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Month: March 2020

Social distancing: how to get your sporting fix

Sports authorities, teams and athletes around the world have made the necessary decision to cancel almost every sporting event for the foreseeable future. What’s more, with around a quarter of the world’s population under lockdown, and with many more to follow, politicians have implored us all to stay at home to help curb the spread of Covid-19.

Whilst these decisions are unavoidable and are vital safety measures, they have left a gaping hole in the lives of all sports buffs, who now find themselves stranded at home and unable to savour their favourite stars’ boundaries, birdies and backhands.

Online Streaming

There is in fact plenty for sports-heads to do whilst maintaining social distancing measures. In a world ever-dominated by a range of streaming services and social media content creators, there are plenty of documentaries, TV series and podcasts to sink your teeth into. Amazon Prime, which offers a free six-month trial to students, could prove hugely fulfilling in the coming months.

For cricket fans The Test is a must-watch. The docu-series follows the revival of the Australian Cricket Team after the ball tampering scandal of 2018 involving key men David Warner and Steve Smith.

Take Us Home, charts the attempt of Leeds United to reach the promised land of the Premier League. It’s a great way for football-lovers to pass the time, especially if you’re not fond of the Whites. Netflix offers a similar insight into the inner workings of Sunderland AFC, in the series Sunderland ‘Til I Die. The first season focuses on their adjustment to life outside of the top flight, whilst the second season, which is set to drop on the 1st of April, contains a thrilling promotion charge for the Mackems.

Netflix subscribers may also binge for hours on behind the scenes Formula 1, American Football, Cycling and Basketball content. Those without the aforementioned memberships may instead turn to the rabbit hole that is YouTube, with hours upon hours of highlights, interviews and opinion available on channels such as iFL TV, BBC Sport and Premier League.

Podcasts

Away from the world of video entertainment, there is a plethora of audio content to help sports fans fill the long hours at home. A personal favourite in my household is That Peter Crouch Podcast. Hosted by England’s favourite lanky centre-forward, Crouchy and his co-hosts take a sideways look at all things football.

Other acclaimed podcasts include: Sky Sports Cricket Podcast, Match of the Day Top 10 and Rugby Union Weekly, although a quick search on iTunes or Youtube will uncover hundreds of gems for you to sit back with a brew and lose yourself in.

Social Media

With sports stars experiencing a prolonged holiday, many are now able to pursue their true passion: posting hilarious tweets, photos and videos. Now is as good a time as ever then, to log on to your social media accounts and interact with your favourite athletes. Some of the best stars to follow on Twitter include All Blacks all-rounder Jimmy Neesham, Liverpool midfielder James Milner and MMA trainer John Kavanagh, whilst club accounts such as AS Roma are also providers of much mirth.

Video-gaming

Whilst many of us have been told by our parents, siblings and teachers for years that our desire to game is unproductive, now it is finally socially acceptable and even socially responsible to stay in and spend time on a video game. This also offers a way to keep in touch with your friends. Nothing says friendship quite like knowing you made your mate 50 miles a way throw their controller at the wall after another comprehensive loss on FIFA.

For those with a competitive streak, many organisations are setting up tournaments, and this includes our very own UoM Campus Football League who are setting up a competition on both the Xbox and Playstation to fill the chasm left by our empty Wednesday afternoons.

Exercise

The final and arguably most crucial pass time in the upcoming stretch is to keep yourself fit and healthy with one session of exercise a day. If this is to be a run or a walk, then it is advised to keep it local and maintain a two-metre distance from anyone else. This is not the only option though; working out at home is actually far more realistic than many are led to believe.

One of the best ways to get your daily dose of strength training or cardio is by joining in with a Joe Wicks Youtube video. The Epsom-born fitness instructor offers exercise routines for a range of different levels of fitness, age groups and muscle groups and so there is something for everyone on the Youtube channel of the nation’s newest P.E. teacher.

Whilst the current situation is hugely stressful, and the sweet relief of sports which offers a tonic to the everyday struggles of so many is not as apparent at this time, there is still plenty of opportunities to keep fit and combat the boredom with an array of sporting content whilst following governmental guidelines. Let’s all hope that before long normal service will be resumed.

Review: Gorgon Westley’s Railway Circus (MIFTA)

Thomas Thacker’s Gorgon Westley’s Railway Circus tells the story of Euean (Willow Major), a young boy who, after falling asleep in a railway carriage, finds himself trapped on a runaway train with an unknown destination.

To find his way off the train, Euean ventures through the carriages, meeting a twisted troop of self-mutilated oddballs overseen by the ominous Gorgon Westley (Laurie Bayley-Higgins).

Each carriage is a harrowing cage, its inhabitants deranged and wrathful. They drag Euean into their torturous existence in which salacious toad, sado-masochistic clowns, a self-mutilating tight-rope walker and Gorgon Westley himself all dwell, waiting to inflict pain. Each member of Thacker’s cast is an asset to the realisation of his tumultuous world.

A standout performer is found in Laurie Bayley-Higgins as the eponymous Gorgon Westley. He stalks the stage with vocals and physicality both intricate and strong. He is at his most terrifying when writhing beneath the carriage, in hunt of Euean, in the final scene of the second act.

This horrifying moment, which undoubtedly required fantastic direction from Thacker and Bez-Cryer, is heightened by Major’s performance as Euean. She encapsulates the pure terror and consistently raises the tension for each morbid scene through her engaging characterisation.

Yet in amongst the horror, Thacker’s script features wonderful moments of light and shade. Eloise Russell as Reap Galo and Sofia Armella as Howitz, both bring a great energy and humour to the show. Cali Nice and Lenny O’Sullivan give enthralling performances as the cock-crossed lovers, Herpe and Cyst, with infallible characterisation.

The play is also in debt to the musical talent of the cast and crew. Eins, the MC played by Giulia Grillo, is the first to welcome us to the railway circus in cabaret style through song and clowning,  stippled with imaginative innuendo. The creative team, consisting of Thacker, Raphael Bez-Cryer and Ted Walliker, also perpetuate a claustrophobic, eerie atmosphere through the show’s music.

A particularly resonant moment was in Euan’s first interactions with the gluttonous Cardinal (Hugo Lewkowcz) whose tirade on human existentialism is underlined by a dissonant horn parodying every pompous line. In this moment, Thacker’s nuanced scriptwriting truly shines as he highlights the Cardinal’s hypocrisy.

Situated in the Peer Hat, the cast and crew had a tiny space to work with, and in many ways, this aided the suffocating atmosphere the show produces. With one exit and entrance, the cast did well to manoeuvre props and furniture off and on stage, yet sometimes characters would remain on stage with no other function but to watch over the main action.

On a technical note, however, I would like to congratulate the creative team on their props and make-up – moments of horror or intimacy can easily be undermined in a play by poor makeup and cheap props. However, the creative team of Gorgon Westley delivered in dark bruises, bloody incisions, bodily fluid, pulverised beef tartare, vomit and eyeballs galore. Nearly every scene produced a moment of gleeful repulsion that amplified the play’s gruesome tone.

Gorgon Westley’s Railway Circus is by no means a comfortable ride; it is a dark, perverse fairy tale which unrelentingly twists and turns just out of reach. The world Thacker has created is cruel and what at first seems a dark fantasy to Euean soon becomes a brutal reality.

