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Month: December 2019

Preview: Theatre Impossible – New Year’s Eve at Impossible

We are just one day away from the 31st of December 2019; not only the last day of the year, but also the last day of the decade. It has been a real rocky ride, with ups and downs, and the political climate ahead of us looks like there’s going to be wind, showers and thunderstorms. But I think we should put all of that aside for this one night and end the decade on a high (then go back to running around like headless chicken as we contemplate our future).

Perhaps the hottest NYE club night in Manchester is going to be Impossible’s last bash of the decade.

Impossible, which is one of Manchester’s snazziest establishments, consists of three parts. Their first floor Bar & Kitchen offers tantalising Vietnamese street food and delivers chicken and waffles like you have never tasted before. The mezzanine level features a ‘Gin Palace’ with 84 gins from around the world; with built-in TVs, the ‘Gin Possible Nest’ is perfect for exclusive gatherings or sophisticated parties.

Lastly, Theatre Impossible operates underground and has a separate entrance to the main space. It is a cross between theatre and clubbing and is Manchester’s first immersive nightclub, preceding the relatively new London club Cirque.

The theatre/club features a catwalk that is great for both performances and fashion launches, private booth areas, theatre and cinema areas, and the super secret ‘Room 2’ which launched last year.

I attended Casa Loca’s fantastic Halloween event in 2018, and I have not been since, so I am thrilled to return to Impossible tomorrow night. The Halloween event I attended featured actors and dancers in fantastic costumes who interacted and danced with us. There was also a mini show featured on the stage at one point during the night.

Photo: Impossible.

As we head into 2020, Impossible’s NYE event will transport attendees 100 years into the past, taking them on a journey through the great era of 1920 with immersive performances all night long. They have taken inspiration from the ultimate Great Gatsby parties for this special event. Attendees do not have to wear tuxedos and flapper dressers, though that would be very fun! Just make sure you dress fancy (most importantly, smart shoes) and you’ll fit right in.

The event starts at 9PM and will go on until late. There will be two rooms, with music ranging from house to hip hop to RNB. You can also expect confetti, sparkler shows and a New Year countdown. I’m hoping for an electro-swing version of Auld Lang Syne to celebrate our entrance into the roaring 20s!

You can buy Final Release and Exclusive Queue Jump tickets on Skiddle for £33.75 (£30 + £3.75 booking fees) and £40 (£35 + £5 booking fees), respectively.

For tables, email [email protected] or ring 0161 661 0103.

For large groups, birthdays and other special occasions, email info@be-impossible for discounted packages and VIP.

So, don’t be thinking it’s Impossible to end 2019 on a high. Lord knows we’ll need the happy memories as we enter the new decade! Come spend your New Year’s Eve at Theatre Impossible for a night of immersive entertainment, dope beats, and all that 20s jazz…

Review: Roots

Following on from the success of Golem and The Animal and Children Took to the Streets, 1927 are back at HOME with their latest production, Roots.

Roots is a celebration of ‘other cultures,’ told through 1927’s famed blending of theatre, animation and storytelling. 1927 claim to have ‘unearthed a series of rarely told folktales that offer a glimpse into imaginations from a pre-industrialised age’, with this production ‘considering the narratives of our forefathers and how they might shape the stories of our future’.

Due to ridiculous traffic from Pendle to Burnley in Lancashire, and then again in Manchester, I arrived at HOME a few minutes late. However, due to the quiet nature of the first story, no entrance until 12 minutes had passed was allowed – once “the fat cat has been fed”, I was told. So, obviously, I cannot comment on the first story, but my writer Urussa told me she enjoyed it.

The stories that I did see, though, were all mesmerising. They included a wise King putting his wife to the test, an old couple fighting over a magic bird’s heart due to it giving whoever eats it superpowers, and the doomed love story of a French ant. There was also a story that was completely animated and did not involve any of the human actors.

1927 productions are cooky and quirky, magical and whimsical, and weird, wild and wonderful. The writers and actors did a brilliant job of creating and playing a great number of characters, each distinct from the others. Live music was also created onstage; the music was fun and folksy. 1927 describe the live score as ‘involving Peruvian prayer boxes, donkey jaws, violins, and musical saws’.

The star of the show, though, has to be the moving animation, which I can only describe as Tim Burton taking over CBeebies, or CBeebies on steroids, or Tim Burton taking over CBeebies on steroids – with both him and CBeebies being on steroids!

I previously saw The Animal and Children Took to the Streets earlier this year. Both productions had the same chilling, unsettling effect on me. Watching a 1927 production is like being transported into an intimate and claustrophobic but at the same time infinite and overwhelming dreamworld, with everything, from the bold, quirky animation to the soft, childlike voices of the actors working to create an alternate dimension that I enjoy visiting but cannot wait to escape.

It really is quite difficult to talk about 1927 to somebody who has never seen one of their productions, which is why you all really ought to catch Roots before it finishes its 3-week stay at HOME on 30th Dec. And if you are home over the holidays, so cannot make a trip to HOME, keep an eye on HOME’s (this really is getting confusing, isn’t it?) website, because I’m sure 1927 will be back before we know it.

Review: I’m a Phoenix Bitch

Who the fuck do I think I am?” exclaims a gym gear clad Bryony Kimmings, centre-stage, mid-way through her deeply personal solo show Im a Phoenix Bitch at HOME, as part of a tour following her highly successful run at this years Edinburgh Fringe. This question comes after she invites the audience to consider how they could form connective tissues between her story and their own processes of reconciliation with their past in a healing gesture, yet then makes the gag out of the weighty assumption that her work could hold this kind of transformative power.  

And thats what makes this 90 minute autobiographical, performance art meets drag musical so very endearing and watchable.

Kimmings is aware of the kind of preconceptions circulating her field of solo work. Its that vapid, elitist, frolicking thing that makes people feel unintelligent, and she addresses that with those she is sharing the theatre with, through her razor sharp humour and down-to-earth direct address entirely void of ego or pretension.

This is not to say that this piece is not loaded with challenging symbolism and imagery, but it is framed in such a way by Kimmings that doesnt make you feel like you are about to plummet through the gaping wounds of someones inner conscious all in the name of art. No, Kimmings maintains that she wants her audience to feel safe, she is not there to shock or frighten or guilt trip you into submission at the hands of her sad tales, but rather offer an absorbing, fresh and empowering account of the early stages of motherhood and the all consuming isolation of mental illness.   

Kimmings takes us back in time, to the worst year of her life, when the foundations of her world collapsed around her in the form of the disintegration of her relationship, her newborn son falling gravely ill, and her fight with postnatal depression and psychosis. She does this by unveiling intricate set pieces dotted around the stage from under thick white sheets, like a campy version of an aggrieved family member identifying a dead relative. Each setting symbolises a particular site’ that is linked to her trauma, and she guides us through these settings in an amplified representation of a technique acquired from her therapist called rewinding.

Adorned in wigs and lavish costumes, Kimmings sets up a video camera, which live streams what is happening on stage to a huge projection above her, and films herself performing a selection of hilarious jingles within these milestone landmarks. In a particular section, she moves a go-pro in between the crevices of her once beloved cottage, with tiny dolls representing her and her then boyfriend. Its the kind of spectacle that if you explained it to a friend would sound a bit kitch and cliché, but when you witness it, its astonishingly effective.

