Three years after the last season of Game of Thrones (GOT) aired, HBO finally released the series’ much-anticipated prequel House of the Dragon(HOD). It is both comforting and exciting to find ourselves back in the artistically beautiful (yet unapologetically brutal) cinematic universe based on George R.R. Martin’s literary phenomenon, A Song of Ice and Fire (1996-); due to the arguably anticlimactic GOT finale, some hard-core fans were sceptical when the new series was announced. Fortunately, we are in for a nostalgic treat: gruesome deaths, hedonistic orgies, scheming, the familiar opening credits, and, of course, dragons ensure the seamless transition between the two series.
HOD starts in medias res, nearly two centuries before the Daenerys saga. We get to see the fall of the Targaryen dynasty, the house of the platinum-blonde dragon-riders who ruled the Seven Kingdoms of Westeros until The Mad King was betrayed and killed by Jamie Lannister (a.k.a. “The Kingslayer”).
The new protagonist, Princess Rhaenyra (portrayed by Milly Alcock and Emma D’Arcy), is a strong-willed and ambitious heir to the throne, but her succession is challenged because of her sex. No queen has ever sat on the Iron Throne, and the court intends to keep it that way. Those who watched GOT might remember that Rhaenyra’s gruesome faith has been revealed to us already (some spoilers to follow below), but the events leading up to that point are yet to be screened. We can expect that sibling rivalry and the battle of the sexes will be at the centre of HOD‘s future storyline.
The cast, including Matt Smith (The Crown (2016-)) and Rhys Ifans (The King’s Man (2021)), is phenomenal, and the actors’ synergy elevates HOD from most series of the past three years. On the other hand, the CGI feels dated and cheap compared to GOT and the new Lord of the Rings prequel series The Rings of Power(Amazon Prime).
Although HOD is not for the easily offended or the faint-hearted, I suggest you start watching it if you want to be a part of pop culture history. After all, Game of Thrones (2011-2019) certainly made history by becoming the most watched television show in the world. However, the question is whether House of the Dragon can follow its predecessor’s footsteps and sit on the Iron Throne of IMDb, or if it will burn to the ground like King’s Landing…We shall see.
New episodes of House of the Dragon premiere every Monday at 2 AM GMT on HBO Max/HBO Go, Sky Atlantic, and Now TV.
Milly Alcock (Rhaenyra Targaryen) in House of Dragon (2022)
SPOILER ALERT
Game of Thrones easter eggs, possible House of the Dragon plots:
1) S1 E7: “The Targaryens wed brothers and sisters for three hundred years to keep bloodlines pure.’
2) S3 E4: ’Rhaenyra Targaryen was murdered by her brother, or rather his dragon. It ate her, while her son watched. What’s left of her is buried in the crypts right down there.”
3) S4 E3: “King Robert was strong. He won the rebellion and crushed the Targaryen dynasty.”
4) S5 E6: “The Targaryens are famously insane.”
5) S5 E9: “It’s the story of the fight between Rhaenyra Targaryen and her half-brother Aegon for control of the Seven Kingdoms. Both of them thought they belonged on the Iron Throne. When people started declaring for one of them or the other, their fight divided the kingdom in two. Brothers fought brothers. Dragons fought dragons. By the time it was over, thousands were dead. And it was a disaster for the Targaryens as well. They never truly recovered.”
Giants of Soul is a huge UK tour with a legendary line-up of soul sensations, and last month the show came to Manchester’s Bridgewater Hall. What was supposed to be a thrilling Thursday evening was affected by the sad news of The Queen’s passing – announced an hour before the concert was set to start.
Fortunately, the concert went ahead as planned, and the performers refused to let the death define the evening. Instead, they turned the night into a tribute to Her Majesty – a celebration of her life.
The night began with Angie Greaves of Smooth Radio welcoming us to the show. We took a minute’s silence for The Queen, gave her a round of applause, and the band played ‘God Save the King’. It might have been better to refer to the song as ‘God Save The Queen’, given the night was dedicated to her memory, but you know what they say – “The Queen is dead, long live the King!”. I am by no means a Royalist, and I have my issue with both the monarchy and the royal family, but, it was a touching tribute to the nation’s long-serving Head of State, who was loved by so many.
