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Month: May 2022

In conversation with The Defendant and The Law in 60 Seconds

On May 14 legal charity The Defendant, in collaboration with The Law in 60 Seconds, hosted the UK’s first public legal education conference at the University of Manchester.

I spoke with Liam Allan and Christian Weaver, the founders of The Defendant and The Law in 60 Seconds respectively, to find out more about who they are as organisations, why legal education is so important and what this conference was all about.

The Defendant is a legal charity that provides defendants with “practical and emotional support” during every step of the legal process. Liam co-founded the charity in the middle of the pandemic in response to being falsely accused of a crime, namely sexual assault. Having to grapple with his mental health while on bail, Liam was eventually charged and his case went to trial. He was proved innocent when text messages confirming the falsity of the charges came to light.

Despite the positive outcome of his trial, the all too real experience of the power imbalances at play once you’re accused of a crime “made him realise how isolating it can be” for defendants who find themselves in such a situation. Since then, he has made it his mission to stand up for those in the same situation, who he found were not given enough support navigating the Criminal Justice System, through the charity and public education.

The support offered to defendants is mainly practical via a helpline, but there are ample resources on the Defendant website including fact sheets and flow charts “dedicated to explaining the complex criminal justice system”. You can click on what stage you are currently at and “it will guide you through what you can expect”.

This is not all though. They are not only “always thinking of new ways to support defendants”, but the general public too. There is a “raw emotion within the organisation” that “fuels the passion, desire, determination to keep making progress even though we are really busy”, and the conference is the latest example of the association’s educational efforts, and is “all about giving attendees a working knowledge of their everyday rights”.

The conference is based on Christian Weaver’s bestselling book The Law in 60 Seconds. There was a number of speakers including “QCs, leaders of charities and really respected barristers in their own right” and workshops covering 13 different legal areas.

Amongst those speaking were “very eminent QC” Mark George and Mira Hammad,  who has “represented protestors ranging from Palestine action to Extinction Rebellion”, and a “wide variety of other experts”. Trainees also spoke, who are “half in the real world and half in the legal world” and so could answer questions that perhaps more “established lawyers might struggle to”.

Christian is a trustee of The Defendant, the founder of The Law in 60 Seconds and author of the best-selling book of the same name. Something very close to Christian’s heart is “offering representation to those who do not hold the balance of power in situations” and “trying to stop abuses of power”. When he isn’t dividing his time between contributing to The Defendant and writing best-selling books to educate the public, Christian works as a barrister at Garden Court North where he witnesses imbalances of power daily.

Christian discussed an example of this injustice. He worked on a case with an individual who didn’t really speak English and as a result was ill-equipped to deal with the challenges of being accused of a crime. The client thought his car was being insured because payments were leaving his account every month, but the agency the payments were going to was fraudulent. When the client got pulled over by the police, he was clearly uninsured. He was so scared he would lose his licence because he had a disabled daughter, and he could lose his job. Christian found this case particularly difficult because the client’s “lack of English was being taken advantage of and exploited”.

It is this kind of imbalance of power and exploitation that Christian and Liam aim to tackle through the charity, Christian’s book, and events like this conference. It’s very important to Christian that after so much time, money and effort spent becoming a barrister, he invests his time into something he feels “currently not enough time and effort from lawyers” is being invested and tries to tackle this through educating the public as much as he can on their legal rights.

As Liam’s experience shows, it is all vital knowledge. You never know when you might find yourself the defendant, or at the very least on the wrong end of an imbalance of power.

The ‘Your rights when renting’ section of the conference was particularly helpful to students, given that the amount of times we have been taken advantage of by landlords and estate agents is too high to keep track of. The ‘Protest and police interactions’ segment is also increasingly relevant given the government’s recent attempts at curtailing protestors’ rights with Priti Patel’s new policing bill.

With our futures uncertain and rights ambiguous, events like this can provide a stepping stone to making headway through the unknown. Knowing your rights is not only the first step to protecting yourself from an imbalance of power, but can help you become a  “better partner, loved-one, friend and sibling” by attending the conference and learning “to identify abusive power [and] to change abuses of power where they arise”.

Check out the event page for more details, and look out for The Defendant’s next events on their website.

Review: Chicago

Sex, murder, and all that jazzChicago is not only one of the biggest musicals of all time, it’s also one of the raunchiest, the funniest, and the bestest.

Based on the play of the same name, written by reporter Maurine Dallas Watkins about actual crimes she reported on, Chicago tells the sensational and salacious tale of two fame-hungry criminals who weaponise their celebrity to evade justice, escape prison, and achieve stardom.

I first saw the musical back in 2016, after previously seeing the film adaptation. Whilst the film is a visual feast – a celebration of colour that puts the grandeur into Roxie’s delusions of grandeur – the stage adaptation is very simple. There is no set, save for two ladders and a few props. Instead, the actors – dressed exclusively in black and white – perform at the front of the stage, with the incredible orchestra on tiered seating at the back of the stage.

It’s a nice change having the orchestra onstage, but the sacrifice is no elaborate set – like the ones you see in, well, every big musical. There is something refreshing (subversive, even, given the themes of the musical) about Chicago‘s simplicity. Its brilliance is arguably in its simplicity. The lack of a set puts the spotlight (literally) on the actors and draws your focus on to their sultry moves and tremendous dancing; you simply cannot be distracted by anything else.

The lack of set does become a tiny bit tiresome. You’re basically just watching one performance after another – with a few bits of dialogue – with nothing that interesting going on in the background. I’m not criticising the creative decision – for the most part, I think it works brilliantly – but it does have a (small) downside.

That said, I think the movie does it better – with a dull, grey palette for the “real” scenes and an explosion of colour for the musical numbers. The musical numbers all take place in Roxie’s mind – obsessed with showbusiness and eager to get out of prison, she imagines the other characters performing onstage.

The best part about the stage musical is, of course, the dancing – choreographed by none other than Bob Fosse. It speaks for itself.

The cast was faultless. Faye Brookes (Coronation Street, Dancing On Ice – runner-up) was fantastic as Roxie. She brought a devilish sass to the role. I definitely preferred her portrayal over her Corrie co-star Hayley Tamaddon’s take on the role – her Roxie was so annoying that she was verging on unlikeable.

Sheila Ferguson – best known for being the former lead singer of the Three Degrees but also known for her many TV appearances, including I’m a Celeb – played Matron “Mama” Morton. I love the Three Degrees and had been so excited to see Ferguson in White Christmas before she dropped out – so it was fantastic finally seeing her onstage! She might be in her 70s, but the soul sensation still has a delightful voice.

Whilst Djalenga Scott (Trapped) usually plays Velma – not the musical’s main character but certainly its “star” – we had the marvellous Michelle Andrews. (Note: the article’s featured image features Scott alongside Brookes).

In most cities, male lead Billy Flynn is played by a celebrity. The tour is currently in between two celebrities, though, so ensemble member Liam Marcellino played Flynn. All I can say – when you’ve got Marcellino, who needs a celebrity?!

Jamie Baughan was excellent as the loveable, pathetic Amos, and B.E. Wong was superb as Mary Sunshine, with all of her hilarious harmonies – and that hilarious revelation!

The most marvellous monochrome musical you’ll ever see, you simply must get yourself a ticket – it would be criminal to miss it! Then again, is that so bad? Who says that murder’s not an art?

Chicago plays at Manchester Opera House from 23rd until 28th May, before continuing its UK tour until July. Manchester is Ferguson’s last stop on the tour – and after only the first night, she told me that she thanks Manchester for humbling her in her last week of this amazing musical.

Whilst Gemma Collins was supposed to be taking over the role of Mama in a few days time, she has just pulled out of the tour. Colour me shocked.

UoM to give students more choice over remote study in provisional flexible learning plan

UoM has unveiled a provisional plan for the future of its flexible learning programme, giving students greater choice over whether to study remotely or in-person.

The plans, which will go to the University’s senate in October 2022, also include greater choice for part-time study, open access course and stackable degrees. The move comes in an effort to make higher education more accessible.

Plans for lifelong learning have been included as well as an increased transnational and interdisciplinary offer.

Whilst the plan outlines its key commitments, it is stated that the strategy is not yet complete and is still developing.

The report was informed by 30 workshops involving both students and staff as well as local meetings and an online open feedback form with more than 4000 comments were collected in the process.