At one level, she is relishing in the different roles women are programmed to assume: in the pregnancy segment of her journey, her floaty, gregarious earth mother character was particularly effective in highlighting the obscene expectations we have for women whilst they are going through what is likely one of the most physically and mentally exhausting periods of their lives.

On another level, as Kimmings guides us through her past in a fabled, folklore-like fashion, assisted by a cinematic score and close-ups of her eccentric expressions, she reveals a deeper tendency for humans to over-simplify or romanticise the dark sections of our past in order to make sense of them, to avoid drowning in the looming grey area of confusion and unsettlement caused by a lack of resolution.

Kimmings adopting the classic tropes of fantasy and horror traps her in the genre confines of a mythical creature or a victim crying out for help, and creates a saddening disconnect with the quiet, isolated sadness of her story. However, a looming, rumbling track that ascends amidst the final traumatic site foregrounds a deep dive into the dizzying psychotic turmoil induced through her postnatal depression, as she is completely immersed in sadness and guilt. The chaos and heartbreak builds and is then pierced by a deeply moving etherial score, where a broken Bryony is beckoned back to reality by her formal self.  

Im a Phoenix Bitch is as devastating as it is hopeful, as well as being achingly beautiful and entertaining as the audience are swept through the length and breadth of Kimmings emotional scale. She meets these grand moments of blistering high drama with incredibly tender and vulnerable truths, delivered in pitch perfect fashion to remind the audience they are being held’ and shes not here to exploit them.

It is in these moments, where she is stripped of any costume or facade, the music faded out and the wreckage of that year laying waist behind her, that you realise how small she looks on the stage. And in that moment, it becomes acutely obvious what the point in all of this was, if that tiny figure on the stage can overcome and process all of that carnage, then there is hope for us all. 

Review: Honey Boy

This year has provided us with a number of films about the film industry. We have had Tarantino’s Once Upon a Time in Hollywood, Netflix’s Dolemite Is My Name and Judy Garland biopic Judy, to name but a few. However, the last of this type of film to be released in 2019, Honey Boy, takes an entirely different approach and shows filmmaking from a point not yet explored by its predecessors.

Although the film is directed by Alma Har’el, it is all about Shia LaBeouf. Penned by LaBeouf himself as a form of therapy during a stint in rehab, the film tells the autobiographical story of his rough childhood and its effects on his later career.

We meet Shia-alike Otis (Lucas Hedges) as a 22-year-old man who is trying to overcome his childhood traumas which have manifested in problems with alcohol, drugs, and crime and impeded his flourishing acting career. Now, taking part in a group therapy, he has to reflect upon what has brought him to this place. 

These reflections are a reason to switch back and forth between the present and the past. Quickly, we get to know about the beginnings of 12-year-old Otis’ (Noah Jupe) career. Growing up surrounded by all kinds of social ills, having nearby prostitutes as only friends, and living with his abusive, alcoholic father (Shia LaBeouf) clearly could not have been easy for the young actor.

Har’el’s portrayal of the American lower class is only a background for the story of a complicated relationship between a father and a son. At such a young age, Otis is already earning more than his father. Are the rare signs of parental love genuine? Or is Otis considered only a money-making machine? Where lies the boundary of selflessness in parenting?

Jupe’s and LaBeouf’s performances are impeccable and the chemistry between them can easily be seen. They are doing everything in their power to involve the viewer emotionally, but this is unfortunately made difficult by the film’s non-linear narrative.

Every part of Honey Boy stresses the film’s autobiographical tone. Much like 2017’s The Florida Project, it touches a plethora of aspects surrounding children living in poor, socially excluded neighbourhoods with neglectful parents. Although unlike The Florida Project, it does not dive deeper into these aspects and leaves them without proper conclusions. 

In many ways, Honey Boy is better suited as a therapeutic measure for LaBeouf himself than as a picture for the general audience. However, some of the more potent fragments of the story will certainly stay with you for a long time.

3.5/5.

Review: Snow White

Joining the noteworthy list of Qdos Entertainment’s 754 pantomime productions is Snow White and the Seven Dwarfs. Directed by Guy Unsworth, the show truly is “the fairest panto in all the land.” Expectations are exceeded as the pantomime is an eye-catching spectacle that is suitable for children but clearly directed towards a more mature audience with it’s dark adult humour.

Manchester Opera House sets the stage for the show, which features Strictly Come Dancing judge Craig Revel Horwood as the deliciously wicked Queen Lucretia. Horwood is seen lusting after the handsome Prince Harry, which, in turn, leads to numerous comedic moments between the two characters, with sexual connotations geared towards adult members of the audience.

As Horwood blends his Strictly persona into that of the Wicked Queen, the colourful lighting creates a glimmering effect on his many bejeweled costume changes and mesmerised the audience. It is almost impossible to hate the wicked Queen who, like in the original fairytale, poisons Snow White with an apple, when, as an audience member, you envy her glamorous costumes.

The reputation Manchester Opera House has garnered through their large scale productions was upheld throughout the panto. Pyrotechnics and stage effects were continuously used throughout the narrative and flowed well with the bright backgrounds to create a visual spectacle and playful atmosphere for younger audience members.

There were many opportunities for everyone to shout “behind you” and join in with songs. This powerful interaction between the characters on stage and the audience was credited to Ben Nickless’ character Muddles and Coronation Street star Eric Potts’ Dame Nora Crumble, who both, undoubtedly, stole the show. Their comedic routines engaged the children in the audience yet also appealed to the adults as Muddles appeared in a Donald Trump costume and even demonstrated Boris Johnson talking out of his backside, whilst using a water gun to splash older audience members with water.

Highlights of the show include the rendition of 12 Days of Christmas, where Horwood sings out “five toilet rolls”, and the powerful performance of You Raise Me Up by the 7 dwarfs. The chemistry between the actors played a massive role in the overall execution of these choreographed performances as their enthusiasm reflected well onto the audience.

Children and adults alike, the powerful performances and spectacular stage effects had everyone amazed but also in hysterics. This pantomime is an irresistible experience for all ages.

Snow White runs at the Opera House until 29th December.

Review: The Secret Policeman’s Tour

Earlier this month, Manchester’s Palace Theatre was electrified by the final show of the The Secret Policeman Tour. In a powerful alliance between The Guilty Feminist and Amnesty International UK, the night hosted an astounding line-up all in the name of human rights.

Fabulously fronted by Amnesty Ambassador Deborah Frances-White, the show weaved together stand-up comedy, spoken word, debate and discussion with human rights activists and re-imaginings of timeless comedy sketches. Although an eclectic mix of performances, the message still rang loud and true: we need to do more. We need to do more and think about our privilege as citizens of a country whose humans rights are rarely comprised. The show ferociously cried out to people to recognise and celebrate everyday acts of humanity as well as join the undeniable force that is Amnesty International.

Stand-up comedy has formed a large part of The Guilty Feminist and their pledge to discuss and dismantle pertinent political and sociological issues, and this show was no different. With raging success, The Secret Policeman hosted a series of comedians with the likes of Bridget Christie, Shappi Khorsandi, Tiff Stevenson and Johnny Cochrane gracing the stage. The spotlight was stolen for me by the opening act, Suzi Ruffell, who had me in stitches and temporary jaw-lock within the first thirty seconds of her material.

The Mash Report’s Nish Kumar headlined our evening with raucous new material in reaction to the ridicule and bread-throwing incident the night before. As always, Kumar intertwined perceptive, dramatic and witty observation comedy with intelligent nods to broader more political social issues.