His dreams of gardening are mocked, castigated and rebuked by all those he meets. He struggles to find an emotional connection to the material world he now exists within, and the relationships he does find are violently torn away from him before his very eyes. The runaway train is a journey and throughout I could not help but feel that life really does seem to imitate art :

“To live and love in this world is to fight.”

The imagery evoked by Euean’s dialogue of love, growth and nurture vividly contrast the relentless machine bearing him to his destination. His act of planting a seed in a corpse in the penultimate scene is akin to a glimmer of hope for a world on the verge of environmental collapse.

Thacker’s intricate language and prolific imagination is something to be in awe of. His creation of a deeply layered fantasy world left me with the same passion for stories that I felt after reading Neil Gaiman.

I look forward to seeing further productions, and I have no doubt the show will benefit from a shorter running time and hopefully a larger space at Edinburgh Festival Fringe this August.

Review: King Lear (Shakespeare Society)

It must be said that I am on the whole a big fan of the University of Manchester’s Shakespeare Society, and, having seen many of their plays, I would recommend their performances to everyone.

Their production of Julius Caesar last year was especially memorable. It was directed and performed brilliantly, and it was clear that those who worked on the play possessed the perfect combination of talent and passion. I cannot, however, say the same thing for their adaption of King Lear.

The actors possessed varying levels of talent. Some were absolutely amazing, most were mediocre, some were simply not good.

Certain extremely talented actors clearly stood out to me. Eva Sellick, who played Goneril, and Caitlin Donovan, who played Regan, were the bright and shining stars of the play. The proud, deceitful elder daughters of King Lear were clearly not the heroines, but Sellick and Donovan breathed life into these characters through their skilled performances and gave them depth and complexity.

Sellick and Donovan portrayed the sisters as beautiful, charming and independent women who schemed their way to power and defied their temperamental and increasingly unstable father. They were realistic, dynamic and very interesting to watch.

Jack McMeechan, who plays Edmund, and Alex Macfarlane, who plays Edgar, are the male counterparts to these talented ladies. They also played their characters naturally and convincingly and were engaging to watch.

Whenever they took to the stage, they managed to completely capture the audiences’ attention. What’s more these two pairs all had great interplay and chemistry with each other, especially McMeechan, Sellick and Donovan, whose characters were caught up in an intriguing love-triangle.

Another talented star who delivered a memorable performance was Phoebe Lerner as the Fool. She was on stage for most of the play as the much-needed comic relief in a dark tale. Even though she remained in the background in a number of scenes, she was in character at all times, and provided great commentary on the events of the plot with her body language and facial expressions.

Unfortunately, the same could not be said for all of the actors; on the other end of the spectrum, some appeared to have a poker-face on throughout the whole performance while others appeared to lose their grasp on their characters at times. This sometimes manifested in unnatural facial expressions and body language that did not correspond to the setting or to the roles they were playing, especially when they were not in the focus.

It felt at times as though some of the cast were uncomfortable on stage, with certain actors appearing stiff and unsure about what to do with their face or hands. All of this led to a general nervous energy during some scenes.

The design elements of the production were simple. Very few props were used, but they were effective and added to the setting and the development of the characters.

There were however some minor technical issues which felt unprofessional. For example, the audience can occasionally hear when the sound effects were being turned on and off. In addition, the interval started without anyone in the production team realising. The audience sat in complete silence for 30 seconds before one man who sat in front of me prompted his colleague, who then stood up with an embarrassed giggle and declared to the audience that the interval had started. This would have been understandable if it was their first performance, but it was rather surprising because this was their third and final night of the run.

To conclude, the UoM Shakespeare Society delivered an average performance of King Lear; there were some major discrepancies in talent within the cast, and the direction felt at times unpolished, but it was saved by some stand out individual performances.

King Lear ran at the Student Union Theatre from 12th of 14th March.

Review: The Shadows (MIFTA)

The Shadows by Lara Biller was a dark comedy that explored what went on behind the scenes in a nightmare Drama Society, while also functioning as social commentary. It was directed by Sophia Rosen-Fouladi and Dolly Busby and produced by Shirley Yang as part of the MIFTA Season.

The stage at the King’s Arms Theatre was no longer a stage. Rather, it was backstage for the majority of the show, bare except for a props table and a walkie talkie. We were introduced to three stage hands; excitable and enthusiastic Sam (Cecilia Alfonso-Eaton) and Jonny (Frank Wilson-Caines), and bored Esther (Lara Paul), who would rather be in bed.

The play they were working on was a ridiculous melodrama about gangsters set in the 1920s. The lead actors in this play-within-a-play were Rupert (Harry Robson) and India (Nell Bevan). Both were posh and towered over the stagehands. In their formal costumes, they seemed to represent the richest in society as a whole. Sam and Jonny were in awe of them and viewed them as gods.

Esther was not so impressed, nor was she a fan of the script. She voiced her disapproval of the lack of named female characters in the play. This was a conversation I have definitely had in the past. Drama departments are female-heavy yet the industry itself is male-dominated and there are so few female roles for so many actresses.

When Esther stood up to Rupert about his mistreatment of the backstage crew, he punched her in the face. A clever decision was to not show the delivery of the blow. Instead, as Rupert stepped towards Esther, there was a blackout, followed by us hearing the aftermath of the injury and seeing Esther return at the end with a black eye.

This moment doubled as a commentary on sexism. In their prior interactions, there seemed to be sexual tension between Rupert and Esther or at least attraction on his part. His violence was then also the result of a man being rejected by a woman.

I could definitely see a character like India existing, if in a less exaggerated form. She lounged around in her Drama Society committee hoodie backstage and would do anything to have the show go on.

However, I find it difficult to believe a boy like Rupert who says “I’m not afraid to hit a girl, I’m not a sexist,” and calls giving equal parts “Communism”, could thrive in a Drama Society. Certainly, they exist in universities, but it is unlikely they would have an interest in drama, nor that a Drama Society would be interested in them.

As always, Biller’s writing was as intricate and clever as it was funny. At one point, Sam and Jonny engaged in a fight with plastic swords, something all too familiar to those of us who have been in plays as we wait backstage. At another, Jonny questioned whether it was ‘penises’ or ‘penii’.

In the end, it was demonstrated just how important the backstage team are to the running of a play. The backstage team finally decided to protest. As Rupert and India performed their final scene, the lights started flashing different colours, while a song played too loudly for anyone to hear the dialogue. Then Esther, Sam and Jonny walked on during the scene to take off all of the props. The backstage crew, although unseen, are the underappreciated backbone of any production, which would not be possible without them.

The show captured the intricacies of life as a drama student. It was often insightful. It is true that, as students we often forget the societies we are part in are just an activity and is not what we are at university for.

Before the show began, we were instructed by the creative team to bring donations for a food bank. This reminded us that the show was about more than just a Drama Society and worked as a wider metaphor for society itself; the richest step on the backs of the underprivileged to get to where they are. Most of their success is due to people we never see or hear about, and they would be nothing without them.

All of the cast were wonderfully natural in their roles but credit must be given to Alfonso-Eaton for stepping in just nine days before opening night to play Sam. She was lively, funny and fitted so well with the rest of the cast that had I not read the back of the programme, I never would have known she was a new addition.

MANIFF 2020: Up From the Streets

Produced and hosted by trumpeter and composer Terence Blanchard, Up From the Streets is a documentary film that attempts to chart the history and development of the city of New Orleans through music.

The film combines archive footage with live performances from contemporary New Orleans bands and interviews with influential figures from Robert Plant and Sting, to Harry Connick, Jr. and Wynton Marsalis.