The plan also includes an outline of commitments to enhancing its use of technology by working the Digital Learning Service, aiding in learning digital skills and ensuring students have access to software and hardware needed for degrees.

The report is available in full online here.

Teenager murders 19 children in Texas School Shooting

The USA made international headlines on Tuesday, 24th May. An incident of gun violence has taken place in a Texan elementary school.

An 18-year-old gunman entered Robb Elementary School just before lunch recess on the school’s last day before the summer break. The gunman entered the school at 11:23 am with a handgun and possibly a rifle.

Reports stated that 19 children and two teachers have been killed. This makes the shooting the second deadliest school shooting since Sandy Hook in 2012, overtaking the Parkland shooting in 2017. To put it into perspective, more than a whole class of children were shot on Tuesday,  according to average Texas class sizes.

The ages of the victims are yet to be confirmed. The Elementary school usually provides education to children between the ages of five and eleven. Hence, the victims would likely be very young.

According to NPR, this is America’s 27th school shooting in 2022. This is an average of more than five shootings a month.

The motives for the mass shooting are unknown. The gunman’s identity is yet to be made public. However, the gunman has been shot down by police.

President Biden has ordered that all US flags at home and abroad be flown at half-mast “as a mark of respect for the victims of the senseless acts of violence,”

The demands for policy change have already begun to sweep the nation once again. The Nation Parents Union said that children need “more than thoughts and prayers,” in response to the high rates of school shootings in America.

We spoke to a UoM student from the US to learn about their experiences with school shootings in the US. In an interview they said, “From the age of six,  it was known that school was never 100% safe from attack. ‘Shooter drills’ were just common practice. We learned how to barricade the doors with our chairs and desks, turn off the lights and pull the shades, and shuffle to a corner of the room and sit in silence.”

When asked about the state of gun control in the US, they replied, “It is adamant the US government takes a look at the 27 tragedies that have happened in the 20 weeks since the start of 2022 and decide that the deaths of innocent civilians are not worth the ideology of gun freedom.”

For live updates, click here.

Doctor Who finds it’s newest Time Lord

If you’re a Doctor Who fan, the past two weeks have been Christmas, your birthday and Easter all rolled into one. With returning actors and new cast members, we’ve barely had time to breathe. Probably the biggest news of all is news surrounding our favourite alien; 29-year-old Ncuti Gatwa is set to play the next incarnation of the Doctor.

The announcement was strangely quiet, leading some to suspect that the BBC was trying to get ahead of a leak. In contrast to Jodie Whittaker interrupting Wimbledon to pick up her TARDIS key and Peter Capaldi’s bombastic extravaganza, Gatwa hinted at the announcement with a coded Instagram post before the Doctor Who Twitter announced it fully last Sunday. The lack of fanfare felt puzzling to fans. But true to form, they gave Gatwa the reception he deserves.

Gatwa admittedly was not who fans expected to take on the role. Fans speculated that T’Nia Miller was next to pilot the TARDIS. As usual, Richard Ayoade topped many wish lists. But once they announced Gatwa, the verdict was, “well, of course, who else would it be?”. He is currently most well-known for his role in Netflix’s teen series Sex Education, playing the iconic, confident and effortlessly funny Eric Effignong.

Sex Education (the TV show, not the gruelling process at high school) is primarily a comedy, and Gatwa has proved himself to be a master of making audiences laugh. However, he’s also had more heavy storylines over his three years at Moordale. Series two sees his character being the victim of a homophobic attack and his journey of rediscovery in the aftermath. In these moments of vulnerability, courage, and power, he shines, and we see the seeds of the Doctor.

On one hand, Eric could not be more different from the Doctor (a 17-year-old schoolboy versus a thousand-year-old two-hearted alien). However, his performance in the show proves he has some serious talent. He is brimming with Time Lord potential.

My personal hope is that if he takes one thing from Sex Education over to Doctor Who, it’s the colourful outfits. Because if you’re going to save the world, why not do it in style?

Previous Doctors have welcomed Gatwa with open arms, from Peter Capaldi congratulating him on STV News to Sylvester McCoy’s absolutely adorable video. One of the best parts of getting a new Doctor is seeing the old Doctors’ messages to their successors. It reminds me how remarkable this show is, still beloved almost 60 years after the first episode. Doctor Who is more than a show, and it is an honour to watch it be passed on. 

Now, whether we can call Gatwa the first black Doctor is… well, it’s complicated. You might remember that back in series 12, we met the Ruth Doctor, played by Jo Martin. Ruth was an incarnation we’d never seen before, and she had no memory of being the Thirteenth Doctor. In that series’ finale, we learned the Ruth Doctor predates even the first Doctor as one of potentially hundreds of incarnations that came before. So, technically, Gatwa is not the first black Doctor. However, he is the first black actor to lead the series as the Doctor.

Plus, I’m completely fine with pretending the Timeless Child twist didn’t happen. But that’s another article for another time.

Predictably and frustratingly, the news has been met with backlash. In one corner you have outright racists complaining that the show has “gone political”. And in the other are the subtle ones who “were just hoping for another woman”. As if white women are the only people under-represented in media.

Apparently, a box that’s bigger on the inside and travels anywhere in time and space and an alien with two hearts who changes his entire body is perfectly believable. As long as he is a white alien driving the space-time machine.

As for the “woke” comments, there is a whole list of episodes that tackled political issues. The Pertwee and Capaldi eras are particularly politically-charged. The Daleks are a Nazi allegory, for crying out loud. Frankly, the time for a black Doctor is overdue. 

Thankfully, the overwhelming amounts of support and excitement drown out the negativity. Fans are eager to see the show expand the possibilities of who can play the Doctor. A black man playing one of the most iconic science-fiction heroes, the great peacemaker of the universe, is one of the most exciting things to happen on TV in a while.

As a white woman, I can’t imagine exactly how this feels. But I do know how I felt watching Jodie Whittaker as the Doctor. I understand how incredibly important representation is. Anyone can be a Time Lord now, and the inside of the TARDIS has never felt bigger. 

It will be interesting to see if the show will address the Doctor changing race. After all, the show didn’t ignore the Doctor becoming a woman. Whittaker got some fun one-liners about her “gender upgrade”, as she called it and occasionally forgot how to refer to herself. However, none of this went beyond the surface level “girl power” moments.

It often felt like the writing team avoided mining any depth from the Doctor changing gender to avoid being controversial. But risks are what Doctor Who is all about.

Until now, Doctor Who‘s handling of racism has ranged from middling to poor since it came back in 2005. I could write a whole other article about the unfair treatment of Martha Jones. One moment that sticks out is when she worries someone will cart her off as a slave in 1599, and the Doctor replies “just walk about like you own the place”. The same series has Martha trapped in 1913 and subjected to period-typical racism while she works as a maid.

There have certainly been strides to fix this. Capaldi’s Doctor remarks that “history is a whitewash” when Bill remarks that Victorian London is more diverse than she thought. Whittaker’s third adventure saw the Doctor and Co. meeting Rosa Parks. The attempts might be in good faith, but they failed to give the issue the necessary weight.

I’m not asking for an anti-racism PSA in my show about aliens. Nor do I want someone racially harassing the Doctor and companion every episode. But I don’t want the show to pretend a black man travelling back to the Elizabethan era is the same as when David Tennant did either. Hopefully, returning showrunner Russell T Davies will step up the challenge and, crucially, hire black writers. 

Aside from these concerns, it’s an incredibly exciting time for Doctor Who fans. Ncuti’s immense charisma, talent and charm make him a perfect choice to be this generation’s hero. Coupled with Russell T Davies coming back as the series’ head writer and Heartstopper‘s amazing Yasmin Finney as a new companion, we could well be heading into a new golden era of Doctor Who.

We are in an era that doesn’t place restrictions on who gets to travel the universe and save planets. All you need is a sense of adventure and to be ready to run.

Gatwa is, of course, beside himself to be taking on the role. When speaking about his casting, he said, “I may only have one heart, but I am giving it all to this show”. And as a lifelong Doctor Who fan, I couldn’t ask for anything more. 

Navigate the North by train

Continuing our mini-series on UK student travel, we explore the North by Train. For anyone looking for a quick Manc escape, this is the guide for you. Find picturesque affordable getaways and day trips only a short train ride away!

York

We have to start the list with York, which one of the best destinations for a mini-break in the country. York combines rich history with coffee culture and independent venues. There’s enough to see/do here for either a day trip or a longer visit.