Whilst the constant mentions to Her Majesty might have been seen by some as overkill, there were seven performers and a host, and most of them understandably wanted to address the sad news. Besides, I’m sure people would rather have constant reminders of the news than for the performance to have been cancelled!
Photo: Candace Woodson @ Jay Darcy
The first performer of the night was the little-known (in fact, criminally underrated) Candace Woodson, an American singer whose opening song ‘Midas Touch (Ooh Ohh)’ reached number one on the UK Soul Chart last year. Her set then continued with ‘Trying to Be Perfect’ and a cover of Phyllis Harman‘s ‘You Know How to Love Me’. She told us she played Harman in a production in the States, and that the late singer’s family gifted her with Harman’s coat, for they thought she embodied her perfectly.
Greaves then returned to the stage, as she did before and after each act. It was well-organised but there was a relaxed atmosphere. Greaves was the perfect host; she did her job whilst having fun and never taking herself too seriously.
Photo: Janet Kay @ Jay Darcy
The next performer was Janet Kay, “the Queen of Lovers’ Rock”. She began by singing her debut single, a cover of Minnie Riperton‘s ‘Loving You’, before singing her signature song, ‘Silly Games’, which reached number two on the UK charts and was also covered by Lindy Layton (featuring Janet Kay), reaching number 22. This was Kay’s only chart hit but the audience were thrilled to see her. She was a little under the weather but she gave it her all. I was surprised that she only sang two songs, though she might have cut her set short because she was unwell.
Photo: Alexander O’Neal @ Jay Darcy
The third and final performer of the first act was Alexander O’Neal – and he was clearly the performer than many in the audience had been waiting for. It was sad to see him looking old, but age will never define this man; he put his all into it, and the audience loved it. He first sang ‘Fake’ – which reached number 25 on the US charts and thus is his biggest hit over there (he was much bigger over here than his native USA).
He then sang his little-known song ‘Sunshine’ before covering Louis Armstrong‘s ‘What A Wonderful World’. I would have preferred he sang ‘Saturday Love’ (the Cherelle song he featured on), but singing a duet as a solo performer is always tricky. This was followed by his second single ‘If You Were Here Tonight’, which took some of the older audience members right back to their youth. He, of course, ended the set with ‘Criticize’ – his signature song.
My friend, Leah, was unfamiliar with O’Neal’s music but commented on how interesting it was to see the other (older) audience members in their element. That really is one of the joys of watching shows targeted towards older generations – seeing their spirits come alive as the nostalgia kicks in.
Photo: Jaki Graham @ Jay Darcy
After the interval, Greaves introduced Jaki Graham, who began her sizeable set with ‘Step Right Up’ – her sixth, and final, top 20 hit. She then sang ‘Round and Around’ (her second consecutive hit and first solo hit). Her third song was ‘Could It Be I’m Falling in Love’ – her duet with David Grant, MBE, that gave her her first hit. Having reached number five, it remains her biggest hit.
After this, as she prepared for her penultimate song, ‘Set Me Free’, and she told us that she does not have the best eye sight. “I can see your faces, two rows, but the rest of you, I can feel you,” she said eloquently and passionately.
Her final performance was her cover of Chaka Khan‘s ‘Ain’t Nobody’, which was a top 50 UK hit. It was quite funny when the audience was about to start singing the chorus early (people often forget there are two verses before the first chorus), and she told us to “wait”, before singing the line, “I been waiting for you”.
Noticeably absent from her fun and fabulous set were her other two top 20 hits: ‘Mated’ (her other duet with David Grant) and ‘Breaking Away’. It would have been nice to hear them, but each artist had a limited amount of time, and ending her set with ‘Ain’t Nobody’ was a wise decision – that song always gets people on their feet.
The next two artists were the two I had been most excited to see. If you scroll down my page, you’ll see that I love my divas – especially African-American divas!