Jackie Hagan, a poet and solo performer, gave a feisty, provocative performance of her original work. Her work is honest and wild and gives a big middle finger to societal expectations. She left the stage by downing a can of beer out of her prosthetic leg, which on all levels gained fierce applause from the audience. We were also graced with a stunning performance by Sophie Thakur, who closed the first act and left the audience surrendering to her powerful words. The event also featured veteran actor Juliet Stevenson, CBE.

Most powerfully, we met Sean Binder, a social and human rights activist who is currently facing a 25-year sentence for rescuing refugees in Greece. They went to Greece to aid support boats that were in distress at sea, yet their kindness was mistaken for spying, people smuggling and belonging to criminal organisations. To us, Sean’s story is heroic and his attitude about his pending fate was humble. The audience clapped as he spoke of his heroism but was quickly shut down by his response – “do not clap kindness and make it heroic; by praising the helping of humanity you are making it not normal. Not helping is not normal.”

Supporting human rights is normal, and not just normal but should be a priority. This show spelled it loud and clear. As Olivia Coleman stated in the short film screened at the show: “You don’t know your human rights until they are gone.”

In the face of the events this week, we cannot afford not to be ignorant. We may not be able to change what is happening at the top, but we can change what we do in our everyday lives: give to food banks, volunteer, and educate yourself and others.

It is simple. Sign up to Amnesty International and see compassion, kindness and hope spread like wildfire. They really do change the world, so go on and change it with them.

Singing up to Amnesty International or supporting one of their current campaigns will boost and support the outstanding work on those fighting everyday to free the oppressed.

Campaign for Sean Binder here: www.amnesty.org.uk/write-for-rights.

To learn more about The Secret Policeman’s Tour and listen to the live show podcast, please see www.amnesty.org.uk/secret-policemans-tour.

Review: Knives Out

Knives Out is one of those fresh invigorating takes on an old genre that only come around every once in a while, but are a real treat when they do.

Writer/director, Rian Johnson (director of the second best Star Wars movie, come at me) has created a new and original take on the classic whodunnit with a stellar cast that’s hilarious, intense and compelling.

The story is a familiar one. Millionaire crime novelist Harlan Thrombey (Christopher Plummer) is found dead in the attic of his gothic style mansion on the night of his 85th birthday. Initially, local police are quick to rule out the event as a suicide, but when renowned detective Benoit Blanc (Daniel Craig) is mysteriously hired to investigate, a sinister web quickly begins to unravel.

Nearly all of Thrombey’s children and grandchildren have a motive: an adulterous son-in-law he was blackmailing (Don Johnson), a spoiled grandson he removed from the will (Chris Evans), an extravagant daughter-in-law recently cut off (Toni Collette), and an ambitious son who owned Thrombey’s publishing company and was desperate to sell the film rights (Michael Shannon).

To say much more of the plot would be to give too much away. It takes many twists and turns, deviating somewhat from how it’s been advertised. But what Knives Out does manage to do is consistently use these familiar tropes and tricks of the genre to constantly stay one step ahead of the audience in a way that never feels like it’s trying too hard to be clever.

It’s also imperative to mention that the film’s cast is absolutely fantastic, with several major players bringing their absolute A-game. Most of the big talent, especially Craig, are clearly having the time of their lives chewing scenery and playing up to their character tropes in a way that’s a joy to watch, especially with Johnson’s quick-witted screenplay that gives them great dialogue to work with.

This is also likely a star turn for Ana de Armas, who plays Marta, the Thrombey house nurse. She ends up with a considerably meatier role than the marketing has given her credit for. I won’t say too much so as to not give anything away, but she does manage to create a likeably empathetic portrayal of someone forced to navigate the horrors she’s been caught up in by association.

What Johnson has made is nothing short of a great time at the movies. As a director, he understands the language of the genre he’s working in and understands how to deploy visual cues and tropes to lead (and sometimes mislead) the audience, constantly keeping them on their toes. As a screenwriter, he manages to craft dialogue and characters that you can invest in for how entertaining they are.

On top of that, the all-star cast have electric chemistry with one another and throw themselves into their roles. The end result is a well-oiled machine of entertainment and makes Knives Out one of the year’s most enjoyable films.

4/5.

Review: Aladdin

Let me get this out of the way. Any reproduction of Aladdin will be problematic. People far more qualified than I have written about this issue – google it. It has epitomised the term “cultural appropriation” since its conception, being written by a Frenchman who has heard the story from a Syrian storyteller. Later, Disney was inspired by this story and loosely based their popular 1992 animated movie on it.

Albert Halls’ Christmas Panto Aladdin created their own adaption of this story by combining the original French story with the beloved Disney movie. One main difference between this production and the mainstream story is its setting: the original story was set in unknown places in China and Northwest Africa, so the panto is set in “Peking”, a pseudo Chinese-inspired fairy-tale land.

Having a mainly white cast playing conically non-white characters and turning a real, complex country with history and culture into an absurd fantasyland is very problematic. However, I argue that this panto is still enjoyable and worthy of our attention because of the joy it brings to its audience, even though it is important to be aware of the controversies surrounding its source material and not ignore it.

The acting in Aladdin was faultless. The cast had great and natural chemistry, and it was clear that they all liked being on stage with each other. They all embraced their characters and never failed to be interesting to watch.

Ray Quinn (who was runner-up on The X Factor when Leona Lewis won) played the titular character. He was the obvious the star of the show. He is a talented singer and dancer, and he performed his role of the clever hero to perfection. He possessed a natural charm that grabbed the attention of the entire audience. He also had great interplay with his supporting dancers.

The beautiful Nadia Kramer embodied the role of the fairy-tale princess, and all her movements were elegant and graceful. Her beautiful voice blended delightfully with Quinn’s in their duets, and their chemistry made the audience instantly root for them to be together.

The lighting was colourful and conveyed the correct happy, cheerful atmosphere for the panto. The speakers had the correct volume for the background music to be heard throughout the large theatre hall, without drawing out the amazing vocal performances, and sound effects were cleverly used to support the plot.

The cast mostly wore Chinese-inspired costumes appropriated for a western audience, with a few exceptions. All police in the show wore British police uniforms, and during some scenes, everyone on stage wore costumes from the 1992 Disney movie. Graham Edgington, who played the Emperor of China, took this even further by wearing Chinese inspired robes with a large turban that resembled the headwear of the ruler of Agrabah. The set design was similarly confused. Even though most of the set were inspired by historical Chinese buildings, one background showcased middle-eastern style pots, vases and shisha pipes.

Even though the producers of Aladdin tried to be distinctive by creating their own spin on a well-known story, they were afraid of alienating their audience, so they infused the panto with references to the Disney movie which resulted in a confused set design. However, the faults of this production were balanced out by the great acting from dedicated and talented performers.

Aladdin runs at Bolton’s Albert Halls from 30 November to 31 December.

Review: 2084 – An Immersive Experience

2084 – An Immersive Experience is an interactive, contemporary retelling of George Orwell’s Nineteen Eighty-Four. The sold-out event took place at Manchester Central Library, a hauntingly beautiful venue that was the perfect location for a chilling dystopian thriller.

On arrival, we were greeted by two actors, in costume, at a desk; they ticked our names off a list and then welcomed us to the ministry. One of them was the Mancunion’s own Georgina Davidson, one of the Assistant Music Editors. I had not realised she was in character and waved at her, but she did a top job of staying in character, pretending we did not know each other.