Photo: Clifford’s Tower by Annabel Benton @ The Mancunion

Our top recommendations would be to walk or cruise along the River Ouse, stroll through historic streets such as the Shambles, and picnic in the pretty Museum Gardens. There are of course landmarks to explore like Clifford’s Tower and York Minster – which boasts the largest stain glass window in Europe.

Additionally, there are plenty of ways to see the city, ranging from bus tours, boat rides and the newly launched electric scooters. I’m too scared to try one but I’m sure it’d be a fun way to speed through the sights!

York also has excellent spots for evenings out. As a native Yorkie, I recommend Spark, an outdoor venue comprised of independent food and drink outlets in shipping containers (think Manchester’s Hatch). There are also plenty of bars lining the River Ouse, as well as a great selection of restaurants in the city centre.

One final activity would be a walk along the historic city walls, even if it’s just one section. The walls not only give you an insight into York history, but they offer great views of the city, comprising some of York’s oldest architecture.

Leeds

Although not thought of when thinking of the beautiful Northern destinations, Leeds needs to make the list purely for its vibrant culture.

Start your day shopping in the Victoria Quarter’s Arcades or the independent shops of the Corn Exchange. In the afternoon, picnic in Roundhay Park and grab your fix of culture in Hyde Park Picture House, one of the UK’s oldest cinemas.

Leeds equally has a bustling nightlife, so the trip would be perfect for students wanting a change from drinks in Squirrels or a night out at 42s. There’s almost 30 nightclubs to choose from, as well as plenty alternative nights out such as live music and quirky bars. If you’re going for a night of drinking, the famous Otley Run is popular with students in the city – fancy dress is a must.

If you don’t mind a train connection, I’d also thoroughly recommend a visit to either Harrogate or Knaresborough from Leeds. Both are picturesque and can be explored in under a day, with beautiful green spaces for relaxing and plenty of cafés for lunch.

Chester

Photo: Chester shot by Rachel Hannah @ Unsplash

Despite being on the border of Wales, Chester is a similar size to York and offers a similar picture of historical landmarks within a walled city. Once again each street represents its historic path, with Cathedrals and medieval walls lining the city.

Chester has a lot of hidden gems stemming from its past. When I visited, I found lots of cute cafes and old-fashioned bookshops within the city walls themselves, so be sure to check them out. Boat tours are also available on the River Dee for an alternative angle.

For more attractions, stroll along the Historic Chester Rows and the nearby Roman Amphitheatre. Further out of the city is Chester Zoo, one of the largest zoos in the country and something not currently offered in Manchester. Animals in the zoo range from cheetahs and flamingos to meerkats and frogs, so certainly something different from the day-to-day of student life.

Hebden Bridge

This hidden gem is nestled between Manchester and Leeds and is a lovely example of a Northern village. The village is known for being an artistic hub, which is certainly evident in its independent shops, historic cinema and the market which springs up four days a week. You could even plan to visit specifically for either of the annual Hebden Bridge Art Festival or Handmade Parade, which take place in April and June respectively.

There’s also amenities such as pubs and a nice Rochdale Canal walk, yet the town is small so would probably only warrant a day trip rather than a longer getaway. However, if you do have the extra time, a walk to the nearby village Heptonstall is a good addition. Its churchyard is the burial place of American poet Sylvia Plath, and the climb also rewards visitors with views of the Pennines.

Liverpool

Photo: Albert Docks, shot by Mark Stuckey @ Unsplash

Another Northern City makes the list, and Liverpool is a popular day-trip destination with Mancunians for a reason. The city certainly has soul, and can you can get a return train from Manchester for as little as £4. The low cost of the trip leaves plenty of spare money for taking in some of the sights or grabbing some cocktails.

The hub of the city can be found around the Royal Albert Dock, where you’ll find Tate Liverpool and the Maritime Museum. The waterfront itself is well worth a visit for the river Mersey and the famous buildings lining its banks – you can enjoy for £11 via a boat cruise. There’s of course also the history of the Beatles to explore, and this can be done by a visit to either (or both) of the Beatles Museum or the Beatles Experience. There’s plenty of references to the Fab Four around the streets of Liverpool, with the riverside statue making the perfect photo opportunity.

Windermere

The final destination on the list takes us to a more rural setting, more specifically to the stunning Lake District. Windermere shares its name with the largest lake in the National Park, meaning there’s plenty of opportunity for water sport activities. For example, you can take a lake cruise to really soak in the scenery, or get more active with kayaking, boat hire and even sailing courses. Local activity centres offer everything from the water sports to tree-top climbing and bike hires, so you really are sorted for an alternative to city breaks.

The town is a good base for exploring more of the local area, and taking a trip to nearby Ambleside for a visit to Beatrix Potter’s house would make a quaint day out. There’s also impressive hiking opportunities for those who like something outdoorsy, and I’d recommend the climb – the views were panoramic when I visited. However, the landscape can equally be viewed by taking the steam train which runs between Haverthwaite Village and Lakeside Pier on the lake itself, with any good day out in the countryside finished off by a visit to the pub.

Fight in University of Manchester library caught on camera

Footage is circulating of what appears to be a fight between a student and older man at the University of Manchester Main Library at around 12:30pm today.

The video, which was taken by a student who was studying at the time, shows two men in what seems to be a heated argument which appears to turn physical, with the man pushing the student. Eye-witnesses have told The Mancunion that, prior to the events of the video, two men entered the room arguing and, following the end of the footage, allegedly began to ‘grapple and swing at each other’, before others intervened.

The Mancunion’s Film Editor, Benjy Klauber-Griffiths, was present on the Blue 3 floor of the Main Library where the fight took place. He told The Mancunion that he was studying when, “these two guys came in shouting. Everyone was kind of baffled but expected it to be over in a second.”

Benjy explains that he “couldn’t quite tell” what caused the disagreement but, following the events of the video, the two moved towards the doors and allegedly, “started grappling and swung at each other, then a couple of students intervened.” Multiple other students allegedly, “pushed the older guy away, who then left through the doors and then the younger guy walked off pretty quickly.”

Although it was difficult for witnesses to discern the cause of the argument, sources have told  The Mancunion that the disagreement appears to have been triggered by someone moving items in the library.

A University of Manchester spokesperson said: “We were shocked to see footage of this incident. We are dealing with it as a matter of urgency. The student received immediate support from Library staff and has been offered additional sources of welfare and support.”

This is a breaking news story. More information will follow soon.

 

Agony Aunt Angela: Beyond burnt out with no help

“I’ve had a terrible past few months with getting my room broken into, phone stolen and other really stressful experiences. On top of that, there’s the amount of uni work I have…

I’ve seemed to have reached a new burnout level. I don’t do self-care, break days or vacations. Nothing seems to be able to get me out of this funk! Any advice would be appreciated.”

When I was in my youth (many decades ago), I experienced the exact same thing. Everything feels like it’s falling on top of you; swallowing you whole. It’s horrible, but there are ways to overcome it.

Firstly, confide in people. Vent, cry, ramble … just shift the silent weight off your shoulders. Do it with people you’re comfortable with, and not just some underpaid bartender or tinder date.

Boy/girlfriends, housemates, therapists, uni advisors, and close friends are great candidates for this. Undoubtedly they’ll offer advice whether you want it or not, but the main aim here is to just lighten the burden you feel. It also means you know you’re supported and not facing anything alone.

If you don’t feel like wailing to friends with a bottle of wine, channel your inner Karen. By that I mean do some low-intensity exercise. Zumba, dance fit, yoga, pilates – anything you can imagine your mum doing. Low-intensity workouts loosen muscles you don’t realise are bunched up.

For me when I’m stressed, my shoulders will be hunched up all day. It’s not until I do some yoga before bed that I’m able to reset that, helping me ease some of the stress I’ve been carrying.

There are tonnes of classes out there that you can go to to work out. Ladybarn and Withington have a few, and so does UoM. Throughout the exam season the yoga society and the SU is putting on events around campus. They’re an hour long, meaning you can take a study break without feeling like you’re wasting time.

Alternatively, do it in your room at a time that suits you. When I’ve been hunched over knitting for a long time, I’ll do a quick sesh to feel better. There are loads of stretches on Instagram and TikTok that work wonders.

A less Karen-y move is making a timetable. Yes, everyone suggests this, but tailor it to work for you. Make one online, or design/draw one yourself. Write down what needs to be done and by when, and slowly plan out your week.