Beginning with the city’s earliest musical moments, such as the African drumming brought to the American South by the Trans-Atlantic slave trade, Up From the Streets covers a vast period of time up to the present day and moves through genre charting the common elements that characterise the city’s musical output.

Partly as a consequence of this expansive time covered, it acts more as an introductory overview than an in-depth exploration.

Even so, the film succeeds at highlighting the important role of music within wider society. Throughout the film, music can be seen both as a product of the environment and societal conditions in which it developed and a tool for actively changing those same conditions. Key figures like Louis Armstrong are considered within the social structures that operated around them.

At certain points, the relatively short runtime does feel as though it holds the narrative back and it could easily be split into two or three separate features that focus more specifically on a particular genre, figure or time period.

In spite of this, Up From the Streets meets its key objective by providing an enjoyable, thought-provoking and moving timeline of the music of New Orleans.

3.5/5.

Review: monster/monstrum (MIFTA)

As with most other aspects of our lives, this week, Coronavirus has taken a toll on the world of theatre. The recommendation for self-isolation came ahead of the final show in the Drama Society’s MIFTA season. However, to preserve the hard work of the performers and creative team, one performance still went ahead to NIAMOS Radical Arts Centre, that was live-streamed to the drama community.

The play was monster/monstrum, a devised piece directed by Thomas Valerio and Natalie Hillman, produced by Mae Lankshear and designed by Amy Townsend.

I am a firm believer in recording theatre to make it more accessible; although the ideal situation is to experience the art live, theatre tickets are often expensive. The case with theatre is unlike that of film, where if you miss a new release in cinemas, you can just buy the DVD. This is why I believe theatre should be filmed more frequently. However, it is a shame that of all plays, this was the one that had to cancel its live performances.

The reason for this was the immersive nature of monster/monstrum. It was not so much a play as a performative art piece, drawing on aspects of promenade theatre. Watching the small audience mill about from one performer to another, taking photos and videos, I was reminded more of an art gallery.

Not having attended the live performance as I thought I would, I do not think I can do justice in writing a review of the piece, so this will instead be a reflection on it.

As the camera started recording, we were introduced to a pianist, Rory Greig. He played the same sequence of haunting notes that was initially slightly bothersome but, as our minds became accustomed to the music, it was tuned out and became woven into the fabric of the piece.

Around him crawled six curious creatures, not quite human, not quite animal. They skipped around, balancing their weight on their legs while bent over and using their hands on the floor to steady themselves. There was no dialogue and little sound.

The emphasis on the natural was demonstrated by two prop spaces. In one section of the stage, crushed flowers were laid out and investigated by Adelaide Marshall, sitting solitary amongst them.

Meanwhile, Angelica Fitzmaurice played with pieces of ripe fruit, which were slowly discovered by the other ‘monstrum’, who proceeded to squash them or roll them around.

The most interesting moments came in the interactions the ‘monstrum’ had with each other. They were intimate, crossing uncomfortable boundaries. They leaned in close to each other, sniffed parts of each other’s bodies. They investigated each other, just like they investigated the fruit and flowers. Sometimes they were more intense, aggressively moving towards each other to intimidate one another.

I enjoyed the dynamic performance given by Peter Silver. He climbed on rails and elevated himself by hugging the columns situated around the room.

So, what were these creatures? Long forgotten ancestors of humans? Survivors of an apocalypse? Film lecturer and MIFTA season judge David Butler speculated with me that they were mutated drama students, evidenced by the leotards they wore, who had regressed to primitive versions of humanity while trapped in a theatre.

The costumes were a pleasant surprise because they were so normal. When hearing about the piece, I expected ripped rags or makeup to make the performers resemble animals. Instead, they wore athletic gear that one could easily imagine seeing in a yoga class. This highlighted the performance of the actors, letting them use only their bodies to display their animalistic nature.

Throughout, Greig was the only symbol of humanity as we know it. Playing the piano, he represented art, something these monstrum were not familiar with. As the piece came to a close, Greig stopped playing the piano.

Having had the piano music for over an hour, this was a shock, a gaping absence. The monstrum raised him up onto a chair as if worshipping him as a god, before pouring soil over his head. He was returned to nature and joined them.

There was a poetic irony in the fact that a performance piece about primitive creatures was live-streamed on Facebook, something so modern and associated with civilization. It was wonderful watching the names of members of the drama community pop up on screen, coming together to support their friends from their isolation. We band together in difficult times like these, united by art. Now, the performance of monster/monstrum will remain on Valerio’s Facebook timeline.

It is a shame this had to happen, but in finding a way to still showcase all the hard work by the monster/monstrum cast and creative team, the Drama Society set out a trail of how to continue being creative during this outbreak, which I hope other societies will follow.

MANIFF 2020: Let’s Roll

There was one standout short film from MANIFF’s 2020 line-up and for me that was Let’s Roll.

Centred around the iconic Gloucester “Cheese Rolling” competition, the film follows Antonia (Amy Bowden), a teenage girl who dreams of conquering the event, as she overcome multiple obstacles to prove her strength and worth to not just her family, but to herself.

The film’s dialogue is witty and authentic, perfectly capturing a mother and daughter’s acrimonious relationship. Its music is grand and its visuals vibrant, which accentuated the drama and comedy.

The pace of the film is also brilliantly orchestrated and directed, moving audiences along from one exciting scene to another with punctuating moments to catch your breath.

The highlight of the film for me is Nigel (Joel James Davison); Antonia’s best friend and cheese-roll mentor, who also happens to be in love with her. Tenderness and humour are captured and complemented in the writing, directing and acting and his character adds such a glow to the film.

I’m so glad to see short films like this being made. It is a brilliant collaboration between writer Allan MacLeod and director Chris Thomas and shows that they’re very much ones to watch.

4/5.

Recommended: Feel-good films to lift your spirits

Nobody will need reminding of the ongoing situation in the UK and across the world. As governments take the essential steps to reduce the spread of the pandemic, this means staying at home unless absolutely necessary.

While these measures are crucial to mitigating the spread and impact of the virus, they are inevitably going to be frustrating to many people and have the potential to seriously damage our wellbeing.

For this reason, it’s important that we take time to relax and enjoy ourselves. As we all adjust to a new pattern of living, here are a curated selection of feel-good films to help you escape from the outside world and get lost in a movie.

The Wizard of Oz Lobby Card 1939. Photo: MGM @WikimediaCommons

The Wizard of Oz

Featuring some of the most memorable musical numbers ever composed and with an equally memorable cast of colourful characters, The Wizard of Oz is one of a select group of films from pre-war Hollywood that continue to captivate audiences today.

A teenage Judy Garland gives a star-making performance as Dorothy Gale, who is catapulted into the fantastical Land of Oz when her Kansas home is carried away by a tornado. From the very first moment that Dorothy opens her door, the film’s beautifully designed sets and vivid costumes are on full display and the Munchkinland sequence that follows must stand among the most joyful moments in cinema history.

As she journeys to find the Wizard, Dorothy comes to meet a collection of unique characters. Each of her three acquaintances reflects a worry that most people have felt at some point but they’re also immensely fun. Even after eighty years, these characters remain as charming as they ever were and the film they populate makes the most of every moment of their company.

Finding Nemo

Beginning with Toy Story in 1995, Pixar Animation Studios had an almost perfect run of films that lasted for a decade and a half. Almost exactly in the middle of this succession of classic films is Finding Nemo, the story of Marlin, a clownfish who must cross the ocean to find his missing son with the help of a forgetful blue tang named Dory.