Photo: Gwen Dickey @ Jay Darcy
First up was Gwen Dickey, the voice of Rose Royce. Dickey, who was paralysed after a nasty fall over a decade ago, was wheeled onstage – but not without bantering with the guy who wheeled her on. She might have lost the use of her legs, but she has not lost her sense of humour.
Still as beautiful as ever, with a radiant smile, it was amazing to see Dickey giving it one last hurrah (this is her farewell tour). Dickey’s voice has aged even better than her face; she sounds older, sure, but there’s a certain richness that compliments her songs – and an element of experience that was not present on the original recordings.
Dickey sang four of Rose Royce’s biggest hits: ‘Is It Love You’re After’, ‘Wishing On A Star’, ‘Love Don’t Live Here Anymore’, and, of course, ‘Car Wash’. The latter had the audience cheering and dancing. These were definitely the right songs to sing, but some fans might have missed ‘I Wanna Get Next to You’, ‘Do Your Dance (Part 1)’, and ‘It Makes You Feel Like Dancing’. I, for one, wish she’d sang ‘Ooh Boy’ – which was not a hit for Rose Royce or Real McCoy, yet remains recognisable, possibly because it was sampled by Shaggy in ‘Luv Me, Luv Me’ (featuring Janet JacksonorSamantha Cole).
Photo: Deniece Williams @ Jay Darcy
The penultimate performer was Deniece Williams. I could not believe how good she looked. I had to check to make sure she was as old as I had thought she was, and, sure enough, she’s in her 70s! She has not aged like fine wine – rather, she has not aged at all.
Williams opened her set with the little-known ‘Cause You Love Me Baby’ – a real shame, for she might have sang the top 10 UK hit ‘That’s What Friends Are For’, or even one of her more moderate hits. ‘Cause You Love Me Baby’ didn’t even chart, so it just seemed a bit of a waste, but maybe the song is special to her. Williams followed the slightly disappointing opening with her breakthrough single (and only UK number 1), ‘Free’.
Before singing her signature hit, ‘Let’s Hear It for the Boy’ (for the Footloose movie soundtrack), she was repeatedly interrupted by an obnoxious audience member. I go to a lot of concerts, and middle-aged audiences are often the worst; some of them get wasted, shout out, and ruin what should be a classy evening of music and vibes. Anyway, this woman, sat up top, kept shouting out, and nobody could understand what she was saying. Williams was incredibly patient before she finally reprimanded the woman: “Honey, the people came to hear me,” she said, a zinger that had the entire audience erupting into cheer.
Finally, she was able to sing her career-defining song – her second and final US number one – which was up there with ‘Criticize’ and ‘Car Wash’ as the night’s most memorable songs; the ones which got the audience the most excited.
Photo: Tunde Baiyewu @ Jay Darcy
The final performance came from Tunde Baiyewu – the voice of Lighthouse Family. He began his set with the band’s first single (and first hit), ‘Lifted’ – their joint-highest charting single (along with ‘High’). He dedicated the song to the late Queen, for it is the band’s most spiritual song.
This was followed by ‘(I Wish I Knew How It Would Feel to Be) Free’. The song was released as ‘(I Wish I Knew How It Would Feel to Be) Free/One’. The song has quite an interesting origin, in that it is a combined cover of Nina Simone‘s ‘I Wish I Knew How It Would Feel to be Free’ (itself originally recorded by Billy Taylor as ‘I Wish I Knew’) andU2‘s ‘One’.
He then brought Williams back out and admitted to having always loved her. He said when she sang ‘Free’, he used to imagine her singing to him. Therefore, dueting with her was a dream come true. First, the pair covered Bill Withers‘ ‘Lean on Me’, before covering Williams’ own ‘Too Much, Too Little, Too Late’ (her most notable duet with Johnny Mathis). This made up for Williams only singing two hits in her short set.
Baiyewu then returned to Lighthouse Family songs, first singing their most successful single, ‘High’, followed by the iconic ‘Ocean Drive’. Greaves then returned to the stage and demanded he sing another song. He ended his set with a cover of Barry White‘s ‘I’m Gonna Love You Just A Little Bit More Babe’.