Each day is like a to-do list, with small approachable tasks. Not every hour needs to be filled (allowing for flexibility), but it means you know what you’re day will look like. You can use it as an opportunity mix up where you’re going to study. Maybe check out the Lime Cafe or the computer cluster in Uni.

Schedule in time for dinner, and what you’re going to make, with only an hour of study after. By 9pm, the night is yours. No ifs, no buts.

Finally, create your own self care. Self care is portrayed as sheet masks and candles online, which is just a capitalist approach to get you to buy quick fixes. My self care includes TV shows (currently The Walking Dead), taking the stairs instead of the lift (gotta get them steps!), FaceTiming my mum, and eating fruit. Easy enjoyable distractions which don’t involve buying anything.

Overall though I think you need to remember the end is in sight. The burnout you feel isn’t forever. Emotions are temporary and forever changing, and always striving for tranquil happiness is unrealistic. When you feel overwhelmed and stuck in a funk, take a step back momentarily. There’s always help available when you need it.

 

Kisses,

Aunt Angela x

Need some advice? Send in your mishaps and worries here!

Manchester Opera House gets it wrong

Mischief’s The Play That Goes Wrong, now in its eighth year in the West End, is embarking on its fifth UK tour.

To mark the its 10 year anniversary, the original cast of the play (as well as its TV adaptation, BBC One’s The Goes Wrong Show) are back on stage. They will only be starring in the tour for two weeks – including a week in Manchester!

The play follows the Cornley Drama Society putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! The accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences.

Given 5 stars from The Daily Mail, called a ‘Gut-busting hit’ by the New York Times, and with celebrity endorsements from the likes of Ant and Dec as the ‘funniest show we’ve seen! If you can get a ticket go’, what are you waiting for?

Guaranteed to leave you aching with laughter, don’t miss this brilliantly funny comedy starring the original West End and Broadway cast, as seen on stage and screen!

The Play That Goes Wrong plays at Manchester Opera House from 30th May until 4th June, before playing at Theatre Royal Newcastle from 6th until 11th June. The tour cast then return for the remainder of the UK tour, which runs until August.

Please note, the full cast will not perform all dates. Charlie Russell performs Monday, Friday and Saturday evening performances, whilst Nancy Zamit will not perform on Friday 3rd June, and Henry Shields will not perform on Thursday 9th Jun (2PM matinee)

Déjà Review: The Ballad of Maria Marten

In the summer of 1827, a young woman’s body was found in a Suffolk barn. Known as the Red Barn Murder, Maria Marten’s death received more attention than expected at the time.

Hal Chambers and Beth Flintoff’s exceptional retelling of the event gives life to Maria’s story, characterising her beyond her murder.

We know the tragic outcome, so this is not a conventional tragedy. We know who dies and we know who does it. The play begins with a dead Maria, bloody and battered, addressing the morbid truth that “it’s been a year since I died”. This allows the rest of the play to focus on her life.

We then enter the vibrancy of her life as the actors sing their ballad to Maria Marten’s life, lacing its narrative with songs that reinforce the strong female companionship we see on stage, their notes carrying the characters’ joy, pain, loss, and hardship.

We get an insight not only into 1820s Suffolk life but, more importantly, 1820 Suffolk life for a woman.

Maria must fend for her family, finding any job she can to provide. Money and class become a constant struggle, and the pursuit of matrimony becomes a social pressure.

The girls start having boyfriends and getting pregnant; their struggle becomes more difficult.

Maria must give in to the pressures of Thomas Corder to feed her family. She goes on to lose a child, and there is a point where she finds real love to Peter Matthews but must let him go for the sake of class and money.

And then, Maria falls for William Corder, the man who will bring her to her downfall. He manipulates her, isolates her from her friends, and we witness Maria’s loss of confidence as she spirals into the grips of his control.

We meet the weapon but not the perpetrator: we meet the pistol Maria is shot with, the spade she is hit over the head with, but we never meet her nasty murderer: William Corder. His absence strips him of power over her story on stage, despite having dictated the conditions of her death. Ridding the stage of male presence speaks back to the patriarchal social system which failed Maria Marten, giving her story a space to be retold.

The multi-rolling in this play makes it a performance which stands on its own as women dominate the stage, playing all nine characters, including two male characters. Together, they tell the story of Maria; a woman who lived, who laughed, who struggled, who cried, and most of all, who loved.

Even though it was her love that caused her downfall, Maria’s social treatment raises questions that make us reflect upon the now, especially in the aftermath of #MeToo, Sarah Everard and the spiking crisis.

The play makes us reflect on whether society does guard its women, has learnt to protect them from the consequences of domestic abuse, or whether Beth Flintoff’s play is not just a retelling of Maria Marten’s life but recalling a frightful fate still lived by many.

Review: The Cher Show

Do you believe in life without Cher?

There is no musical icon comparable to Cher. She has most certainly left the greatest stamp on popular culture for decades now. The Cher Show transports us to Cher’s past with not 1 but 3 Chers taking us through her story from her teen years all the way to the eternal icon she has become.

Babe – played by Olivier nominee Millie O’Connell (Six)  – takes us through Cher’s younger years, when she leaves home at 16 to pursue an acting career and meeting Sonny. She plunges into showbiz as her and Sonny release their top hit ‘I Got You Babe’. We watch the production of Cher Enterprises and Sonny and Cher’s tumultuous relationship becoming even more intense.

Danielle Steers (Bat Out of Hell) as Lady navigates us through the 70s, which includes Cher’s split with Sonny and relationship with Greg Allman. Steers not only has an incredible voice, she brings sass to the character and delivers excellent one-liners about the age-defying legend that Cher is.

Olivier nominee Debbie Kurup (The Bodyguard) plays Star, taking us through the 80s and 90s, where Cher becomes a hit in Hollywood, says goodbye to a recently deceased Sonny in a truly touching scene, and gains new-found success with ‘Believe’.

Each Cher brings something unique. They all do impeccable imitations of Cher, both vocally and in mannerisms. Whilst one Cher is taking us on the main narrative, the others support, sing and act as confidantes to each other along the way.

Yet, the musical does not shy away from setback: the backlash Cher received throughout the years for being a woman, the struggles of fame, and the difficult relationships she encounters. It does not hide the financial struggles Cher encountered, including the fact that Cher Enterprises was 95% owned by Sonny and 5% owned by their lawyer.

The criticism she received for wearing outfits that were too revealing for a woman (but she wore them anyway) displays how Cher has received her iconic status today. In many ways, she has pushed back at the limitations placed on her, teaching everyone they are strong enough to tackle the criticism the world chucks at you.

It was a fabulously executed show, thanks to two Strictly stars – direction from Dame Arlene Phillips DBE and choreography from Oti Mabuse.

The set design and and costumes made for a beautiful viewing experience. The stage was bright and bordered with rows and rows of Cher-inspired wigs across the decades, so Cher’s iconic looks have a presence throughout the musical as we move through space and time. The sets move us through stages, backstage and music booths. Each is boldly announced (e.g. the year written on the headboard of a bed), and the costumes immerse us into the different decades. Starting off with the hippie attire and fashion of the 60s dancing through to the glam and flares of the 70s and 80s, the costume department certainly had fun creating outfits that touch every colour palette and capture every decade immaculately, reinventing Cher throughout the years.

The show received a standing ovation, which is no surprise for the verve and energy it brought on stage. The audience refrained from singing along until the finale, where everyone was on their feet dancing and singing along to Cher’s timeless lyrics in the most marvellous megamix curtain call.

Cher has inspired just celebrities, audiences, and communities (including the LGBTQ+ community) over the years. This musical carries on inspiring by sharing her story. I left the theatre feeling compelled to go chase all of my dreams, and I know everyone around me did too.

The Cher Show plays at Manchester Opera House from 17th until 21st May before continuing its UK tour until March 2023.

Review: Alan Partridge Live – Stratagem

Going into Alan Partridge’s new live show, I knew I could not review this with the critical eye of a seasoned theatre reviewer. An absolute Partridge super fan (with an impression to match), I knew that whatever spewed out of Norwich’s greatest DJ’s mouth was going to make me laugh.

However, as was painfully obvious sitting in the Manchester Arena on a warm Saturday evening, no one other than the super fans really take much interest in Partridge anymore. If you’re reading this then, I must assume you know the man, the myth, the legend. As such, please forgive the biases of this piece.