Marlin’s journey across the ocean brings him into contact with a marvellous selection of sea creatures, each richly developed and bringing their own fresh character to the story. Even leaving the narrative aside though, Finding Nemo is one of the most beautifully animated films ever brought to screen and this alone means that it is difficult not lose yourself in its splendour. Combine this with the life-affirming commitment that Marlin demonstrates throughout and its guaranteed to bring a smile to any face.

Sign in Katz Deli. Photo: SoerFM @WikimediaCommons

When Harry Met Sally…

Many great films are thought to be the result of the visionary filmmaking talent of a single auteur. Other great films are the result of the combined efforts of many talented individuals working together in collaboration. When Harry Met Sally… fits firmly within the second category, combining the unparalleled screenwriting talent of Nora Ephron with Rob Reiner’s smart direction and a pair of perfect performances from Billy Crystal and Meg Ryan. There’s also a great soundtrack from Harry Connick Jr. that includes Louis Armstrong and Frank Sinatra.

For most of its runtime, the film simply follows the lives of two young friends as they navigate romantic life in New York City but in doing so it both entertains and captivates. Ephron’s genius lies in her ability to capture the sort of conversations that people actually have, all the while revealing more and more about the characters of Harry and Sally and how they relate to one another. The decision to focus on the characters rather than employing typical movie narrative contrivances means that the conversations feel as funny and as relevant today as they did in 1989.

9 to 5 poster. Photo: S. Wiedman, 7th Street Theatre Hoquiam @Flickr

9 to 5

From the moment that Dolly Parton’s infectious theme song begins, 9 to 5 is an unstoppable piece of entertainment. Despite grappling with some genuinely important subject matter like workplace discrimination and sexual harassment, the story remains light-hearted throughout.

What makes 9 to 5 so thoroughly brilliant, of course, is the three central performances from Lily Tomlin, Jane Fonda and the aforementioned Dolly. Taking revenge on their “sexist, egotistical, lying, hypocritical bigot” of a boss, the three have screen chemistry that’s impossible to contain. Notably, the script is full of superb one-liners that have aged far better than most of Hollywood’s comedic output from the early eighties. Who wouldn’t want to spend two hours with these three women?

Raiders of the Lost Ark 

If you’re looking for something more adventurous to escape with then it makes a lot of sense to return to the Hollywood adventure blockbuster. As the cynical and sarcastic Indiana Jones, Harrison Ford is on home territory delivering a charismatic leading performance that is well-matched by Karen Allen as Marion Ravenwood, his rival and love interest.

Indy’s quest to prevent the Nazi’s from acquiring the Ark of the Covenant leads to some of the most engaging action set-pieces in any Hollywood film, taking him from a Peruvian temple to Cairo by way of a Nepalese village. Elevating his escapades above the usual adventure story are Spielberg’s masterful direction and an original soundtrack by John Williams that stands as one of the most iconic of all time. Blockbuster entertainment at its peak.

Singin’ in the Rain poster. Photo: Brandt Luke Zorn @WikimediaCommons

Singin’ in the Rain

Driven by the magnificence of Gene Kelly, Debbie Reynolds and Donald O’Connor, Singin’ in the Rain is the essential movie musical from Hollywood’s golden era. Even those who haven’t seen the film will undoubtedly be familiar with the title song and the defiant cheer that it embodies.

As a tale about the film industry’s transition from silent film to sound, it captures some real questions about entertainment versus art and whether there is really a difference. Nonetheless it maintains an effortlessly buoyant disposition thanks to the rapport that the three stars share.

Needless to say there’s also the fantastic musical sequences, from O’Connor’s comedic “Make ‘Em Laugh” to the unmistakable “Singin’ in the Rain” performance by Kelly. Perhaps the film’s best moments, though, are those where the characters are able to bounce off one another like in the triumphant “Good Morning” number.

If this limited selection doesn’t suffice to quench your thirst for feel-good cinema then consider some of the following films:

  • Amelie
  • Annie
  • Before Sunrise
  • The Blues Brothers
  • Calamity Jane
  • Clueless
  • Dazed and Confused
  • Four Weddings and a Funeral
  • It’s a Wonderful Life
  • Mary Poppins
  • Matilda
  • Monsters, Inc.
  • My Neighbour Totoro
  • The Princess Bride
  • Spirited Away
  • Wall-E

Review: Kinofilm Spanish Shorts

Teenage love stories, an awkward first date, and a monster with an identity crisis – what do they have in common?

They were each the subject of films show at the Instituto Cervantes as part of the Kinofilm Spanish Shorts, a pre-festival event for Kinofilm Festival, which is happening from 21 to 29 March in various locations across the city.

The Good Queue

The night opened with The Good Queue, an animated depiction of a relatable struggle: when faced with two queues, there is always the dilemma of which to pick. You may even be tempted to hop from one to another, but it’s Murphy’s Law that your original queue will undoubtedly move while your new queue stays still.

Although the setting and occurrence is funny enough by itself, the character design in the short isn’t pleasant to look at, as a detailed cartoon man interacts with smooth grey humanoid figures with human noses and ears on their cubic heads.

 

The Good Queue – Photo: courtesy of Kinofilm Festival

Mi Querido Balón

Mi Querido Balón (My Dear Ball) is a coming-of-age slice-of-life, set during the days right after the Former Caudillo of Spain, Francisco Franco’s death. Franco used his power to restore the monarchy before he passed, appointing Juan Carlos as his successor and King of Spain.

Despite the stiff performances from the kids, the film is quaint, exploring the everyday politics of post-Franco Spain through these kids, their parents, their football matches, and their village.

Te Quiero A Morir

Te Quiero A Morir (I Love You To Death) was by far the strangest experience of the night. The story seemed to revolve around a couple who are each telling the same story from their own perspective to a camera.

The monologues are intercut with footage of “the event” which, turns out, was an argument between the toxic, unlikeable couple which culminated with the woman announcing to her boyfriend that she’s pregnant, as they lie in a ditch. The bizarre story wasn’t helped by the subpar audio mixing that made the dialogue muddy and hard to hear.

Te Quiero A Morir – Photo: courtesy of Kinofilm Festival

¿Por qué miente la gente?

¿Por qué miente la gente? (Why do people lie) felt like, simply put, a PSA (public safety announcement) about schizophrenia. I was surprised by the brilliant acting and high-budget feel.

Set in Barcelona, the film shows the difficulty a young man faces when taking his schizophrenic mother to the hospital. It quite touchingly shows how hard the condition can be on the patient and their family.

Mejor Actriz

The second strangest film was Mejor Actriz (Best Actress). A short mystery that I shan’t spoil, it also looks quite high-budget. The film did, however, feel a bit rushed, as it crams the whole resolution into 30 seconds. But it’s a clever little film, overall.

La Distancia

La Distancia (Distance) is a beautifully shot film,set in Asturias, that tells the story of two teenage girls as they go on a bike ride through the mountains.

They talk, they argue, they make up. It perfectly captures that electric feeling you’d get as a teenager when you were talking to your crush. However, there’s some rather strange implications towards the end of the short that I’m still unsure about.

La Distancia – Photo: courtesy of Kinofilm Festival

Yo, Monstruo

Yo, Monstruo (Me, Monster) is a humorous look at the identity crisis an actor faces as he becomes tired of playing the monster and yearns to be the star.