We then picked up ID badges from another desk and sealed our phones in plastic bags, before entering a dimly lit bar that really set the scene. There was a live band, complete with a glamorous singer, who ended their set with a new version of ‘Que Sera, Sera’ entitled ‘Australasia’, the anthem of the ministry.

Upon arriving in the main library, we were hurried to our seats and had to complete an exam. It was stressful and daunting; I couldn’t even finish it. Chess Bradley, the Mancunion’s Arts Editor, remarked that she felt like she was doing her GCSEs all over again, and, at the end of the event, I overheard the show’s writer remark that that was the intention.

We were then taken to a more modern room downstairs. Blinds were used cleverly to reveal a room at the other side of the glass. We spied on two members of the ministry who were up to something illegal. This scene stood out to me. We then watched drone footage (though it was not actually filmed on drones, so the tech team did a brilliant job) of these two members hooking up outside of work, before once again watching the couple through the glass. The play ended with a brutal torture scene, and a member of the audience was selected to do the deed. Hilariously, at the end of the show, the writer revealed the ID number of the person whose exam paper they liked the most, and it just so happened to belong to the same audience-member! Better watch out for that girl.

The actors, aside from the head of the ministry who was dressed smart and wore black, all wore blue prison-style jumpsuits, complete with ID badges, making them nameless, and almost faceless. The play really did have a great attention-to-detail, so much so that it felt like we really had been transported to this dystopian society.

Of course, recent events make this seem all the more real, and terrifying. Gilead did not happen over night…

2084 ran in both February and December of this year, and an updated version of it will run sometime next year. I definitely recommend you join the Ministry of Truth, but only for one night…

In this year’s Golden Globe nominations, women are the losers

Last week marked the ceremonial beginning of awards season as the Hollywood Foreign Press Association announced the nominees for the 77th Golden Globe Awards. Although preceded by awards from the New York Critics Circle and the Los Angeles Critics Association, these rarely provide a useful indication of what will be recognised at the Academy Awards. In contrast, the Globes frequently provide the first proper signal about what to expect from the Oscars. Last year, for example, they rewarded Oscar favourites like Bohemian Rhapsody and Green Book.

Perhaps the biggest winner of these nominations was Netflix who, having instigated a significant drive for awards recognition this year on the back of the relative success of 2018’s Roma, ended up receiving twice as many nominations as the next distributor. Martin Scorsese’s mob epic The Irishman earned five nominations including Best Picture (Drama) and Best Supporting Actor for both Joe Pesci and Al Pacino, although Robert De Niro was bafflingly overlooked for Best Actor (Drama).

The Two Popes received acting nominations for its veteran stars Jonathan Pryce and Anthony Hopkins while Eddie Murphy marked a remarkable return to film after a three year break with a nomination for playing Rudy Ray Moore in the comedy biopic Dolemite Is My Name.

Netflix’s most successful film, though, was Noah Baumbach’s acclaimed semi-autobiographical Marriage Story. In addition to acting nods for Adam Driver, Scarlett Johansson and Laura Dern, the film was nominated for Best Picture (Drama) and Randy Newman received a nomination for his score. Although Baumbach received a nomination for his screenplay, he was overlooked for Best Director.

Aside from Netflix, other successes included Sam Mendes’ one-shot World War I drama 1917 and Bong Joon Ho’s Korean thriller Parasite, with both films receiving three nominations including Best Director. Quentin Tarantino’s latest film, Once Upon a Time… in Hollywood, received five nominations although its placement in the Musical or Comedy category rather than Drama is probably funnier than anything in the film itself.

Following on from massive box office success, Joker was nominated in four categories including Best Actor (Drama) for Joaquin Phoenix. The film’s relative success is particularly intriguing given a well-established trend within the major awards bodies of overlooking superhero and comic book films. The sole exception to this is The Dark Knight, which posthumously earned Heath Ledger a Golden Globe for Best Supporting Actor. Although, even in that case, the film didn’t receive any other nominations. Todd Philip’s deliberate and vocal decision to renounce the “comic book movie” label may be part of the reason why the HFPA were prepared to recognise his film.

With all that said, the most important story from these nominations is not one of success but of the failure once again to recognise the achievement of women in cinema. Emblematic of this failure is the Best Director category, which did not include a single woman. Globes apologists will tout the familiar line that there “simply weren’t any female directors worthy of nomination this year” but anybody who has watched even a few films over the past twelve months will know that the opposite is true.

While gender imbalance persists throughout the industry, 2019 saw a brilliant collection of films by female directors. Greta Gerwig’s Little Women and Lulu Wang’s The Farewell stand foremost among them but the list also includes Marielle Heller’s A Beautiful Day in the Neighbourhood and Lorene Scafaria’s Hustlers. Each of these films received at least an acting nomination too, so the Globes can’t employ the excuse that they didn’t see the films.

The problem extends even beyond personnel though. Almost all of the most successful films at the Golden Globes this year, from The Irishman and 1917 to Joker and The Two Popes, were dominated by men. At the same time, films like Bombshell, Booksmart and the aforementioned Little Women, all primarily featuring women, immensely underperformed. With such fantastic and diverse films being produced, the film industry’s awards bodies have run out of excuses not to address their continued neglect of female artists and stories.

Preview: Mimi and The Mountain Dragon

It feels like the generational chasm has only been widening in the last few years, but the animated adaptation of Michael Morpurgo’s Mimi and The Mountain Dragon seems to cut through this divide, as it garnered rapturous applause from everyone in the room at its preview screening at HOME cinema earlier this month. 

Over the last 8 years a formidable team of writers, producers, musicians, conductors, and everything in between have been crafting and bringing to life this delightful book. The 2D animation is set at the foot of a mountainous terrain, in a small snowy village, following the story of a young girl who seeks to reunite a baby dragon with its mother. Morpurgo was inspired during a holiday to Switzerland with his wife where they both heard quite loud noises coming from behind a school; upon a short investigation they saw these school children “cracking whips” and “waving flaming torches to ward off evil spirits” as part of a cultural procession — and with that small inspiration, a story was born. 

With its nostalgic pencil strokes and warm illustrations, Mimi and The Mountain Dragon sets aside the complex high tech renderings of 3D animation and CGI, that we have become so accustomed to. Instead it successfully pulls at our heartstrings with only the remarkable orchestral music from none other than Oscar award-winning composer Rachel Portman, who composed the original score that was performed by the talented BBC Philharmonic in Media City, Salford. 

Phil Chalk, Managing director of Factory, discussed the challenge of creating an animation which relied almost entirely on the music to take the viewer on the narrative journey. 

“Normally it’s about the actors performances, and then we draw inspiration from that and that drives the animation. But in this instance it came in a different way.” And this difficulty was discussed across various members within the team but in many ways it enriched the story even more, giving it a surprising depth that many would not expect from a children’s boxing day special.

Even opting out of using sound effects this project really left all the bells and whistles at the door and allowed the simplicity of the animation to truly speak for itself. Phil Chalk said that they “needed to brave with it” and “let Rachel’s score carry it all” which is a major departure for them when looking at Factory’s previous projects.  

During the Q&A Owen Sheers, the writer of the screenplay, talked about how this was a “story of a girl who comes into voice” and “the growth of a song” as his words “melt away into images and music”. Here we see, and hear, a story of community and togetherness; a story which outwardly rejects fear and specifically a fear of the unknown “other”. It provides a counter-narrative to the increasingly ingrained and alarming myths in our society about that which we do not know or understand, a message which is enveloped within the true spirit of Christmas. 