Here we go then.

It must be recognised that the Partridge delivering this new live show, Stratagem, is a different incarnation to the Alan of Knowing Me Knowing You or I’m Alan Partridge. No longer the exciting, young BBC talk show maverick nor the disenfranchised Disk Jockey living out of a travel tavern, Alan has moved with the times. Chat show success and a BBC pay cheque to rival gardening legend Monty Don has spurred his desire to be revered and now, his incessant desire to appear ‘woke’. More than anything in the show, it’s this wokeness which is pressed upon audiences.

And for the most part, it works. Imparting wisdom, conducting interviews teaching how to better yourself, and offering another insight into the turbulent life of TV’s most iconic presenter are the focuses of the show. Various dance routines and a second act that overshadows the first were undeniably a strong basis.

Moments where he just misses the PC mark never quite appears as ‘hip’ as he thinks he is and manages to offend ‘the left’ with his mistimed and inappropriate remarks are by far the best moments of his theatrical return and capture the essence of Alan’s comedic appeal. Always in fear of being upstaged and jumping onboard Black Lives Matter rhetoric by mimicking cultural staple Hamilton to appear diverse combine with constant call backs to bygone characters in the Partridge saga. For fans who have meticulously dedicated themselves to the two decades worth of material, this is a must.

Lynn Benfield, Alan’s much beleaguered personal assistant, makes a stirring return if only through a pre-recorded ‘live video’ of her pottering around the Partridge household. The perfect foil to Partridge’s bombast, even this meek, middle-aged secretary has evolved over the years, now just as vindictive as her boss and clearly gunning for a pay raise from her meagre £12,000 salary. Who would’ve thought a woman resembling, in Alan’s words, a “brown cloud” could elicit such adoration from fans?

A tribute to the recent passing of Seldom, Partridge’s loyal mastiff, also touched the hearts of everyone during the interval break. Not a dry eye in the whole arena, I’m sure.

Alan now clearly recognises his rather exclusive appeal. Joyfully pointing out a member of the audience who isn’t White, middle-aged and male, he’s clearly riding high on self-awareness and success. The usual angst of the character is somewhat replaced by the motivational speaker facade he dons throughout whilst maintaining the sense that Alan believes he really is helping to change the world.

However, the halfway point of the show threw up some real questions. Speaking to some men in the toilet (where else would you talk to strange men?), it was clear not everyone was happy. The resounding sense was that Coogan has sold out.

In trying to appear woke and aware, the Alan persona often slips and Coogan’s own left-wing leanings suddenly come to the fore. Jabs at the Tory government, Piers Morgan and Jeremy Clarkson seem out of character for Alan, whose own conservative biases and excruciating unawareness constitute half the hilarity of this beloved presenter.

Moments of the performance therefore felt all too easy and poorly thought out. Perhaps this was Coogan simply going through the motions and picking up his pay cheque at the end of the day.

Even skits that tried to do something new with the live form, satirising the theatre format – “let’s imagine we’re travelling back to the 60s” – felt forced and uninspired. The self-consciousness Partridge exhibits on TV coupled with the lack of self-awareness, the sense that if he doesn’t impress NOW he’s lost his chance of fame forever, is wholly lost in a staged production in which Alan is actually too self-assured.

Central to this is that Coogan, along with Partridge’s success, means he knows he will always have a small but loyal collective of fans. As such, it never feels like either are really fighting for something. The show doesn’t seem to fit the Partridge trajectory we’ve all known. He has nothing to prove, nowhere to go. Therefore, his bumbling idiocy falls flat. When there is nothing at stake, who really cares? And a moment of ‘romance’ towards the end seemed woefully shoe-horned in.

Truthfully, seeing Alan in control is not all that funny.

This is surely a problem that stems from the live aspect of the show. Whereas the sitcom format of previous Partridge shows allows Coogan to continue through his mishaps and build longer, more developed comedic situations, the ‘theatre’ format requires quicker gags, necessary gaps for audience laughter and the need to make the staged appear spontaneous. His TV incarnation can dominate the world he’s in whilst this staged version must share his space with an audience. In doing so, Coogan sacrifices that which makes Partridge so funny.

So don’t get me wrong, Stratagem with Alan Partridge is a lot of fun. An iconic soundbite here and there and the odd call back constitute some of his best moments. Clever uses of screens to interact with elements outside of the stage are hit or miss, but when they do hit, are supremely funny.

However, it’s hard to see where the character goes from here. Disappointing stakes, inconsistencies in the ‘live’ character and the lingering sense that Coogan wants to get on and off that stage as quickly as possible are to the shows detriment.

A final tour de force of Partridge genius? Unfortunately, not. An entertaining ode to the fans as Steve Coogan ekes every last penny out of his greatest creation? I reckon so.

Students and MPs alike left disappointed by the Sue Gray report

The much-awaited Sue Gray report on alleged parties that took place over the lockdown periods has been made public, causing widespread backlash from students all over the country.

Sue Gray is the Second Permanent Secretary in the Cabinet office and she was asked to investigate the Downing Street Parties. Her report was made public on 25th May 2022, after the MET police has completed their investigation of the same.

The report is 60 pages long and investigates every probable party that may have happened in 10 Downing Street. Gray says that 13 gatherings had been attended by Johnson, four of which the MET did not deem necessary for investigation.

Gray shows that there were in total 83 people who have attended the parties, and breached Covid-19 guidelines. The attendees were both junior and senior Conservative party members.

Other than Johnson himself, Gray named many other MPs to have been in the parties. Amongst them, Martin Reynolds stands out.

Reynolds is the former principal private secretary to the prime minister. This role includes heading the office of the prime minister at 10 Downing Street.

According to the report, Reynolds has become the person in charge of such gatherings. He also earned the nickname “party Marty.”

Further, Whatsapp texts show that Reynolds knew that these gatherings were in breach of Covid-19 guidelines. He responded to such claims via text saying, “got away with it.”

Other people who attended the gatherings include Simon Case, Dominic Cummings, Helen MacNamara, Rishi Sunak, Cleo Watson and Matt Hancock. All of them are senior party members and hold high offices in the cabinet.

Boris Johnson’s earlier claims about attending the party only for five minutes have also been proven otherwise. One of the parties went on until 4 am and there are reports of people throwing up due to alcohol intake as well.

The misrepresentation of facts has not gone down well with both MPs and students. MPs have regularly said that Johnson should resign for misleading the public.

A student responded to our The Mancunion survey commenting, “The real crime in ‘partygate’ is the misleading of parliament rather than the fact that the party took place itself. Still unfortunate and appalling behaviour by those who supposedly lead us.”

Gray also found that many of the Downing Street staff were uncomfortable with such parties. However, they did not have the confidence to speak up against them, due to ill-treatment from attendees.

The Prime Minister’s questions (PMQs) that followed the publication of this article had many asking for Johnson’s resignation. However, Johnson apologised to the commons for these parties but has not expressed an intention to resign.

Students largely agree with this statement of wanting Boris Johnson to resign. In a survey carried out earlier, a student stated, “They’re vile liars and I don’t know how they sleep at night.”

Students are also unhappy with the conclusion of the police report. One of them said, “Icing on the cake of the whole scandal is how they were only fined £50 when normal people were fined £10,000 for doing the same thing.”

The Prime Minister has also accepted that he had breached Covid-19 regulations. However, the Prime Minister does not seem likely to leave his role as the Prime Minister.

A student responded stating the same. They said, “They should resign, but the tories are so abhorrent that they won’t.”

The entire Sue Gray report can be found here.

Review: Oh Mother

This play went beyond what I expected: intersectional, thought-provoking and fabulously executed, RashDash’s production most certainly sheds light on motherhood in a way like no other.

For a play about parenthood – in particular motherhood – the stage was dominated with the boldly lit word BABY, which dominates the stage in a way that imitates the way a baby consumes the life of a mother, which is then exposed in accounts that follow. The stage was cluttered, and there was a dishwasher that transforms throughout. The stage is somewhat cluttered, giving the air of a house with a child in. The play starts off with an apology for the delay as they were busy tidying.

Woven together by breathless monologues, repeated motifs and moments of chaos, the play montages the psychological rollercoaster of motherhood as the unpredictability of the play imitates the unpredictability of being a mother.