Overall, the short was solidly made and quite funny, but the choice to make everyone speak Spanglish was bizarre. It would perhaps have made sense if they were a crew of multiple nationalities, but each actor was a Spaniard.

Una noche con Juan Diego Botto

Lastly, Una noche con Juan Diego Botto (A night with Juan Diego Botto) is a hilarious romp that had the whole room laughing and was, by far, the best short of the night.

Juan Diego Botto, famous Argentine-Spanish actor, plays himself as he goes on a date with an obsessed fangirl. She’s a normal human being who’s nervous and awkward while he is completely removed from normality, and is only able to converse about his charitable endeavours.

His talk of malnourished African children puts a downer on the dinner, but when they move to the bedroom the big laughs come rolling in — I’ll just say that be he brings up the worst possible topic of conversation imagineable during oral sex.

The 16th edition of Kinofilm Festival took place from 21 to 29 March in various venues across the city. For more information, head over to their website.

Review: And Then We Danced

Levan Akin’s coming-of-age gay drama And Then We Danced has hit headlines in the film world even before many had a chance to see it.

Georgian right-wing groups attempted to block the film’s premiere in the country’s capital, which resulted in moviegoers being injured and clashes with a riot police.  Alongside this, the head of the PR office of the Georgian Orthodox Church, Andria Jagmaidze, has called the film “an attempt to downplay Georgian, Christian values”.

This opposition towards the film is actually a depiction of its power. And Then We Danced meditates on themes of masculinity and queerness which some may see as controversial, yet it does so in a way which I hope might eventually leave people with an entirely different mindset.

We follow Merab (Levan Gelbakhiani), a teenager dreaming of being a part of the Georgian National Ensemble. His father was a successful dancer and the young protagonist feels pressured to follow in his footsteps. 

But despite years of hard training, he is not well-respected by his teacher. Georgian dance is traditionally based on masculinity, and an effeminate boy like Merab clearly does not fit in. This fact is only a small part of his struggles, as a new dancer turns up for one of the training sessions, leading to a new kind of rivalry and sparking desire in Merab. 

Although the plot outline may seem to be full of the kind of clichés which have defined queer cinema in recent years, Akin does not simply copy them. He shifts the issues, exploring them from an original slant by blending them the story’s central themes to create something unique and one-of-a-kind. 

The honesty and emotional authenticity of And Then We Danced is achieved largely by Gelbakhiani’s impeccable performance. A first-time actor, he seems to be perfect for this role just as if he was playing himself. In his every word, move, look and gesture we can see and feel an ordinary young artist struggling with self-identification and experiencing their first love.

The idea of portraying gay romance in such a conservative country as Georgia could give many reasons to be moralistic and pretentious. However, the end result is by no means like this. In every scene, the relationship is subtle, naturalistic and thought-provoking, all of which are effected without any unnecessary preachiness.

Opinions and feelings in the film are often conveyed through music and dance, which enables And Then We Danced to achieve all its purposes in a delicate yet decisive way.

Levan Akin breaks the widely used stereotype of conservatism as backwardness. He does not portray Georgian society as something negative. As with every country, there are people who hate, people who struggle to understand, and people who support.

And Then We Danced is suited for all of them, surpassing the boundaries of art and carrying a potential power to change reality; whether its the reality of everyone who identifies themselves with any of the characters, or the reality of a society in Georgia which might be soon opening up to what it has been rejecting for decades.

4.5/5.

Review: Vogue Ball of Atlantis

Overview by Lily Rosenberg

Although I am a fan of Drag Race and have watched the film Paris is Burning multiple times, the night went far beyond my expectations. Jay had texted me earlier in the week to instruct me to be “colourful”. I comprehended that as a literal and physical need to wear bright colours, an attempt I made with a few clips in my hair and eyeshadow, but it was nothing compared to the night’s colourful love for life I saw. 

Other than Los Angeles Pride, I have never felt so included in an event I wasn’t actually actively taking part in. The crowd was a cornucopia of ages, sexes, and bodies, and it made the theme of self-love and love for humans even more fitting.

Throughout the night, I slowly lost my voice as I yelled out “YASS” or comments about how beautiful the people strutting the runway were. After loudly admiring the bodies on stage, mostly the dancer’s perfect butts, I befriended a group next to me, a group I danced with and chatted with as if we were lifelong friends. I hugged them before I left. This was Vogue Ball. A night filled with love for life itself. It made me rethink how little I do to represent who I am and what I believe in during my daily life. 

Not only was the night empowering with host, Rikki Beadle-Blair MBE – who was recently interviewed by The Mancunion – telling us to look in the mirror every day and tell ourselves how beautiful and amazing we are, but the people on stage dancing, performing, and strutting embodied true empowerment and creativity. Rikki also appeared in a plethora of outfits, changing each time he came on stage, and, yes, he did even change his shoes; I was keeping track. 

The House of Noir, whom I thought deserved the overall crown, kept bringing out looks that were so creative in ways of inclusion. As Beadle-Blair called out, they were bringing “black girl magic!” the whole time. During the lip-sync section, a member of the House threw off her fur coat to reveal trousers resembling Janelle Monáe’s iconic vagina pants from her ‘Pynk’ music video as she lip-synced to a remix of the song. That is when I lost my voice. Not only was it a lip-sync Ru Paul would be proud of; it represented what this generation is all about, embracing our bodies and the future.

Highlights by Jay Darcy

This is the second Vogue Ball I’ve attended, having attended the Se7en Deadly Sins Ball at Manchester Academy 2 in 2018. In 2019, the event was moved to the much bigger Manchester Academy, where it also played at this year. I think it just gets bigger and better each year.

There were so many incredible Houses and performances, but some deserve a special mention. As Lily noted, House of Noir killed it with the looks and performances. Voguing was mainstreamed and popularised by Madonna, but as Beadle-Blair asserted, it was the “black gays” who started it! CC Noir really killed her Janelle Monáe’ lip-sync – and Janelle, herself, loved it, reposting my video onto her story and commenting “slay meeeeee”.

Thiago Tardivo and Lucy McGrellis performed an XXXtra wet Little Mermaid-inspired lip sync of Fergie’s ‘Clumsy’, which ruined my childhood in the best way possible. I immediately recognised the adorable Luke Arrowsmith from House of Korrupt, whose femme style of voguing I just love. He gave one performance wearing women’s lingerie, with his female dance partner dressed like Prince Eric from The Little Mermaid – there was lots of Ariel and Eric, okay? – celebrating gender nonconformity and giving the middle-finger to patriarchal norms, values and ideals.

House of Viva Brasil (AKA Viva Brasil Samba Show) once again brought sexy Latin energy to the stage. Simone Reeves and Gillian Orrett had some big ass energy, and Adri wore my favourite outfit of the night – a glittering fish costume that she wore during her lip sync of Christina Aguilera and Missy Elliot’s cover of ‘Car Wash’ from Shark Tale. Another of the night’s best outfits was worn by Adrian Turrell-Watts: he literally came dressed as a ship, drowning all the others in sight!

Lastly, we must give it up for Darren Suarez of the hosting house, House of Suarez (who also won the ball), who is to thank for these wonderful balls. Stay tuned for more of their events!

Review: Augmented

Augmented provides a refreshing account of a deaf person’s experience of the world and an optimistic look towards technologies of the future. In this captioned and audio described one-woman show, Sophie Woolley tells the story of her life from childhood to the present, with dry wit as well as genuine heartbreak.