Greaves then introduced the event’s organiser, before calling over the two backing singers and Candace Woodson. The group then danced to Cameo‘s ‘Candy’, to the amusement of some audience members, whilst others walked out. It was a fun, chill end to a sensational series of performances.
Concert tours with multiple artists don’t always work. They’re sometimes messy, by virtue of a lack of organisation (though one can appreciate it’s difficult to organise so many people). Other times, they feel constructed and overproduced (probably a result of the creatives going overboard to make things run as planned). But this event had it just right: it ran smoothly – smooth like soul.
Despite not being faced with the difficulties of navigating travel with the strikes (which I support); Thursday’s All Points East started with heavy downpour – not hugely enticing or putting any Londoners in the upbeat festival spirit. Despite this, festival-goers rocked up, filled with excitement and anticipation for Tame Impala to rock out later in the day.
Just like on a cloudy day, the sun pops out now and then and peaks through – this is what energy levels were like; some stages and wondering around Victoria Park felt dull and low energy, but certain stages did give a beam of light – notably Firestone stage and the North stage.
We kicked off our day stumbling across the Firestone stage and being enticed in by the groovy tunes of Elujay. Throughout the set the crowd grew, clearly festival goers had been lured in. Elujay has a wonderful soulful voice but joked about how he “needs help with [his] English accent”. Despite this being his first overseas festival (originally from Oakland) and him openly admitting to being nervous, this was not portrayed at all in his performance.
A highlight of this set was an instrumental break where each band member had a specific moment to shine and show off their skills and talent. This was a truly appreciative moment and unbelievably wholesome to watch.
The whole band throughout the set were incredibly in sync and harmony. Elujay was getting on the crowd’s good side with his chatting between songs – especially with the comment that “this is way better than America”, unsurprisingly receiving a huge cheer.
The tracks themselves also flowed seamlessly from upbeat to slower, calmer moments, before returning to the funk and groove. Without a doubt Elujay is being added to multiple playlists of mine.
Now we have the highlight of not only the day, but my entire week – Montell Fish. I happened to stumble across Montell Fish on the All Points East app and recognised the name, only to realise it’s the man that always singing sad songs, in headphones, on my TikTok For You Page.
He was performing on the BMW Play Next stage, and before his start we could hear the East stage. I was a bit concerned at noise overlapping however, once he started, the entire crowd was mesmerised and did not lose focus. The crowd was strong, with hardcore fans at the front of the barrier who’d assembled early before his entrance to the stage.
Montell Fish performs at All Points East Photo: Serena Jemmett @ The Mancunion
In contrast to other stages, this stage had a host who introduced Montell, but almost too much, to the point he said, “I don’t know what else to say but hi!?”. Montell creates his best music going through heartbreak, writing and producing everything himself. It almost feels like we enter his mind and thought when he performs, even when you listen by yourself. His tracks are so vulnerable, not just lyrically but also instrumentally. He came across extremely humble and modest, with frequent comments such as “give it up for yourselves” and “you guys sound so good, SING”.
Just like we see on TikTok, he also wore big headphones on stage. In the middle of his set, he asked the crowd if they liked aspects, and of course shouted out his DJ, stating “he’s killing it”.
Starting his set with ‘Destroy Myself Just For You’ and following on with ‘And I’d go a thousand miles’, he consistently encouraged the crowd to “help me out” and sing along – to which they did. ‘Wings’ had much more of a beat than the previous tracks, a good progression to keep the crowd engaged.
Another factor than made this set was Montell would tell the crowd the lyrics before and so everyone could sing along, something I know was appreciated, especially as many Londoners may have never properly listened to this American artist.
He then mixed it up and appeared in the middle of the crowd, with a mosh forming around him. This track was a more angry, fiery rap – a stark contrast to the emotional vulnerability of his usual songs. He then brought “it back down, this song is ‘JAMIE’”, with many crowd members and fans saying they were about to cry. This was met with the almost comical timing of Montell then saying, “get your tears ready”.