The scenes are overflowing, hyper-sensualised and, at times, overwhelming, leaving there to be so much to unpack: Abbi Greenland, Helen Goalen, and Simone Seales explore both the beautiful and the ugly parts of parenthood: the nappies, the sleepless nights, the constant feeding, the mess, and the never-ending dependency.

At the play’s core is the complexity of being a mother: the pull between wanting to be the default parent and continue normal activities of life is clear with conversations between Helen Goalen and Abbi Greenland (Abbi dressed up as the father in a fluffy teddy bear suit) as they throw a golden baby around in response to their shifting responsibility and conflicted minds. This is not a play that glorifies mothers fully but dissects the struggles of it; in doing so, it demonstrates why mums can be so admired.

Simone Seales’ fabulous cello compositions accompany scenes musically and the cello becomes their main baby to play with, cradle and tend to, but also acting as an aural outlet of emotion throughout. The parent/child relationship that unfolds between Simone and Helen Goalen demonstrates the difficulty and difference between what mothers expect their child to be and what their child is not particularly with the mother’s archaic views on gender. Scenes between Simone and their personified vagina are comical yet vital, as they manage motherly expectation against Simone’s own identity outside any gender binary.

The dishwasher on stage transforms sometimes beyond its domestic function.  There is one scene where it acts as a womb-like hiding space but also as a dangerous toy that a child is drawn to. The dishwasher provides emotional stability when the mother cannot grasp her child’s identity as she violently opens and closes the dishwasher in a moment of frantic breakdown. Helen returns to the dishwasher to stabilise both her domestic position and her views.

The play dissects motherhood in a way that is refreshing, raw and compelling. It’s an absolute must-see!

Oh Mother runs at HOME until 28th May and tours the UK until August.

Review: The White Card

Claudia Rankine is a genius, and, in all honesty, the review could end there. But, for the sake of those who would be interested in reading a slight expansion on that statement, here goes…

The White Card is Rankine’s first published play which shows the imagined fault line between Black and White lives. This particular production is directed by Natalie Ibu and is the UK and European premiere of the play. 

The play focuses primarily on a dinner. Charlotte, a Black female artist, is invited to dinner with two White art collectors, their White art dealer and their White son. What begins as a formal business dinner quickly becomes a tense debate about White privilege, cultural appropriation, and representation.  

The conversations between audience members that followed after the play ended are part of the power of the play. 

The only lapse in the power of the play is the moment when the members of the ensemble hold mirrors up to the audience while Childish Gambino’s ‘This is America’ plays in the background. Although the sentiment of this moment is strong, the notion of holding mirrors up for the audience to see that they are part of the problem feels rather gimmicky and overused.

It was devastating to see empty seats at a play that should be seen by as many people as possible, especially in the aftermath of BLM world, where Western society reckons with the legacy of slavery and colonialism (systemic racism). This play is thoughtful, inventive and provocative – and most importantly, necessary.

The White Card continues its UK tour until July.

Conversations with friends about Conversations with friends

*Warning* this contains spoilers so if you haven’t watched the show yet…well actually that’s your own fault. Where the heck have you been?!  How could you think of anything else at 00:00am on the 13th May?! 

Over the last couple of weeks, (or since the 13th May to be precise, the release date of the TV adaptation of Sally Rooney’s novel ‘Conversations with Friends’,) I have been bombarded with TikToks meme-ing the show. I say ‘bombarded’ I mean a few of my friends have maybe sent me 1 a day, but let me tell you it has felt like a TikTok invasion on my otherwise happily TikTok less psyche. 

Admittedly I fear I may have brought this upon myself by mentioning Sally Rooney every two seconds. Nevertheless, my obsession with the young Irish writer, otherwise known as the ‘Austen of the precariat’ (I mean come ON, what’s not to love?!) rages on. So much so that this is perhaps the closest I’ve come to downloading the damned app, tempted by the possibility of seeking out more Rooney related content for myself. 

I can even get over the Phoebe Bridgers TikToks, who has not one but two songs on the show’s soundtrack. Now this is one too many if you ask me. That being said, for all that I begrudge Bridgers’ what I consider frankly too-depressing-for-already-mentally-f*cked-GenZ-kids music, even I have to admit that it fits the show’s domestic tragedy genre.

Other artists enhancing the show’s soundtrack include CMAT, who’s album ‘If My Wife New I’d Be Dead’ is filled with sad-girl (or sad-person, if you prefer) bangers. Artists Mitski and Girl in Red also feature. I mean really, if you thought you were in for a feel-good watch, I think the sound-track alone tells you all that you need to know. 

But this is of course what Sally Rooney throughout all of her novels (and the TV adaptation of ‘Normal People’) does so well. As a millennial writer herself, whether she wants to or not she makes our over-dramatic generation feel represented by creating characters who feel the same things we do. They fall in love with people they shouldn’t. They fight with their friends. And of course, they feel like the whole world revolves around them. Until  they write a story about their best friend without their permission and are called out on their narcissism. It was a reality check that felt more like a personal attack by episode 10, after having pretty much binge-watched the previous episodes over two days. Nevertheless, I appreciated it in the long run. It’s as if Sally Rooney said,

I hear you

only to say,

It’s not all about you! See the bigger picture!

all in the space of 12 30 minute episodes and with absolutely no speech marks in sight.

Combine this with the overt socialist-marxist references which have become a bit of a Rooney trade-mark (or trade-Marx, if you will) and the arguments her characters engage in about everything from feminism to polyamory, and the concept of ‘spontaneous consent’, firmly situate this show as a politically-aware romance. If not a little heavy on the dramatic silences for the build up of sexual tension. 

Which brings me back to the aforementioned TikToks. If I see one more meme about how Nick (played by Joe Alwyn) rarely strings together more than 5 consecutive words, I will be forced to passive-aggressively rewatch the entire series just to prove these philistines wrong. And on a totally unrelated note, I am contactable through most social media platforms…

Because the thing is, I normally hate rom-coms (of which I have of course seen many, short of romanticising my own life as if I was a character in an Austen novel) when the love interests don’t speak. I hate awkward silences in real life. I think it’s really difficult to sit in silence with someone without feeling the urge to reveal every minute by painful minute of your day up until that point to whichever poor unsuspecting person has found themselves trapped with you.

Before you know it I’ve told you what I had for breakfast, what I’m having for tea, and probably my evening plans for the next six months. Not that you asked, and not that they are ever that interesting. It is usually about this point that I want the ground to swallow me up, but oh, even that sense of absolute dread never seems to stop me. Anyway, I digress.  

My point is, to see what to me is an indescribably awkward silence reflected on screen between people who are supposed to be intimate never feels romantic. Instead it usually just feels, well..awkward. But then I watched ‘Conversations with Friends’.

Only Sally Rooney could write characters who say little more than 10 words between them before one of them suggests going ‘upstairs’ in what is clearly a suggestion to sleep together, and make it seem organic and natural. But also most importantly, passionate! 

As someone who had also read the book before watching the series (obvs), I was interested to see how they would transfer Frances’ (played by Alison Oliver) first person perspective to encompass the visible emotions of a whole cast. I was certainly not disappointed. Whilst Nick may not say much in person (apart from when he reveals to Frances his own depressive episode in the previous year), the small smirks he offers by way of appreciation for Frances’ dry humour, or the rye, clandestine smiles he casts in her direction when no one else is looking, made me feel like I was the one having an extra-marital affair with the man. Now normally I’d be against that sort of thing…but you’d have to be blind not to see what Tay Tay, his romantic partner in real life, sees in him.

That being said, undoubtedly the best sex-scenes (the other thing Rooney is known for being great at writing) are not between Nick and Frances.  Although their choreography is stunning. Rather, they are between Frances and Bobbi (played by Sasha Lane). Their intimacy actually brought tears to my eyes after Nick had confirmed what we of course all knew already… that men are trash. 

Except of course, Rooney forces us to do a double take on this misandrist attitude, evoked undoubtedly by our own experiences with useless (hopefully ex) boyfriends, male friends, brothers, fathers, and anyone else who may fit into that category. Before watching the show and having my outlook on life irrevocably altered forever (not to be dramatic about it), I wasn’t even sure I was going to watch it. So vehement was my hatred for literally every. single. main. character. in the book. But then Rooney did what she always does, which is to remind us that nobody is perfect.