Augmented depicts the story of a woman losing her hearing as she reaches adulthood and then getting a cochlear implant. Focus is not on the difficulty of losing hearing but on the massive effects on social exchanges after getting the implant.

Sophie Woolley’s story is a very important one. It teaches of not assuming you understand someone else’s perspective, through her accounts of consultations with surgeons and conversations with loved ones.

Some memorable moments brought about by the implant were a “musical interlude”, where Woolley danced around in total silence for a few minutes before revealing that she enjoyed streaming music directly to her implant; a delightful impression of a surgeon “with a God complex”, which Woolley embodied hilariously, while also bringing to light the issue of deaf people being treated as victims; and the astonishing extent of patronisation she received from hearing people after getting the implant.

Woolley offered some great embodiments of other characters at times but I wish she had taken them further. I never really got to know who these people were. I do believe some moments were slightly misguided, however. Near the beginning, I thought a big part of it was going to be about men being trash, because of an awkward conversation with “Match Boy” near the beginning of their relationship. But this theme didn’t go anywhere, leading me to believe this anecdote was purely for comedic effect. I believe the intention was for things to be working on multiple levels and to jump backwards and forwards through time, but I don’t think they attempted this with enough conviction.

There were captions stating the year we had travelled to, but there was little change in tone and aesthetics, so I got lost in terms of the narrative progression. It is very difficult in a one-woman show to have enough variation to keep the audience interested when you are seeing the same actor in the same place talking to the same people the whole time. This form is great, however, in its potential to enable audiences to become invested in the character, but a clear story is needed for this.

While the story of Augmented was strong, there were things blocking it from achieving the impact it could have. As bizarre as the concluding point – about us all becoming cyborgs – was, it had a beautiful sentiment. It was about finding joy in things that some people might think of as a disadvantage.

The play was similarly powerful through making a point of how people with perfect hearing can be very insensitive, especially in some of Woolley’s anecdotes, like friends going on a spontaneous trip to the seaside that left her sat alone waiting for them to return. This message was so striking because the ablest attitudes that lead to a lack of accommodation of deaf people are seldom discussed. It’s so important that perspectives like Woolley’s are listened to. It is essential that shows like Augmented keep being made so that perspectives that are not often given a voice, like Woolley’s, can reach people and encourage a shift towards a truly inclusive society. It was an honest and generous performance, and one that, with a few tweaks, could have a major impact on its audience.

MANIFF 2020: Traumfabrik

Set in Berlin in 1961, Martin Schreier’s Traumfabrik (Dream Factory) tells a romantic love story set on the backdrop of the Cold War and the separation of East and West Berlin. Unlike most films set in this era, Traumfabrik is light-hearted and entertaining; it has all the glee of a musical, but without the singing.

Not just a classic love story between two people, Traumfabrik is also an ode to cinema. The film is set in the famous Babelsberg Studio, where film extra Emil (Dennis Mojen) falls in love with French actress Milou (Emilia Schüle), who is there shooting a film.

However, following the complete separation of Berlin, Milou returns to France and Emil is unable to contact her. The rest of the film sees Emil attempt to construct a scenario that would bring Milou back to East Germany.

The story is told in a series of flashbacks as an elderly Emil recounts the love story between himself and Milou to his grandson. This gives Schreier a certain amount of liberty with his direction; since the story is a personal account, Schreier is able to offer a more nuanced perspective of the time. Thus, Traumfabrik presents a more human side to the political context.

The humour is slightly forced, but overall it is an enjoyable, feel-good film, that platforms some of Germany’s rising talent in both acting and directing.

 

3/5.

Live Review: Kisstory presents The Blast Off! Tour at Manchester Arena

Kisstory’s The Blast Off! Tour is an arena tour featuring 90s and 00s R’n’B, Garage, and Hip Hop stars — but is it a celebration of old school music, a mission to relaunch the careers of artists, or just a ploy to make money?

The first acts were the UK Garage All-Stars. ‘With a Little Bit of Luck’, DJ Luck & MC Neat got us “through the night”, or at least, to the next act: MC DT, who was entertaining but not memorable.

Sweet Female Attitude brought us ‘Flowers’, along with slightly off-key vocals but an enjoyable performance.

Oxide & Neutrino ‘Bound [us] 4 Da Reload’, before being joined by So Solid Crew bandmates, Lisa Maffia and MC Romeo. They performed Maffia’s ‘All Over’ and Romeo’s ‘Romeo Dunn’, before ending with a performance of a So Solid Crew hit that I wish was ’21 Seconds’ longer.

Ironically, the artist I was most excited for was a) the only headliner whose photo was not on the poster and b) the only one I was disappointed by: Blu Cantrell, who sang tracks including the 2003 single ‘Breathe.

Cantrell’s once-great vocals were ironically at times far too breathy, meanwhile her song ‘Make Me Wanna Scream’ became all-too real. Still, she gave it her all, expressing excitement to be there. I’m certainly still a Blu fan.

She was followed by pop Princess Mýa, whose hits include ‘Case of the Ex (Whatcha Gonna Do)’. She finished with ‘Lady Marmalade’ – her Moulin Rouge! song, though sadly without the track’s original featured artists Christina Aguilera, Lil’ Kim and P!nk. Her look, outfit, vocals and dance-moves were all on-point.

After this, host Fatman Scoop gave in to the audience’s chants and performed ‘Be Faithful’. I guess he’d never heard “love like this before” and could not possibly refuse our plea. He got everyone, not just the “single ladies”, to “make noise”.

Eve blew our minds and had us agreeing that “Eve’s that girl” with her fierce and feisty set. With an outfit completed by gloves, and her hair in a blonde bob, she made sure we knew she was a ‘Rich Girl’.

Salt-N-Pepa (‘Shoop’, ‘Whatta Man’) ‘push[ed] it’ (and boundaries) “real good” with their energetic performance, ‘Talking About Sex’ and defying odds and expectations about what female singers should be like once they hit 50. They and their cohort were dressed in bright red, adding lots of ketchup to Salt-N-Pepa, offering a real mouthful of a performance!

They were joined by the award-winning DJ Cocoa Chanelle, who deserves a special mention; she did some of the best mixing I’ve ever heard. I’m thrilled Salt-N-Pepa gave her the chance to showcase her talent, and even fans of Salt-N-Pepa’s original DJ, Spinderella, will love Chanelle. This set was my favourite of the night.

Shaggy’s (‘Angel’) catchphrase might be ‘It Wasn’t Me’, but if you were to ask who had the most fun and enjoyable set of the night, it certainly was the “very fantastic” Mr. Boombastic. Shaggy is an artist I never knew I wanted to see.

Ending the night was superstar Nelly, who took us on a ride with him, hopping from hit to hit. He made it so ‘Hot in Herre’ that we all wanted to “take off our clothes”.

Some girls did. And threw their underwear onstage. But let’s say no more.

Nelly’s performance of ‘Dilemma’ was especially nostalgic and had me agreeing with Kelly Rowland: “Nelly, I love you, I do”.

The show’s backing vocalists, dancers and DJ’s all deserve praise. Playing the music videos for many of the songs enhanced the nostalgia, and I liked how enlarged videos of the live performances were projected on to the screen above the stage, instead of the screens at the sides of the stage, which can be a real neck-twister to watch!

I was pleasantly surprised by how young the audience was, and Channelle told me directly that they love seeing young people enjoying old school hip hop.

Kisstory certainly blast us off with this performance. I found it superior to the similar (but much cheesier) We Love the 90’s!, which had too many acts and no breaks in between them. Plus, Fatman Scoop made a much better host than Pat Sharp.