Mimi and The Mountain Dragon was a breathtaking viewing and listening experience, watching it felt like I was turning the pages of the book. It kept its authenticity and its heart, but as Michael Morpurgo himself said “the story changed under Owen’s pen” and I can imagine that with each thoughtful addition, from the illustration itself all the way to post production, the story continued to evolve and deepen. 

Someone in the audience asked the panel at the Q&A “when do you know its finished?” and Owen Sheers responded with the famous quote from French Poet Paul Valery, “a poem is never finished but merely abandoned”, to illustrate that there would have always been more to add. But I would say that this short animation was as complete as it could have possibly been, and I’m sure that all those who watch it on Boxing Day on BBC One will agree.

Review: Dr. Seuss’ How the Grinch Stole Christmas! the Musical

Dr. Seuss’ How the Grinch Stole Christmas is my favourite Christmas movie. In fact, I do not really like Christmas movies very much at all, but The Grinch will always have a special place in my heart.

Now, as problematic as Dr. Seuss may be, there is no denying that his whimsical children’s stories are marvellous, with The Grinch being one of his best. Jim Carrey and Taylor Momsen (when she was still innocent) starred in the live-action movie adaptation (2000), which had a mixed reception but was a box office hit and is the third highest grossing holiday film of all time. An animated adaptation, starring Benedict Cumberbatch, was released in 2018; it again received a mixed reception but went on to become the highest grossing holiday film of all time, ahead of Home Alone. So, clearly, people love them some Grinch.

The stage adaptation of The Grinch is a Broadway hit that precedes the original movie. Its synopsis is closer to the original story than the live-action film, which added new characters and backstories to create a movie for the whole family to enjoy. So there is no Martha May Whovier (Emmy and Tony winner and Golden Globe nominee Christine Baranski), no villainous mayor (Golden Globe and Emmy winner Jeffrey Tambor), no love-triangle between the Grinch, Martha and the Mayor, no backstory about the Grinch’s arrival to Whoville and the bullying and torment he faced at school, amongst other noticeable differences.

The simplistic story of the stage version made it clear that its intended audience was children, but the jokes could be appreciated by people of all ages, and it was a nice evening of nostalgia for people who grew up with the live-action movie adaptation, like me.

The set (John Lee Beatty) was quirky and colourful but not too elaborate nor impressive; it provided a nice pantomime-y feel, which I’m sure children appreciated. The cutesy costumes (Robert Morgan) deserve merit, especially the fantastic Grinch costume.

Edward Baker-Duly played the titular character to perfection. His voice and mannerisms resembled Jim Carrey’s iconic portrayal. He was, undoubtedly, the best part of this camp, silly show. The Grinch’s dog, Old Max, was played by two different actors. Old Max, who narrated the show, was played by veteran theatre actor Griff Rhys Jones OBE, whilst Young Max was played by The X Factor 2016 winner, Matt Terry.

I knew that Terry would win The X Factor; I watched him perform and knew that he was destined for stardom, yet even appearing on the English version of Enrique Iglesias’ hit song Súbeme la Radio has not managed to make him the star that he deserves to be.

Whilst he was good in this musical, he should not have fallen into musical theatre so quickly (Leona Lewis and Alexandra Burke both achieved great success before performing on Broadway and the West End, respectively). Shortly after his debut album was released (and flopped), he took on the lead role in Madagascar.

Terry did not get to showcase his impressive vocal talent in The Grinch, aside from the odd moment when he was allowed to harmonise and riff a little. He is also a lovely person (I’ve met him), and whilst I was glad to see him in The Grinch, I would much rather he be gracing arenas than theatres, but, alas, I guess that is just the nature of the industry.

If you are wanting to see something camp, colourful and quirky this Christmas, Dr. Seuss’ How The Grinch Stole Christmas is the show for you. It runs at the Lowry until the 5th of January.

Review: Light Falls

A mentally distressed student asks his boyfriend to never leave him; a single mother fights for the custody of her son after her suicide attempt; a primary school teacher has sex with a stranger in a churchyard; and a man’s younger mistress advises him to face his problems. At the same time, unbeknownst to them, someone they love is dying in a co-op.

Light Falls is a powerful new play that explores grief in an innovative way. It was written by Simon Stephens and served as Artistic Director Sarah Frankom’s goodbye to the Royal Exchange.

The play is set in five northern towns, from Blackpool to Durham, on one eventful day in 2017. The writing was phenomenal and was characterised by a brutal honesty that breaks your heart.

When Christine, an alcoholic mother of three, suddenly dies of a haemorrhage, the dramatic event sends ripple effects throughout the lives of her three children, Jess, Ashe and Steven and unfaithful husband, Bernard.

The play was split in two acts. Act one presented small glimpses of Christine’s family members’ complicated lives before they were hit by the tragedy. It was compact and full of action, deeply focused on the characters on a personal level, with their own individual and relatable problems.

Act two was slower and explored how loss can change someone’s life forever but also had a hopeful note about how those we love can stay with us even after they are gone.

The actors were very engaging and talented. They all spoke in distinct Northern accents appropriate for the setting and performed their characters in a very believable manner. The actors had natural chemistry with each other. Since the main cast were a family, there was a clear familial resemblance, especially between Rebecca Manley and Katie West, who played mother and daughter.

The set design was simple, with a stage made of wood in the round theatre. The only props in the first act were a set of chairs for the characters to sit on. In the second act, two trolleys of food were brought onstage to symbolise an excessive funeral preparation, but nobody ate the food, and it was mostly ignored. The plain stage meant that there were no means of distraction; it placed all the focus on the performance of the actors.

The simple setting gave them freedom of movement on the grand stage. Multiple different actions occurred on the stage at the same time, to illustrate how individual lives intersect each other in real life. After a character entered the stage, they stayed on until the end of the act. Even when they were not in focus, they were still acting in the background.

One highlight of the play was when the design team created a real downpour onstage. Rain is an important symbol in Light Falls, and in a climactic moment, all characters became drenched in rainfall emanating from the top of the theatre.

Light Falls fulfilled all my expectations and more. It dealt with the important theme of loss in a widely appealing way.

It ran at the Royal Exchange theatre from 24 October to 16 November 2019

The Mancunion’s fave shows of the 2010s!

What a decade it has been. Even theatre has changed massively. Technological advancements, and social liberalisation, have lead to some very important theatre pieces. Theatre has modernised both technologically and culturally.

As this issue of The Mancunion is the final one of the decade, we have decided to celebrate the 2010s. I asked my writers to choose their favourite shows of the decade – perhaps one of the toughest things I’ve ever asked of them!

Jay Darcy – Aladdin and & Juliet

I’m torn. Both have elaborate sets, detailed costumes, and groovy musical numbers. They are nostalgic, with the former taking you back to your childhood, and the latter reminding you of many of the past few decade’s best songs (all written by Max Martin). I love Aladdin, in particular, because it revolves around people who actually look like me, although the orientalism is problematic. Meanwhile, & Juliet is overtly supportive of progressive issues. They’re both visual spectacles, and along with Miss Saigon (the problematic but fantastic musical based upon Madama Butterfly) make up my musical triad!

& Juliet. Photo: Johan Persson.
Alana Cook – The Play That Goes Wrong

I saw this show in London a few years ago and went in with very low expectations, but it ended up being the funniest show I’ve ever seen. Ridiculous, silly and an absolute masterclass in physical comedy.