The song was especially raw. You could see all of his emotions come through, not only via his physicality and facial expressions, but also his voice. He was transparent, as is his music, something I can only applaud. He also clearly showed his talent and skill, picking up his guitar to perform the final track of his set ‘Talk 2 Me’ – a song about you making more effort than them, a song that means a lot to him.
He ended with the crowd singing by themselves, acapella, and he took in the moment wholly and fully, admiring and appreciating all his fans. The end of his set received huge applause and cheers, but also admiration and respect.
The Blaze in the North tent sounded so enticing that we ended up leaving Omar Apollo to go back to watch the end of the Blaze’s set. The tent was packed out with a high-spirited crowd matching the energy of the music and strobe lighting. The production was exciting with several interactive moving images and videos on the backdrop – including a car on fire, or a blaze if you will.
Their beats and electronic feel to their alt/indie tracks fuelled the crowd, and the tent played to their advantage – the production would have been impossible without it and the tent naturally brought in even more people due to the dull London weather.
Following on, FKJ graced a packed-out tent, all eager for his entrance. Teasing us with rainforest sounds before a beat, the lighting then showing a blue light, then drums, all building whilst the crowd eagerly cheer. FKJ then adds keys, with the original rainforest noises still in the back of the layering introductory track. This introduction to the stage really showed off his talent and skill; the production of the music and watching him layer and loop different instruments was magical. This long intro was then met with “How you doing London, it’s probably been three years since I played this city”.
It was almost as if he was a conductor on stage, moving around consistently to different instruments. In comparison to the Blaze, this time the tent added intimacy to his performance. The production of the music and tracks was met with the production of the performance, with pictures, backing visuals, and lampshades on stage – further adding to the intimacy of the performance as if we are his home watching him at work in his element.
His skill was further demonstrated when he decided to “remix something”, again allowing us to see his thought process and how he creates tracks by building and looping the instruments. At one point the backing visuals was a live stream camera from behind the stage – of him and the crowd! The crowd were in awe of his set, regularly clapping him in appreciation, and the sound system in this tent was excellent, especially for a festival, especially given the later disappointment (keep reading…), especially for All Points East…
He returned to the slightly elevated stage in the centre and the word magician came to mind. The use of his saxophone made the tracks seem older and more soulful; we could feel the music flow through our bodies.
The only critique is the beauty of ‘Ylang Ylang’ was slightly ruined by the loud DnB coming from outside the tent, but that is not the fault of the “Parisian self-taught kid”.
Headlining the day was Tame Impala. The crowd was so packed, meaning us ‘shorties’ could not see anything except the taller humans’ backs – but we are here for the music not the view. However, the overall outcome of this set was strained ears trying to listen due to the unbelievably quiet speakers. This was similar to Gorillaz’s set the week before. I guess we can take the positive that everyone in the crowd was singing along regardless.
At first it felt as through the crowd were holding back from screaming the lyrics in fear of overpowering Kevin Parker, however as the night went on people became less nervous and sang to their heart’s desires. A lot of people were complaining about the sound and, all in all, the set was, unfortunately, very disappointing. This is not the fault of Tame Impala, but All Points East let Parker down.
The lasers and strobes were colourful and active, and if you could catch a glimpse the visuals on the back screen, you’d see psychedelic and incredible imagery.
Tame Impala headline All Points East Photo: Serena Jemmett @ The Mancunion
Despite the struggle to hear him, a highlight came when Parker asked to turn the lights to the audience to have a look at us. He went on to say that he’s seen some “pretty cool signs before” and followed on with reading out one – “Kevin’s b*tches”, before making clear he was reading a sign and not making a “dodgy comment”.
He left the stage and came back on for an encore, although there were limited “one more song” chants – I almost feel because an encore is so predictable nowadays, the crowd no longer participates in this empty aspect of the show. He returned with ‘The Less I Know The Better’ and ‘New Person, Same Old Mistakes’, ending with strobes and colourful confetti flying across Victoria Park.
My final comments from this day at All Points East was that it seemed a lot busier and chaotic than the previous week, and I really hope All Points East invest in their sound for next year, and the years to follow. Especially as the festival has such potential – it attracts such a diverse crowd and incredible artists to headline and perform, it’s a shame we don’t get to experience their talent fully.
