 0.75 g per kg of body weight. While building a pound of muscle requires between 10 and 15 g of extra protein, some of the powders contain up to 80 g of protein per portion which is way above the dietary recommendations. Additionally, the growing demand for protein supplements in the market increases the risks of potentially illegal products which may contain dangerous ingredients that could cause kidney failure, seizures and heart problems (check Clean Label Project for more information). Therefore, the Medicines and Healthcare products Regulatory Agency (MHRA) in the UK has officially warned people to be wary when buying such products.

As can be seen, the protein shakes have their pros and cons just like almost everything. Therefore, each individual’s answer to the question ‘Do I need protein shakes?’ will be different according to their own needs, lifestyle, and even genes. No matter what your answer is, don’t forget that moderation is the key and that nothing can ever replace the health benefits of a balanced diet with a whole variety of nutrients.

Press Image: Beat Horizon Festival

Preview: Beat Horizon Festival

Written by Erin Botten on . Posted in Music.

Beat Horizon Festival is the UK’s self-declared “premier one-day Hip Hop, Beats and Bass festival”, and with a lineup boasting The Pharcyde, Yasiin Bey (FKA Mos Def), and GZA of Wu-Tang fame, this statement doesn’t carry even a tinge of arrogance. 

I’ll start with, probably, the biggest name on the list — Yasiin Bey. Known at the time as Mos Def, Yasiin released his magnum opus, Black on Both Sides, in 1999 to acclaim from both sides of the cultural/critical divide. Although this marked a peak in Bey’s discography, his consistent proficiency, and emphasis on socially conscious lyrics in an era of Gangster-rap, has helped retain his status as one of the greatest of all time. Socially, as well as sonically, he is a figurehead of East Coast Hip Hop (the best kind, obviously) and will complement the other artists on the bill wonderfully. 

Speaking of which, The Pharcyde are without a shadow of a doubt my personal pick for the festival. It should be noted that the group hails from the West Coast but their bouncy, jazzy beats are synonymous with the sounds emanating from New York in the 90s and they’re in the rare position of being deservedly seen as pioneers of the culture. Bizarre Ride II is, in my opinion, a perfect album and the prospect of seeing the group live is as tantalising as it is humbling. 

Add to this the inclusion of Wu-Tang’s GZA and you’ve got the makings of a religious experience. Wu-Tang would rank on just about anybody’s lists of greatest Hip Hop groups of all time and whilst debates about the finest individual member are justifiably contentious, GZA is easily a viable contender. Having been the first of the group to sign an individual record deal, he set the precedent for excellent solo material and has carved out a cult status for devotees of his philosophical, lyrical musings. Seeing him alongside the aforementioned performers and that’ll be you finished off for good. 

BUT if you’ve survived that, Sampa the Great is also hugely deserving of your attention. The Australian interpretation of Hip Hop is not renowned for greatness but Sampa may well be the pioneer of a new movement. Although some of her tracks definitely play to the Western Hip Hop palette, her distinguishing feature is perhaps her use of South African drumming. Combined with her vast vocal range, which is at times menacing, at other times soothing, and you’ve got an artist who is as unique as they are unmissable. Go and see her!

 

Tickets available from Skiddle: https://www.skiddle.com/whats-on/Manchester/O2-Victoria-Warehouse/Beat-Horizon/13644110/

The Good Lad Initiative Photo courtesy of GLI

Breaking down lad culture at university: a conversation with Good Lad Initiative

Written by Aisha Al-Janabi on . Posted in Lifestyle.

Lad culture on university campuses is a topic that has become increasingly prevalent in media conversation over the last few years, particularly coinciding with the rise of the #MeToo movement, and it’s an issue that needs to be addressed when even simple things, like walking home at night as a woman, can make you feel vulnerable. With statistics like the fact that 1 in 7 female students have experienced sexual assault whilst at university, it’s hard not to tense up when a group of lads walk past you. The Good Lad Initiative (GLI) hopes to breakdown this harmful lad culture by facilitating conversations with men about topics surrounding these issues.

GLI started in 2013 by students at Oxford University and is currently opening up a branch in Manchester. I had the opportunity to chat with Matt, the lead facilitator in Manchester, to find out more about what these promising workshops offer. GLI runs workshops for a range of age groups from secondary school to workplaces to facilitate these potentially uncomfortable, yet important, conversations.

University workshops focus on “lad culture within university,” and “sets up spaces to break that conversation down.” They aim to engage men with conversations about positive masculinity and gender-stereotyping, and question the idea of what it is to be a ‘man’.

Matt described these workshops having three main strands. Firstly, sex and relationships – how hook-up culture links to sexual harassment and, importantly, talking about friendship and intimacy. Another aspect is banter surrounding lad culture and the impact of language used along with the tendency to exclude and discriminate against the LGBTQ+ community. Finally, male mental health is discussed and the importance of self-care, community care and creating safe spaces to express yourself.

These are spaces only for men and run by male facilitators, who are volunteers.  I’ll admit this separation based on gender reminded me of sex-education in primary school – however Matt said that in feedback participants have said “this is the first time we’ve ever been able to have that conversation”. It does make sense –  I’ll happily talk about my period to women I’ve just met, but I rarely talk about it to men. The reality is that often we’re more comfortable talking about certain topics with those who have similar experiences to us, who tend to be the same gender.

And I’ve put in far too much emotional labour over the years having these conversations with lads in my life. Matt acknowledges that men need to be “held accountable as female rights groups have been working for decades”. It’s definitely time that men took some of the responsibility and initiative to educate each other so that we can work together to promote gender equality in future.

These workshops are adaptable and will go at the pace required. The aim is not about telling men how to think, but “about creating the space to allow them to be engaged in conversations”. These are conversations where they avoid blame and judgement to encourage participants to talk more openly. Matt started at GLI as a volunteer facilitator and participants often seem “like they’ve been waiting [for a space like this] and they’re ready to engage,” which I’m reassured to hear.

GLI has been running successfully for six years and the content has been changing and developing alongside – initially these workshops were a chance for men to reflect on who they wanted to be as a group of lads, and as individuals. GLI have said that now they offer more variety in their workshops with “conversations about men’s health, racism, homophobia and the experiences of being a young man today,” as well as the talking about hook-up culture and drinking.

Through these workshops GLI hopes to equip men with the confidence and knowledge to continue these discussions with their peers regardless of gender, not just with other lads.

If you are interested in becoming a volunteer, and facilitating these workshops apply on the GLI website to find out more about what is involved and the training provided. No experience is required, instead GLI are “looking for people who are passionate about this conversation.”
Also head to their website if you would like to find out more about booking a GLI workshop for your university, society or organisation.