Alexia Pieretti – Natasha, Pierre & the Great Comet of 1812

This show ran briefly on Broadway from 2016 to 2017. I never got the chance to see it and am waiting on the day it comes to the UK. It is an immersive electro-pop musical based on War and Peace with a steampunk costume style. Every clip I watch is so high energy, and I would just love to be in the audience. The lighting design is beautiful, and the lyrics leave me feeling so hopeful. It deserved much better, and I hope it gets remembered down the line.

Ana Maria Ortiz – Hamilton

Without a doubt. The idea of a hip hop operetta about America’s founding fathers sounds insane, and yet, somehow, it works perfectly. I love that, in the words of creator Lin Manuel Miranda, it’s a “story of America then told by America now“, which is clearly reflected by the diverse cast. It has smart and witty lyrics, show-stopping tunes, and rap battles to represent cabinet discussions. Hamilton changed how history is taught in the US, allowed Hamilton to remain on the 10 dollar bill, and revolutionised Broadway and the world.

Anna Jin – Kunst Kabaret

This show takes place Tuesdays at Albert’s Schloss. A flamboyant live performance featuring a diverse group of performers, Kunst Kabaret is unlike anything that I have seen before, and it is a show that I will remember for a long time.

Photo: Kunst Kabaret star Cherie Bebe by Ivy Rose Studio.

Bayse Genc – Aladdin

I saw this show in London in 2017, and it was such an enchanting and magical show. I still gush to all my friends in bewilderment about how it ‘actually looked like they were flying on the magic carpet!’. The production was absolutely breathtaking, the actors were phenomenal, and there wasn’t a single moment without exhilaration and delight – it will be missed!

Carly Nutall – Kinky Boots

I loved this show because it’s so feel-good. Throughout the duration of it, I found myself with a constant smile on my face, and I left feeling so positive and uplifted. It’s one that can appeal to all ages and really captures the importance of embracing differences when we cross paths in life with people who maybe have different interests and passions. Just an overall heartwarming and fabulously sassy show!

Kinky Boots Photo: @Flickr
Kinky Boots. Photo: @Flickr.

Evie Appleson – SIX

This pop concert musical is about Henry VIII’s six wives. It combined witty and intelligent lyrics with sharp feminist commentary. A modern masterpiece!

Photo: Idil Sukan/Draw HQ.

Georgina Davidson – Matthew Bourne’s The Red Shoes

An easy decision. Based on the stunning yet equally disturbing fairytale by danish poet and author Hans Christian Andersen, the ballet performance is a sight of decadence and devilishly grand choreography by Matthew Bourne. Highlights include several technically co-ordinated group sections and a huge train set piece that brings the piece to a dramatic finale. A masterpiece no less, that Andersen would no doubt marvel at.

Matthew Bourne’s The Red Shoes. Photo: Johan Persson.

Kayleigh Crawford – Fat Blokes

I saw this show at HOME in 2019. Fat Blokes used a combination of monologues and interpretive dance to tell the stories of five men and their daily fight to exist unapologetically in larger bodies. Written by working-class artist Scottee, Fat Blokes fundamentally changed my understanding of what theatre could be, and what it could do.

Photo: @HOME
Fat Blokes. Photo: @HOME

Lily Rosenberg – The Book of Mormon, Hamilton, Kinky Boots AND Waitress

Book of Mormon: making religion funny while also having ads in the playbill saying: “You’ve seen it! Now read it!”
Hamilton: making the world realise that rap and American history belong together. Kinky boots: drag queens, fabulous shoes, and Cindy Lauper wrote the music. It is a show that you always leaving smiling. Waitress: Sara Bareilles wrote a musical; the theatre smells like pie – what more could you want?

Patience Kanjira – Things I Know to be True

I saw this Frantic Assembly show at Warwick Art Centre. It was so visually moving, that all the choreographed moments just worked in the world they had created, and that seemed to be more sincere than my own perceived notion of reality.

Rosemary Russett – The Wild Bride

This musical folktale was performed by Kneehigh. It has a real rustic feel to it with the musicians and actors seamlessly creating a fairy tale world in the traditional dark sense of the word. The story and acting has stuck with me, and I would definitely see it again!

Urussa Malik – The Little Prince

This show had a three day-run in Dubrovnik, Croatia. The live orchestra, coupled with the three actors who played six characters between them, made for such an intimate and precious show. That, and how the theatre space/stage was an abandoned castle, showed me how brilliantly this production utilised space, sound and actors, creating such a wonderful show.

Thanks to my writers for all your hard work, and our readers for your continued support. So long, farewell, auf Wiedersehen, good night… See you next year!

Franco Manca’s 40,000 Pizza Pledge for the Homeless

Recently, Manchester received their own branch of the well-loved, London-born Franco Manca. Their pizza is authentic, puritan and delicious – but their sourdough offerings aren’t the only contribution the chain is making to the Manchester community…

Over the past few years, Franco Manca has championed a Christmas initiative that pledges donations of up to 40,000 pizzas to the homeless during the month of December. This use of surplus dough not only acknowledges the problem of homelessness with compassion but also ameliorates the growing problem of sustainability and food wastage in the hospitality industry.

As well as this incredible pledge, Franco Manca staff in selected pizzerias have even opted to work on Christmas Day itself to make fresh sourdough pizzas for those without warmth or comfort.

Image: Franco Manca.

Javed Akhtar, the Operations Director at Franco Manca,  expressed how proud the company were to “help those most in need for months to come” and how committed they were to their aim to “limit food waste across the business.” He even commented that other restaurants in the UK should focus on these targets in the vein of becoming more socially and environmentally conscious as companies.

If this weren’t incredible enough, the company this year have decided to turn their Christmas initiative into an all-year pledge! From 2020 onwards, Franco Manca is pledging to turn their surplus dough into sourdough bread to help feed those without food or shelter all year round!

The Franco Manca team are encouraging charities, food banks and shelters to contact them to arrange sourdough collections via their website.

Getting the inside on outsider art at Venture Arts

An ‘outsider artist’ may be a phrase you are not used to hearing. It is often used to describe artists who are self-taught, and art which does not fit into the mainstream idea of art. But Venture Arts wants to challenge the idea that being an outsider artist is negative.

Venture Arts is an organisation based in Hulme that works with learning disabled artists. On their website they describe their vision as

“a world in which people with learning disabilities are empowered, celebrated, included and valued in the arts, culture and society”.

Does the title ‘outsider art’ define quality or the creative ability of the artist? Does the difference in style and technique change the quality of the art? To put it frankly, I believe it does not.

Should the term even exist? If an artist can produce work of quality and content then surely they must be contributing and paving the way for art histories of the future.

The idea of an outsider artist was a keenly focused topic for Venture Art’s latest exhibition event Conversations Series II: Other Transmissions last month. The exhibition featured works from six artists, including a detailed outline of the working process they undertook. The exhibition pieces ranged from audio-visual pieces to full-sized sculptures that were erected in the expansive foyer of the exhibit, creating an immersive and engaging display which encouraged the viewer to interact and appreciate the work.

A further collaborative exhibit titled Second Nature had a selection of ceramic sculptures by Louise Hewitt, alongside other artists, at Manchester’s Portico Library. Once again the display was an expansive piece, curated by James Moss, which took inspiration from historic literature and artefacts, with a Georgian era “Natural philosophy” theme. Hewitt’s ceramic figures of garden creatures capture her quirky and imaginative storytelling style and reflect her interests in creating sentience in all she sees. Moss also highlights that the most important part is giving great artists a platform.