Everyone does bad things and hurt the people they love sometimes (whether inadvertently or on purpose), but that doesn’t mean that they’re all bad. Nor that they completely forfeit our empathy, as we never know whether we might find ourselves in similar situations one day. From a moralist perspective, sure this is maybe a bit iffy. But to quote Lord Byron, ‘is it not life, is it not the thing!’

If the depiction of an extra-marital affair between a 20-something undergrad student and a 30-something depressed actor isn’t your sort of thing, (and fair enough to be honest), I would argue that the show is worth watching for the incredible acting and the colour palette alone. The cinematography also makes it a gorgeous watch, either by yourself or ‘with friends’ (hehe). Don’t get me wrong, I loved  ‘Normal People’, but why is the camera always so close! Let Marianne and Connell have their moments of intimacy, they don’t need an audience.

Whereas the silences in ‘Conversations with Friends’ almost seemed to add to the inaccessibility of Frances’ introspection. Sure, if I was Bobbi I’d probably be a bit miffed at having to make all of the effort to converse all of the bloody time. Then again, Bobbi could definitely learn a thing or two about keeping her mouth shut at various points throughout the series. 

In particular, Melissa’s (played by Jemima Kirke) compassionate reaction when Frances has the audacity to ring to complain about Melissa telling Bobbi about France’s short story ‘The Dance’, while she’s sleeping with Melissa’s husband, was startling. In Melissa’s position, I can confidently say I would have just lamped the sl*t. (jokes, obvs).

To those who say they were disappointed with the TV adaptation, I say they are fools and they completely miss the point. They are probably the same people disappointed by her latest novel ‘Beautiful World Where Are You’, which is objectively another masterpiece. Rooney’s fiction is supposed to be satisfyingly unsatisfying, that’s what she does! 

If growing up and having to do relatively ‘adult’ things has taught me nothing else, it is that life is filled with bitter disappointments. Wrong person, wrong time? Check. Choosing between paying rent and being able to afford the coach home (I see you living your life of mediocre luxury on those frequent train journeys between Dublin and County Mayo, Frances). Check. Even down to passing out from excruciating period pain. Show me someone who doesn’t at least know someone who’s been there. Uteruses are a f*cking nightmare, let me tell you.  

Sure the series may not contain as many different locations as ‘Normal People’, (although they do go to Croatia for Christ’s sake), and yeah it would have been great if Nick and Melissa had (consistent) Irish accents. However, to compare ‘Conversations with Friends’ to ‘Normal People’, a show that was released during lockdown when we had literally nothing else to do, just seems kind of unfair. I personally think it’s better (not to hate on Daisy Edgar-Jones and Paul Mescal, also phenomenal actors firmly ensconed in the Rooney cult) in the way that you feel simultaneously emotionally represented by the show’s characters and at the same time like an intruder on their intimate relationships with themselves and with other people. It was both heartbreaking and bitterly humorous, exactly how an honest conversation with friends should be. 

All episodes of ‘Conversations with Friends’ are available now on BBC Iplayer. 

Review: Northern Ballet – Casanova

Whilst I appreciate traditional ballet, it is not something I have much interest in seeing. Contemporary ballet, on the other hand, I love. I want to see every single Michael Ball production, and Rambert‘s Ghost Dances is, to this day, one of the best things I’ve ever seen – and since then, I’ve seen everything.

I don’t mind traditional ballet if it has a modern edge to it – or is just edgy, in one way or another. I’d definitely be up for seeing Akram Khan’s Giselle.

It’s for this reason that I wanted to see Northern Ballet’s Casanova. Whilst the dancing is traditional, it’s not your traditional traditional ballet. It’s raw, raunchy, and provocative. The poster immediately caught my attention, and after watching the trailers – for both the original and the current tour – I knew I had to see it.

Photo: Northern Ballet.

Based on the Giacomo Casanova biography by Ian Kelly, this is a provocative tale of passion and destruction. Casanova lived every minute in a whirlwind of scandal and decadence. But behind the mask, there was more to the man. This sensational tale takes us inside the heart and mind of one of the most notorious figures in history.

The ballet drew us in right away, with pews (complete with kneeling nuns) spinning around the stage, creating a calm chaos – a wonderful whirlwind, of sorts, transporting us to the Italian Renaissance.

It was not until Casanova’s introduction, however, that things really got going. Casanova’s first scene was, literally, a threesome, though it was the most tasteful sex scene I have ever seen! A curtain fell from the ceiling as Casanova and the Savorgnan sisters played around. It was all very suggestive, with beautiful movements used to represent sex and seduction. The curtain then covered the trio, becoming a bed sheet. This was the most explicit it became.

Giuliano Contadini as Casanova with Minju Kang and Abigail Prudames as the Savorgnan Sisters. Photo: Emma Kauldhar.

Whilst the cast changes for each production, our cast was led by the remarkable Joseph Taylor.Taylor has to be one of the most dazzling dancers I have ever seen; he’s completely captivating. Even when the tone of the ballet shifted in the second act, becoming serious and sombre – in stark contrast to the seductive and sensual first act – Taylor kept us entirely enthralled.

Joseph Taylor as Casanova and Minju Kang. Photo: Emma Kauldhar.

I did find the second act a little monotonous and repetitive. It began to drag a little. Now, it was not dull, but, rather, a sharp shift from the overwhelming charisma of the first act. It worked, though, in presenting the next chapter of Casanova’s life. The word motif comes to mind…

The last few scenes of the ballet, however, were beautifully disturbing. The curtain of solemnity lifted, revealing a storm of chaos that had been brewing underneath.

Photo: Emma Kauldhar.

The ballet’s mesmerising final scene was a return to form – that is, its fabulous first act. I will not spoil it, but it was the most marvellous end to a beautiful ballet with a ferocious first act that was followed by a sombre second act.

The marvellous dancing, opulent sets, gorgeous costumes, and cinematic score (played live by Northern Ballet Sinfonia) created the most sensuous of experiences. The ballet flooded our senses and took our breath away.

Photo: Emma Kauldha.

Flawless, sumptuous, and sexy as f*ck – this is one of the easiest five stars I have ever given.

Northern Ballet’s Casanova plays at the Lowry (Lyric Theatre) until 21st May – the final stop of its UK tour.

Manchester Opera House turns back time

Goddess of pop, queen of reinvention, and full-time icon. Cher has truly done it all, and now it’s time for her story to take the stage. Whilst she bid farewell to Manchester back in 2019, this brand-new musical will transport you through six decades of stardom, with not one, not two, but three Chers on stage!

The musical stars Millie O’Connell (Six, Rent) as Babe, Danielle Steers (Bat Out of Hell, Six) as Lady, and Olivier nominee Debbie Kurup (The Bodyguard; also known for The Prince of Egypt) as Star.

The tour’s cast is almost as spectacular as the original Broadway cast, which starred well-known theatre divas from across the pond. Tony winner (3 x nominee) Stephanie J. Block played Star and Teal Wicks played Lady, whilst Michaela Diamond had her stage debut as Babe (later going on to star in the acclaimed film tick, tick…BOOM!).

At workshop, Olivier winner Leslie Margherita (Zorro; also known for Fame L.A.) played Star, Tony winner Lena Hall (Hedwig and the Angry Inch; also known for Snowpiercer) played Lady, and Jillian Mueller played Babe.

Best to cast divas to play the diva, right?

Written by the award-winning Rick Elice, the musical masterpiece presents Cher’s rise to fame and her lasting legacy. Prepare yourselves for a night full of glitz and glam, showcasing Cher’s most iconic looks and featuring all the biggest hits, from I Got You Babe to Woman’s World.

On Broadway, the musical won two Tony Awards out of three nominations. Stephanie J. Block won Best Actress (after having been nominated twice) and Bob Mackie won Best Costume Design, whilst Kevin Adams was nominated for Best Lighting. The UK tour will differ from the Broadway production, with modifications to the show’s music, Rick Elice’s book, and even the Tony-winning costumes (which will be redesigned by Gabriella Slade).

Directed by acclaimed choreographer and former Strictly Come Dancing judge Arlene Phillips and choreographed by 2 x Strictly winner Oti Mabuse, the brand-new production will not disappoint!

So, if you’re having second thoughts – snap out of it! Book your tickets today. Believe me, it’ll be a night to remember.

The Cher Show runs at Manchester Opera House from 17th until 21st May before continuing its UK tour until March 2023.