To answer my opening question: Kisstory brought back throwbacks who no longer do arena tours on their own and offered a naughty night of nineties and noughties nostalgia – and made lots of well-earned money in the process!

4/5.

Third years have been cheated out of our final year of university

For many final year university students it seems our last year at university has been tragically cut short. Upon hearing the news last week that the Coronavirus pandemic had led to the library closing its doors for the foreseeable future, and with face to face teaching having already been terminated, I and many other students hastily packed our bags and caught the next train home. Feeling optimistic, I packed a small bag containing just a few items of clothing and essentials, with the hopes that I would be able to return to Manchester within a matter of weeks. However, with more and more restrictions being enforced each day, this is seeming increasingly unlikely.

There are many friends that I am now unsure whether I will get to see again and with whom I did not get the chance to say goodbye.

Jade, a third-year maths student from Durham university, said: “Everything happened really quickly with uni closing and then being advised to go home. I feel lots of uncertainty now about online exams and whether I’ll be back to uni for third term.”

Unlike GCSE and A level students, whose exams have been cancelled, university students are expected to march on and continue their studies from home, despite the lack of teaching and access to key learning facilities.

Although bars, pubs, restaurants, gyms and basically everywhere enjoyable being closed does free up a lot of time to study, that time is instead mostly being spent binge watching Netflix in order to forget about the impending apocalypse. And who can blame us? With all of the chaos that’s going on in the world at the moment, it’s hard enough to get out of bed in the morning, never mind write a dissertation.

With the library and all other learning facilities closed, it will be near impossible for me to write a dissertation that I can be proud of and that is a true reflection of my three years at university.

At the time of writing, it is unclear whether our end of year graduation will even take place, and this has, understandably, led to a mass sense of loss of purpose amongst students.

Final year American studies student Nicole, told me: “It’s a really disorientating time to be graduating – I didn’t know what I was doing next anyway, but now I don’t even know when I’ll be able to start a job, or whether one will be available.”

This situation is nobody’s fault of course and I am thankful that I am safe and well and for the fact that I have a family with whom the thought of being stuck in quarantine for an indefinite amount of time does not fill me with complete despair. However, that does not take away from the fact that for final year students, one of the most formative years of our lives has been taken away from us.

What with UCU strikes and the Coronavirus outbreak, for many of us, our final semester at university has consisted of only three weeks of teaching and I feel a great sense of loss at the fact that I will likely never have a lecture at the university ever again. I feel cheated of my third year of university and we should be entitled to some compensation for this loss, whether that be a refund of tuition fees or the opportunity to redo our final year of study.

I say that when all this is over, we wind back the clocks and try to give 2020 another shot.

Will fans of Back to the Future enjoy the musical adaptation?

Great Scott! Robert Zemeckis and Bob Gale have brought the 1985 cult classic, Back to the Future, to the stage. The idea has been in the works for over a decade, the crew have been rehearsing since 2018, and you will see that all their hard work has paid off. Back to the Future is filled with loud laughs, great music and is bound to make you tear up just down to the nostalgia of the whole thing.

Olly Dobson (Marty McFly) and Hugh Coles (George McFly) give stellar performances. The likeness of their characters is so uncanny, you will swear that you are listening along to the film. While Dobson aced the floppy-haired charm of Marty, Coles’ performance as George is as nervous and nerdy as Crispin Glover’s original portrayal –  you can tell both actors have been big fans of the franchise for years.

Now, Tony winner Roger Bart is a face you will recognise, and he graces the stage as the creator of the time machine with style, Doctor Emmett Brown. Filling the shoes of Christopher Lloyd is no small feat, and Bart is easily able to make the role his own. His take on the crazy scientist is somewhat calmer and more controlled, but he’s still our confused, big dreamer Doc – with a great singing voice to match.

Courtney-Mae Briggs brings some real substance to Jennifer Parker, making her the perfect counterpart to Marty and the person who makes him believe in himself. Aiden Cutler’s Biff Tanen is not only hilarious and bumbling but does the original school bully character justice. And Cedric Neal (Goldie Wilson and Marvin Berry) has an amazing voice and is able to steal some outstanding moments with his key lines and belief that he will one day make it to mayor. He likes the sounds of that!

One of the standouts of the original film is the soundtrack and the band and original songs do not disappoint. All of your favourite songs are performed perfectly on stage, and the original songs add a whole new level to the story. The opening score is played at some pivotal moments and submerges the audience back in time to the first time they would’ve seen the film. The musical, set and cast have come together to let us relive our childhoods again.

So head on down to Hill Valley. It’s only here for 12 weeks so only, so make a like a tree and get your tickets ASAP!

Back to the Future was supposed to run at the Opera House in Manchester until 17th May, but it seems unlikely that this crisis will have ended by then. SeatPlan have wisely created a page about the anticipated West End transfer.

Review: Back to the Future The Musical

Ana Maria Ortiz

Wait A Minute… Are you telling me they made a musical… out of a pop culture phenomenon?

For those of you who did not know, Back to The Future has indeed been turned into a musical 30 years after the original was released. I know, I know, as Marty would say, “this is heavy”.

The 1985 movie is nothing short of a cultural reset, as the kids say these days, and the sole mention of attempting to even retell this story feels dangerous. We have had our share of badly made remakes in the past few years, so it’s understandable to feel apprehensive.

I didn’t grow up with the movies, but even I knew the burden that the creative team, and the company in general, had keeping its legacy alive. They are dealing with a timeless story, beloved characters, untouchable one-liners and giant shoes to fill. However, if you, like millions around the world, are die-hard fan, rest assured… the beloved film is being transported to stage by its original creative team, Bob Gale and Robert Zemeckis. And it’s mind-blowing!

Now, let’s talk about the set. Brilliant. That’s it. This is the epitome of honouring a film’s original design and at the same time managing to create a futuristic, innovative stage. From the lighting choices to the illusions and sound orchestrations, everything tied together to make the set unbelievably accurate, fun and thrilling. Yes, it does what any good set is supposed to, transport you to wherever the musical is taking place. However, what I found ground-breaking was how immersive the experience was.

I think a highlight for all of us (based on sheer reactions) was the DeLorean. We are talking about one of the most iconic artefacts of sci-fi culture, and it did not disappoint. Truly, it puts Miss Saigon’s helicopter and Phantom’s chandelier to shame. I would go back just to watch Marty drive the DeLorean – at exactly 88 mph – in the middle of the stage, because – Great Scott! – it is truly an experience beyond words.

 

Photo: Sean Ebsworth Barnes.

 

Alana Cook

Beloved movie trilogy Back to the Future, starring Michael J. Fox as the iconic free spirit Marty McFly every 80s teenager wanted to be, the lovable and eccentric ‘Doc’ played by Christopher Lloyd, and Marty’s goofy dad George played by Crispin Glover, were effortlessly brought to life in the stage version by Olly Dobson (Marty), Roger Bart (Doc) and Hugh Coles (George).

The physicality, in particular, of Coles was so spot-on that I truly believed Crispin Glover had stepped out of the original film and onto the stage of the Palace Theatre. A truly outstanding performance.

Bart smashed his role as Doc, really playing up the comedy, in particular, and providing some of the biggest laughs of the night, especially with his interpretation of running up the stairs.

Dobson must also be given huge credit for his fantastic ability at being able to nail the vocal high-pitched cracks – ‘you built a time machine…out of a DeLorean?!’ – made famous by Fox in the original.