The Glass Menagerie was due to begin rehearsals around 2020, but as COVID hit, the production paused indefinitely. Director, Atri Banerjee, and designer, Rosanna Vize, remark how their first few productions look vastly different to the end product, citing the social and political changes which took place in the last few years.
Similarly, Tennesse Williams’ play is set in 1944, at the end of the Second World War, where there was change in the air, ground, smells and sounds.
This instability plays a large, looming part in this production. The driving action of the play is done by Amanda, who is furiously looking for a suitor for Laura, to secure not just hers but the family’s future. Laura’s physical defect and the exclusions of her mother sabotage her self-esteem. The lack of hope placed in Tom’s ability or job to secure their future creates further rifts in the Wingfields’ family.
The cast stars Geraldine Somerville as Amanda, who played Laura in the Royal Exchange’s first production of The Glass Menagerie. In this production, Laura was played by Rhiannon Clements, who won the 2019 Spotlight Prize for best stage actor. She plays Laura with a clever deftness and pity.
Joshua James plays Tom, who works in theatre, film and television. Finally, Eloka Ivo plays Jim O’Connor, the only ‘realistic’ character of the play. He has a plethora of theatre credits across the UK and USA.
There were hardly any props in use – a few chairs, the circular stage lined with flowers after the interval, and a portrait of a whimsical old man just out of sight from where I was sitting. Then there is giant neon of paradise above it all, inspired by Martin Creed’s MOTHER sign – a glaring, unreachable, slow-turning work of art above the actors. This gave the play an empty feeling, as though we were seeing an abandoned space with abandoned people.
A dream sequence plays out between Laura and Jim – moody and uplifting. Jim and Laura break into the sequence, dancing and sharing kisses, but with a shake of Laura’s head, we are firmly thrown back into reality. This harshness becomes even more dramatic as Jim is already engaged to another woman. This breaks Laura’s heart, Amanda’s dreams, and Tom’s desire for another future.
There was an underwhelming presence of Laura and Tom, which magnified their mother. The actors themselves brilliantly played hopeless and anxious siblings whose only comfort seemed to be each other; they shared a few valuable moments of hope.
The escapism of Laura’s glass figurines and Tom’s movies baffle Amanda – whose one fantasy of a secure fantasy seems as equally whimsical, thus becoming more a source of escapism, like her childrens’.
The Glass Menagerie is running at the Royal Exchange Theatre until 8th October. Some shows are socially distanced, relaxed, captioned, and BSL interpreted, and there is even an audio described tour. Check the website for their specific dates.
I’m glad that the promotional material for Unfortunate: The Untold Story of Ursula the Sea Witch makes it clear that it is a “musical parody”, not merely a prequel and reimagining. For anybody expecting Wicked will be in for a nasty shock!
Ostensibly, Unfortunate retells the story of The Little Mermaid from the point of view of its villain: Ursula. In this regard, it can indeed be compared to Wicked (the 2003 musical based on the 1995 novel). Unfortunate is even subtitled similarly to Wicked, the latter being “The Untold Story of the Witches of Oz”.
However, Unfortunate does not aim to merely retell – but, rather, satirise. Indeed, it can be considered a tribute to, and a parody of, the genre, which includes Disney’s own Maleficent (a retelling of Sleeping Beauty) and Cruella (a retelling of 101 Dalmatians).
In this regard, it can be compared to Twisted: The Untold Story of a Royal Vizier (a musical parody of Aladdin that puts the spotlight on Jafar, with several nods and homages to Wicked).
So, don’t expect to see the beloved Disney characters brought to life onstage like they are soon being brought to life in the live-action film. That said, the latter has upset a load of (racist) people itself!
Robyn Grant, the Artistic Director of Fat Rascal Theatre (and director, co-writer and co-lyricist of Unfortunate), had previously played Ursula, but the new production stars Elliotte Williams-N’Dure in the lead role – with Grant as the cover. However, due to cast illness, Allie Dart (the Understudy, who can be seen as one of the moray eels in the image above) stepped in on press night (before Grant returned to the role in later performances).