It really does not take long to see the sheer scale and adaptability of Venture Arts’ projects. Their versatility and community-centred outlook means that they are able to collaborate with Manchester’s vibrant and ever-changing art scene.

One artist, Barry Finan, has created a number of pieces whilst working with Venture Arts. His work focuses on developing large scale murals using a specific and graphic lettering style, the inspiration for these murals are collected from conversations and activities going on around him.

On the day I visited, Finan was working on a large scale piece, having just finished a huge display on a brick wall. Finan highlighted that his work is a mixture of conversations and abstract-thoughts combined to create his distinctive pieces. His work is recognisable due to the capital lettering and cube design that he uses in place of full stops. It was fascinating to watch a conscious stream literally unfold before my eyes; I was mesmerised by the patterns and the style of these markings and I will certainly be looking out for more of his work at future exhibitions.

Across the room, artist Leslie Thompson was at work, concentrating on a new piece based around the movement of animals and plant life. In the last year, Thompson had completed some commission based work for online publication, LADBible, and continues to accept requests to design murals for companies and publications looking for these specifically stylised wall pieces. He proudly informs me has become something of a “master” creator in the studio and I am inclined to agree. Impressed not only by the standard of his work, I could not have been more amazed by the innovative creations which filled the canvases in this studio.

As the year draws to a close, Venture Arts has also had some astonishing victories at Manchester’s Culture Awards 2019. They won the “Inspiring Inspiration” award, alongside The Whitworth and Castlefield Gallery. To the organisation’s credit, I’ve never been in a space where such empathy, support, and empowerment was so equally and mutually shared between artists and volunteers.

To find out more visit the Venture Arts website.

Let’s Get Away: York

I’ll admit it. I am guilty of being a “toxic Londoner,” someone who thinks anywhere in the country that is not London (or maybe Edinburgh) looks like something out of The Shire from Lord of the Rings. So when my boyfriend and I spent the weekend in his home town of York, I found myself completely unprepared for an actual functioning city that was more then just fields. Of course, I’m exaggerating (a little), but it’s safe to say that York managed to impress me.

The city was established by the Romans in 71AD. The main city centre is surrounded by historic 13-feet-high walls which were constructed by the Romans (undoubtedly with some preservation here and there) and are accessible to the public. On a sunny, and maybe not so cold, day walking around the whole city along the walls is a lovely way to see the scenery.

The most famous landmark is the gargantuan York Minster. I knew it was big and famous, but I don’t think I realised just how big and how famous. As a student you can get a discounted ticket of £9 to explore the cathedral, neither my boyfriend or I are particularly passionate about history but just walking around, exploring, and looking at the exhibits took us around two hours and was definitely worth a visit. For an extra £5 you can tackle the 270 steps to the top of the tower for an incredible view of the city, something I would absolutely recommend.

If you’re a York resident and have proof of ID you get free general entry! My partner, who is a resident, didn’t know this so clearly they keep it pretty hush-hush and we only found out by overhearing from another visitor.

My favourite site of the whole weekend was The Shambles. This cobbled and unique little street is where J. K. Rowling found inspiration for the famous Diagon Alley in Harry Potter. As a big Harry Potter fan I’m not ashamed to admit that I did tear up at the sight of this. They have plenty of themed shops and cafés, you really do feel like you’ve been transported into this magical and well-loved wizarding world.

If you’re looking for a bite to eat, hit up the famous Betty’s Tea House for a gorgeous brunch, lunch or, if you’re feeling fancy, some Afternoon Tea. Established in 1919, it really feels like it’s out of Downton Abbey.

If you don’t have the whole weekend off, York is still a great place for a middle-of the week day trip and is quick and easy to get there by train. But, if you are lucky enough to make a whole weekend, and have access to a car, you could even head down to the seaside! In around an hour you can get to the eerie, yet charming town of Whitby which is famous for fish&chips and vampires. Bram Stoker stayed in Whitby when writing Dracula meaning there are a number of cheesy little vampire-related activities you can amuse yourself with. If you prefer outdoorsy activities, on a sunny day when it’s low tide you can walk along the beach to a nearby town called Sandsend. Make sure you get a hot chocolate and fresh crab sandwiches from the Seaside Café there, you will not regret it.

Overall I had a great time visiting York and would definitely recommend it to students if they’re looking for a little break. It’s still a city, but there’s something really charming and old fashioned about it that makes it the perfect spot to escape from the hustle and bustle of Manchester. Whether you go with friends, as a solo trip, or a quick romantic getaway, York is the perfect city to head to.

Photos courtesy of Sam Bronheim and design by Phoebe Moore
Photos courtesy of Sam Bronheim and design by Phoebe Moore

Dreaming of a green Christmas?

Christmas is coming! Whilst it is the most wonderful time of the year, it is also a time of year that produces the most waste, in fact we produce 30% more waste. It seems near impossible to do Christmas ethically, but here are a few tips on how to have a magical and eco-friendly Christmas.

Christmas Trees:

Most Christmas festivities are kick started by putting up and decorating a Christmas tree. Most trees aren’t just chopped down from random forests but are specially cultivated with the intention to be sold during this festive season, however it is important to know where your tree is from. Obviously, if your tree comes from overseas it will increase your carbon footprint, so try and source it as locally as possible, you can find local growers with The British Christmas Tree Growers Association.

Some people opt for artificial, reusable trees which are often made from PVC; as this isn’t recyclable, once you dispose of your tree it will end up in a landfill, and stay there for many more years. However, there are benefits to artificial trees as your environmental impact lessens the more you use it, but you will have to use it for around a decade before it becomes more environmentally friendly than a real one.

If you’ve chosen a real tree, make sure you dispose of your tree responsibly so it doesn’t end up in a landfill. Real trees are recyclable and can be shredded and used as environmentally friendly wood-chippings. To do this, take your tree to a recycling centre, or if you can’t find one you can always take it to your local tip and put it in the garden waste section.

Decorations and cards:

Christmas decorations often involve excessive plastic and energy use, to curb this try and bring nature into your home. Real holly and ivy branches are a beautiful alternative to glittery tinsel. Or you could try creating some of your own decorations from recycled materials in your house. While it’s tempting to buy glittery cards from shops, making your own will seriously cut down on packaging and plastic and have an added personal touch, or try E-cards for a completely waste-free alternative.

Presents and wrapping:

Every year the amount items, and gift ideas available to us seems to grow. Yet the increased production, and therefore waste is detrimental to the environment. To combat this, I would suggest buying second hand gifts, and for any charity shop novices, I can assure you can get some interesting, and great quality items at a fraction of the price. If not try and buy sustainably and from local, independent traders.

Over the Christmas week we bin the equivalent of 227,000 miles of Christmas paper, in the UK. That is staggering. One way to reduce this figure would be reusing wrapping paper from previous years: you can simply smooth out wrapping paper by ironing it under a cloth, folding it and storing it to use the next year. And try to swap your plastic bows and ribbons, which will end up in landfills, by adorning gifts with holly and other natural decorations.

Christmas dinner:

At last we get on to the feast – my favourite part. In any home Christmas means lots and lots of food. However, it is easy to end up with surplus food, creating a lot of waste and we throw away the equivalent of 4.2 million Christmas dinners each Christmas. To try and avoid this plan your meal and figure out how much you’ll need to prevent you over buying ingredients, even though it’s tempting. Make sure to use you leftovers, and continue the feast on Boxing Day and beyond if you can.