A true ode to the original film, this show oozes nostalgia. The combination of these outstanding acting performances and the awe-inspiring set and technical effects (my jaw dropped on more than one occasion) make this show one not to be missed and one to surely go down in the history books of masterful musicals. This show really is “heavy”, that is with the amount of sheer talent, breathtaking technical effects and joy that it displays.

 

Photo: Sean Ebsworth Barnes.

 

Jay Darcy

Great Scott! Well that was the heaviest musical I’ve ever seen.

I did not grow up watching the Back to the Future trilogy, though I recognised their iconic status, and when it was announced that the film was being turned into a musical, I knew I had to see it.

I started doing press for this musical in October; Ana and I attended the press launch event at Albert Hall, where we were treated to a few performances and got to do a few interviews.  I also attended a press junket at The Ivy in February, before the musical opened. I’ve interviewed some of the musical’s cast and creative team, the latter which includes 6 x Grammy winner Glen Ballard, 2 x Grammy and 2 x Emmy winner Alan Silvestri, and the writer of the original film, Bob Gale – who I’ve interviewed twice!

So, I obviously had high expectations.

Well, the musical exceeded them all! Back to the Future is probably the best theatrical experience ever. As soon as you enter the auditorium it is lit up with neon lights and, as Ana mentioned, the DeLorean scene is mind-blowing. How did they do that?!

Spoiler; if you’ve seen Aladdin and Jasmine fly on the magic carpet in the musical adaptation of Aladdin or Mary Poppins flying with her umbrella in the stage adaptation of Mary Poppins, expect to be mind-blown once again. I imagine the same (unknown) theatre technology is used. Truly, an electrifying and exhilarating experience.

As Alana mentioned, the cast, which included Tony winner Roger Bart, was fantastic. Ana and I had the pleasure of meeting Bart briefly. Whilst I’ve seen him in many different films and TV shows, I know him best from my favourite TV show, Desperate Housewives, whilst Ana knows him from Hercules (sorry, not sorry).

Bob Gale, Robert Zemeckis, Alan Silvestri and Glen Ballard joined the cast for the press night curtain call – I hope Michael J. Fox is there for the West End premiere, as Bob Gale told me they hope to get him down for it!

At the press events, Producer Colin Ingram said that the plan is for the musical to head to the West End and then the rest of the world, but there is little information on this. Especially now that theatres have been shut down because of the coronavirus crisis.

Fortunately, SeatPlan have wisely created a page about the anticipated West End transfer.

SeatPlan is a great website which I use to decide where to sit in theatres; you can find loads of reviews about different seats and whether theatregoers recommend them or not. There’s even photos! Wherever the musical transfers to in London, SeatPlan will make sure you know which seats are the best and which to avoid.

Back to the Future was supposed to run at the Opera House in Manchester until 17th May, but it seems unlikely that this crisis will have ended by then. We are so glad we got to see the show before it was forced shut shortly after it opened, and we cannot wait for it to be back in the future!

MANIFF 2020: Requiem for a Dream

In his 1978 novel Requiem for a Dream, Hubert Selby Jr. paints a desolate picture of the lives of four addicts in New York.

In his cinematic adaption, Darren Aronofsky brings the story to life in a manner which is at once visceral, disturbing, tender and heart-rending. Showing at the Manchester Film Festival as part of a collection of films turning twenty years old this year, the film feels as compelling today as it ever has.

Requiem for a Dream intertwines the stories of heroin addicts Harry Goldfarb (Jared Leto), Marion Silver (Jennifer Connelly) and Tyrone Love (Marlon Wayans) with that of Harry’s mother Sara Goldfarb (Ellen Burstyn), who develops an addiction to diet pills.

Aronofsky highlights the shared feelings of loss and isolation that drive each character to addiction and centres these similarities. In his performance as Harry, Leto’s transition from vibrant and optimistic to irritable and apathetic captures the actor at his youthful best, but it’s Burstyn as Sara who provides the film with its most poignant and powerful moments.

Owing to Aronofsky’s extensive use of fast cutting, split screen images and so-called “hip-hop montages” the film possesses a distinct visual style. Clint Mansell’s unique score literalises the metaphor of the film’s title and together they create a propulsive momentum that drives the film throughout. As the narrative progresses and the characters fall deeper into their spiral of addiction, the feeling of despair is inescapable.

5/5.

MANIFF 2020: Oh, Sorry

Anyone who has ever felt alone and helpless will gravitate towards Oh, Sorry. A story of a young woman, Carly (Madeleine Coghlan), trying to navigate mourning and looking for comfort in her younger brother and then with strangers, only to eventually be forced to confront her denial.

Through a spontaneous night out, Carly attempts to find solace by befriending, dancing, and kissing a stranger, only to feel nothing and begin to re-evaluate her life. Written by Coghlan, and directed by Justin Giddings and Ryan Welsh, the story beautifully captures the feeling of heartbreak and pursuing acceptance.

As someone who has never fully grieved before, this short depicted what I envision that process would be like – messy and complicated. Coghlan’s character, paints a dynamic depiction of loneliness, with moments of it being suppressed.

A scene with Coghlan loudly listening to music and dancing, while chaotically making pancakes, only to be followed by a scene of her desperately craving time with her brother, perfectly captures her attempt at balancing her life.

Her younger brother Sam, played by It and Netflix’s I Am Not Okay With This star Wyatt Oleff, acts as a counterweight to Carly’s mourning showing the complex ways a person processes grief, and the pressure of emotionally supporting others through it.

From a cinematography standpoint, the scenes have incredible lighting, and visually represents what Carly’s mind feels like in the moment. The film encapsulates the wondrous feeling of being adventurous and dancing with a stranger with bright colors, yet also the need for an Uber driver to shut up while you cry and have an emotional breakdown in their car.

Within fifteen minutes, a full world of depth was presented, one which was eloquently written, performed, and captured.

MANIFF 2020: Amores perros

It’s 20 years since Alejandro González Iñárritu directed Amores perros, but its themes are just as potent today. Set in Mexico City, Amores perros is comprised of three separate stories that come into contact with one another as the result of a car crash.

The first story is that of Octavio (Gael García Bernal), a young man living in one of Mexico City’s working-class neighbourhoods. Desperately in love with his brother’s wife Susana (Vanessa Bauche), Octavio gets involved in the city’s underground dogfighting scene in an attempt to gather enough money to run away with Susana.

This provides a stark contrast to the second story, which depicts the cushy upper-class lives of a Daniel (Álvaro Guerrero) and his Spanish supermodel girlfriend Valeria (Goya Toledo). Lastly, and even more distinguished, is El Chivo (Emilio Echevarría), a hitman living in squalor in the outskirts of Mexico City with his pack of rescued stray dogs.

Had it not been for the car crash, the lives of the aforementioned characters would never have crossed paths. In illustrating this separation of people all living within the same city, Iñárritu highlights the extreme class and wealth divisions within Mexico City; divisions that are still present today.

However, something that links all the characters are dogs; throughout the film dogs are used to aid Iñárritu’s criticism of animal cruelty, violence and machismo.

In a scene that captures the central message of the film, El Chivo returns home to find that one of his dogs, Cofi, who had been used for dogfighting, has killed all the other dogs. He is about to shoot him, but stops himself, deciding that Cofi’s aggression is a result of the cruel way humans have treated him and the violence that has been conditioned into him.

4/5.