Irish Politics, not for the Feint hearted: Sinn Fein to lead Stormont for the first time in 100 years

Claiming that a specific event is “making history” might feel redundant these days when we seem to have a new historical event every month. However, in the case of the general election in Northern Ireland, those words certainly feel true.

After the votes came in last Friday, Sinn Fein secured 27 seats to the Democratic Unionist Party’s 24. This means for the first time in Northern Irish history, the biggest party in Stormont, and subsequently the First Minister, are nationalists. 

No-one should understate the significance of this moment. Even before examining what it means practically for Northern Ireland, just the symbolic value of a nationalist First Minister after a century of unionism in power is enormous. Nationalists are no longer deputies in the shadow of the Westminster loyal DUP.

It should be noted the roles of First Minister and Deputy are largely equal in power. However, the image of a republican as First Minister holds great weight for both nationalists and unionists.

This victory goes against the foundation of Northern Ireland. And that isn’t an exaggeration. As the votes counted, Lewis Goodall reminded us that “Northern Ireland was literally designed, its borders were designed… so there would be an in-built unionist majority”. It comes on the back of years of repressing Catholics’ right to vote and gerrymandering to ensure a constant unionist majority. Before introducing a single policy or making any political move, Sinn Fein pushed back against 100 years of status quo in just one night.

The victory of Sinn Fein places party vice president Michelle O’Neill as the upcoming new First Minister. While headlines called her a “pregnant schoolgirl” at first (a disappointingly sexist angle that papers thankfully revised), O’Neill boasts a rather impressive resume.

Born to a republican family, she was elected as an MLA for Mid-Ulster in 2007. She held onto the position even when she began as Mayor of Dungannon and South Tyrone in 2010. She was the first woman to take on the role. O’Neill went on to serve as minister for agriculture in 2011 before taking on the notoriously challenging position of health minister in 2015.

O’Neill’s swift and ambitious response-including a ten-year plan to modernise the health system- was impressive and undoubtedly part of what helped her rise over more senior colleagues to the role of party leader in the North in 2017. As Deputy, O’Neill led the party through power-sharing talks after Stormont collapsed. A younger face with no direct ties to IRA violence, O’Neill represents a new kind of Sinn Fein for future generations.

O’Neill may not be perfect; her attendance at a 2000-person funeral in 2021 earned her a fair amount of criticism for breaking COVID restrictions. But her political career has proven her potential to be a strong-willed, pragmatic leader. She certainly has the tenacity and fire for politics, as well as a willingness to work with all parties. Her promise was to commit to being “a first minister for all”. Now is her chance to prove herself. 

It’s worth noting that Sinn Fein’s victory is just as much due to unionism’s failings as a rise of republicanism. Support for the leading unionist party – the Democratic Unionists – has noticeably dropped since 2016; the party saw a 6.3% decrease in votes from May 2017. 

Brexit stands as the main culprit behind this drop, an issue that cost the DUP two groups of voters. First, the hardline unionists blamed the DUP for not stopping Boris Johnson’s Northern Ireland protocol. The protocol would put a trade border in the Irish sea between Britain and Northern Ireland, weakening the union between Northern Ireland and Britain.

And secondly, the pro-remain unionists feel the DUP dragged them into a move they never agreed to. Especially since Northern Ireland largely voted remain. Both groups looked to other parties, leaving the DUP high and dry and Sinn Fein in prime position.

While the DUP built their campaign around the issue of an Irish border, Sinn Fein’s manifesto for this election had merged their commitment to reunification with a plethora of everyday problems. Party leader Mary Lou MacDonald stressed the need for balance here. She emphasised that their commitment to reunification does not mean they disregard “the lived realities of people”.

O’Neill echoed these concerns. During the BBC leaders’ debate, she pushed for a reform of the health system and practical, long term solutions to the cost of living crisis. It was a wise decision and undoubtedly helped swing the vote in their favour. However, this commitment to “bread and butter issues” has not banished the thought of reunification from anyone’s mind. And now it is one of the first questions on people’s minds.

This isn’t the first time Northern Ireland’s future in the UK has been called into question. The six counties remain a crucial sticking point in Brexit negotiations, with unionists adamantly refusing an Irish sea trade border. Sinn Fein’s victory has shaken the union even more. O’Neill, in her speech on election night, did address unification. She emphasised the need for a healthy discussion between both sides. Her election speech invited those who disagree with unification “at this time” to enter into a conversation with them, committing to working for a better future “for each and every one of us”.

As outlined in the 1998 Good Friday Agreement, the reunification of Ireland ultimately lies with the people, stating that Northern Ireland “shall not cease to be [part of the UK] without the consent of a majority of the people of Northern Ireland voting in a poll”. Rather than be’ ‘divisive’ as DUP leader Jeffery Donaldson called it, the process couldn’t be more democratic.

The most recent border poll was held in 1973, with the overwhelming majority voting to remain in the UK. However, only 1% of Catholics turned out to vote in protest. In addition, support for reunification has steadily increased.

With a nationalist party now in power in the Executive, and Sinn Fein remaining strong in the Republic, the time for preparations has never been better. Sinn Fein remains committed to a United Ireland, and O’Neill is determined to turn public opinion in its favour.

She has even begun urging the government in the Republic to do the same. She has asked the questions, “What does the health service look like in a united Ireland? What does education look like in a united Ireland?” These practical concerns pull the idea of a united Ireland from abstract fantasy to a concrete reality. 

If Ireland were to reunite, it would be from the people’s will. Even if it’s not time for reunification right away, the circumstances show that it is more than the right time to start asking questions. A united Ireland might be unthinkable to some now, but so was a nationalist First Minister until last Friday. 

As to be expected, not everyone is happy with the result. O’Neill and Sinn Fein are eager to see the new Executive up and running. However, the DUP has opted to block the process by refusing to nominate a Deputy First Minister. In line with the Agreement, O’Neill cannot take up her new role until the DUP appoint a Deputy.

According to Donaldson, the move is a protest against Wesminister’s Northern Ireland protocol. However, Sinn Fein and the Alliance Party have rightfully called it out for what it is; a denial of democracy and punishing the electorate for the party’s mistakes.

This is even more important in light of Stormont’s previous collapse in 2017, where power wasn’t restored again until 2020. Playing fast and loose with democracy while people across the community struggle to heat their homes highlights the DUP’s severe lack of commitment. Regardless of identity, if this is how the DUP do politics, a change was in everyone’s best interests. 

The implications of this election are huge. It’s hard not to think of it as a turning point in Irish history. The line between what is and isn’t possible for Ireland is getting blurrier by the minute. No doubt, the coming weeks and months will be fraught with anticipation, anxiety, frustration and hope as the new government tries to open one way or the other. Whilst the direction Northern Ireland will go in from here is still not certain, the amount of new possibilities is heart-racing. However, one thing is almost certain; change is coming-whether Jeffrey Donaldson likes it or not. 

Agony Aunt Angela: Heartbreak hotel

“Someone I know had their heart broken nearly a year ago. But they aren’t able to get over it. Therapy didn’t work, and their anxiety is skyrocketing. I want to be there for them but every time anyone tries they get pissed off at them. As a result, they are cutting themselves off from everyone. I have no idea what to do in this situation.”

Experiences of heartbreak are different for everyone. Some can genuinely get over a break-up in a matter of weeks, others might still lament the relationship years after it ends. Heartbreak also manifests itself in a number of different ways: anxiety, depressive episodes, lack of motivation, loss of appetite. The effect heartbreak can have both physically and psychologically is very intense and very real. 

I’d say the best thing you can do for your friend is to be there for them. This is probably the most basic advice going, but then again probably the best and most effective. There is nothing, realistically, that you can do to make that person feel better in the long run. But you can be a good friend to them. By letting them know you’re there when they need you, you will be doing so much more than you think. 

You don’t necessarily have to do anything drastic, just letting them know you’re there is enough. Don’t put too much pressure on yourself to try and ‘save’ them – people can only save themselves, at the end of the day. 

Without sounding too patronising, keep an eye on them. I can totally understand your worries about their levels of anxiety and their cutting ties with people. This must be really sad to see, and it’s very difficult to help someone when they are rejecting that help. 

So again, just be there. Let them know how much you care about them and that you’ll be there when they need you. Try and suggest activities that the two of you can do, without even mentioning the heartbreak. They might not be up for a night out, but try inviting them on a walk, for example, or even a study session at the library. 

Kisses, Aunt Angela x

Need some advice? Send in your mishaps and worries here!