If you’re really trying to live ethically this season, I would suggest trying a vegetarian or vegan Christmas dinner, all of the sides can easily be made vegan – roast potatoes, parsnips, sprouts, you know the drill. And nut roasts are a lot better than they sound. If this isn’t something for you, try to make sure your meat is organically farmed, supporting small scale farms wherever possible.

Finally, the most important thing is that you enjoy your Christmas. It can be easy to become overwhelming living in our society with the pressures to live sustainable and ethically. So whatever small step you take in trying to be more environmentally friendly this Christmas, I commend you.

Afzal Khan: UoM should ‘get around table’ and negotiate with striking staff

Labour’s candidate for Manchester Gorton has said the University should “get around the table” and negotiate with striking lecturers who “deserve a decent pension”. 

In an interview with The Mancunion, Afzal Khan, who was elected MP for Manchester Gorton in 2017, said he supported the striking academic staff and joined them on the picket lines to show solidarity.

“It’s always hard for teachers and professors to go on strike because they’re committed to education [and] they’ve chosen this career because they love this career,” he said. 

“My message to the University establishment is: they should get around the table and have a discussion and give [staff] good conditions so they have job satisfaction.” 

Khan warned that staff could leave as a result of the fallout over pay and pensions, saying the University could lose talented teachers and professors. 

When asked about Khan’s comments regarding staff strikes, a University spokesperson said industrial action was always “deeply regrettable” and added their highest priority was to ensure students were not disadvantaged.  

“While we fully recognise the rights of staff members to take industrial action, our priority must be to minimise any impact on our students.”

Khan also sat down with Manchester SU Women’s Officer Ayla Huseyinoglu

“At the heart of Brexit is, do you want to be an inward-looking country or outward-looking country? As a young person who wants to explore the world, do you want restrictions or do you want the freedom to move around in 28 counties to start with?” 

During the interview, Khan said he believed the prime minister had cynically chosen the December 12th election date to limit the student vote. 

He told The Mancunion: “I think it has been calculated on his part, but that doesn’t mean he’ll get away with it, I think [students] are intelligent and clever and they understand.” 

He added that Boris Johnson wasn’t championing votes at 16 like the Labour Party because the Conservatives didn’t want young people to have a say. 

When quizzed on student safety in areas like Fallowfield, which falls within his constituency, he said student safety was a “real issue” and largely blamed police cuts for the problem. 

“Over the last 10 years, we have seen cumulative cuts in all areas, it’s totally been finished,” he said. 

“Everyone deserves to have safety around them and young people are the ones who are more likely to experience the crime and therefore we should be working with them and looking at the different aspects [of] safety we can provide to make sure they feel comfortable and [can] go about enjoying their life.” 

Mr Khan said he thought Brexit ranked highly on the list of student concerns and that young people could see their future being “taken away and limited”. 

“If [students and young people] can see the climate danger, you can guarantee they can also see the danger of Brexit. 

“At the heart of Brexit is, do you want to be an inward-looking country or outward-looking country? As a young person who wants to explore the world, do you want restrictions or do you want the freedom to move around in 28 counties to start with?” 

Manchester Gorton is a strong Labour seat and in 2017, Khan won with a majority of 31,730. 

 

UoM Senior Leadership Team: “More committed to profit than people?”

The University of Manchester’s Senior Leadership Team (SLT) has been fighting fire almost constantly as of late, from the student occupation of the John Owens building to the eight-day University and College Union (UCU) walkout over pay and pensions.

Among some academic staff, there is a feeling that university bosses have kept quiet, attempting to say nothing rather than make controversial statements, but others say the leadership is gaining a reputation for hard-nosed, or “hostile”, tactics that make some teaching staff want to leave academia altogether.

One staff member told The Mancunion that the leadership team has earned a “national reputation for having a contemptuous relationship with their academic staff”, and is perceived as being “particularly hostile” in comparison to other universities.

The staff member, who has chosen to remain anonymous, said that comments were made at an international conference they attended, where other academics from UK institutions remarked on “how hostile to staff the [Manchester] leadership team is”. They said that “Those academics are at universities on strike as well, but they perceived Manchester as particularly hostile”.

A spokesperson for the University said that the SLT, “which is largely composed of academic staff, is not ‘hostile’ to academic colleagues,” and “recognises our staff as our most important asset”. They added that the SLT “constantly listens: through open meetings, surveys and other meetings with academic colleagues, and takes these views into account when making decisions.”

When asked why they thought that the SLT was seen to have a particularly poor relationship with staff, the same academic referred to job cuts in their school two years ago that “perhaps earned the university leadership a national reputation for having a contemptuous relationship with their academic staff.”

“The Faculty Leadership announced immediate cuts to academic staff in specific departments, this was a decision taken without any consultation with staff or heads of departments. It was shocking.”

The revelations come among anger from a variety of academic staff at the university, many of which have just concluded an eight-day strike over pay, pensions, and working conditions.

Separately, The Mancunion joined staff on the picket lines on the final day of the action, asking academic staff if they believed the University was particularly hostile relative to other institutions.

They raised concerns over the university’s handling of job cuts, as well as reliance on casual or short-term contracts.

One staff member blasted bosses for what they described as “draconian approaches to running a university”.

“How they’ve handled things like redundancies and their general approach to precarity, are very draconian approaches to running a university. For me, that’s very very bad and needs to be changed,” they said.

“They want to be seen as tough, they think that to be a world-leading institution and to rise in the ranking they have to be very tough capitalist managers which I don’t think is true. We will do our jobs and we will do better if we are treated decently, we care about our teaching we care about our research we care about all of it,” another staff member told The Mancunion.

The staff member did, however, say that they didn’t feel the University was particularly aggressive relative to others.

“During [the] strike action, I’ve noticed that they keep a very low profile and don’t do some of the more punitive things that other managers do at other campuses.

“Management here have tended not to use those more [aggressive] measures, but that should not be mistaken for us thinking that our management is supportive of the things that we are fighting for. They have not made moves to change that, it’s a complex picture.”

When asked why they felt the SLT was not supporting striking lecturers, The Mancunion was told by another staff member that “their bottom line seems more important to them than dealing with these aspects of precarity in the sector. I think they’re more committed to profit than people.”

Others felt they had heard very little from the SLT during the strikes, which one lecturer called “disappointing”.

“They’ve talked about how we need to be listening but they haven’t really listened to us. The numbers just came out, the University reported a £41 million surplus this year, so they do have the money to pay us fairly.

A spokesperson for the University said: “SLT constantly listens: through open meetings, surveys and other meetings with academic colleagues, and takes these views into account when making decisions. For example, the development of our new strategic plan has taken the ideas of more than 4,000 staff into account.

“Throughout the recent industrial action we have been clear and transparent with colleagues and will continue to take this approach across all of our communications. Changes made by the University are given careful consideration and in accordance with a process agreed with trade unions. All of our funds are invested in furthering our three core goals of teaching and learning, research and social responsibility.

“There are ongoing discussions between UCU and the Universities and Colleges Employers Association (UCEA) and Universities UK (UUK) as the representatives of employers on pay and other employment matters, and the USS pension respectively, and it is our continued hope that a resolution will be found that brings the current disputes to an end. We continue to encourage UUK and UCEA to engage with UCU. Meanwhile, our priority remains to mitigate any impact of industrial action on our students.”