Dart usually played Sebastian (amongst other roles) and had to properly learn the role earlier that day. Danni Payne (Cover Sebastian/Ariel) stepped in to play Sebastian, and there were a few smaller cast changes (going by the West End Live performance, Dart usually plays one of the moray eels). However, everything seemed to flow perfectly; it was impossible to tell that there had been last-minute cast changes.
I was going to say that Dart perfectly embodied Ursula, but then I realised that that was a poor choice of words, for the only thing wrong with Dart’s performance was her body: she’s skinny! The occasional reference to her weight felt off, but we reminded ourselves that Dart was merely covering the role. These references were the only time we remembered that Dart had stepped in last-minute, for her portrayal of the villainous octo-woman was pitch perfect.
Similarly, Payne’s Sebastian was characterised perfectly – and she was brilliant at all of the other roles she played, most notably, Vanessa. Her transition into a seductive, glamorous bombshell was really quite something. Curious and inquisitive, I had wondered whether Payne’s smaller roles were usually played by her, or if some of them generally belonged to Dart – if the latter, I could not tell!
The funniest Sebastian scene had to be his first. Payne came onstage speaking with a Caribbean accent, as the character does in the film, only for Ursula to embarrassingly remind her that she is supposed to be Irish! I absolutely love anything meta, and the way that Dart half broke out of character was fantastic.
This was but one example of the musical masterfully addressing sociopolitical issues – never preachy but, rather, in a cool, suave way. Much like The Boys, it would acknowledge something, before quickly moving on, letting it play out in the audience’s minds, without ever preaching to the choir and exhausting the topic.
Miracle Chance and Jamie Mawson were hilariously subversive as Ariel and Eric, respectively. Privileged and vacuous, bordering on petulant and vile, they reimagined the young lovers that audiences have longed adored – in turn, ruining our childhoods (but entertaining us as adults).
Chance’s main song, ‘Where the Dicks Are’ (a parody of ‘Part of Your World’, which uses a few similar melodies), was, without a doubt, the funniest moment in the entire show – and one of the most hilarious things I’ve ever seen. It somehow kept getting more and more outrageous, and even featured a statue with a boner! This really is not something you want to take your kids to…
Mawson’s Eric was the answer to Ariel’s prayers (he had a big willy). Whilst there was obviously something stuffed down there, his backside really was that plump (he made sure to reveal it at the end of the show, in case we were wondering – and we were)!
Mawson also played Neptune, the vicious, elderly father of Triton – a small but memorable role which garnered barrels of laughs from the audience. The laughs continued even after the character inevitably died, with Ursula mocking his appearance: the face of an old man with “the body of a twink”!
George Whitty was a terrific Triton (who, in this retelling, was Ursula’s himbo lover), and Jack Gray was splendid as Scuttle (and all of his other supporting characters).
The score did not contain a bad song, and every character got a chance to shine. The best song is arguably the title song: ‘Unfortunate’ – a reimagining of ‘Poor Unfortunate Souls’. It had me wanting to get up and start dancing the aisle, but that is not something I would ever do, so I stayed sat and bopped along to it, the respectable Englishman that I am.
Given Ursula is a queer icon (the promo material for Unfortunate even acknowledges this), inspired by the legendary drag queen Divine, I wonder if casting a drag queen (or at least a man in drag) as Ursula could add another layer to the production. Indeed, some fans have criticised the live-action Disney film for casting Melissa McCarthy and not a drag queen, e.g. Ginger Minj, whose rendition of ‘Poor Unfortunate Souls’ is, inarguably, one of the best.
Then again, this musical is unashamedly feminist (e.g. the song Female Role Models) and explores how strong women are often vilified (especially if they are not conventionally attractive), so casting a man in the role would arguably chip away at the point.
Perhaps the musical could benefit simply from better exploring Ursula’s queer side; Ursula is queer by virtue of being different, but there is arguably a missed opportunity by not addressing her queer identify (gender and sexuality) more succinctly.
It’s important to remember, however, that Ursula is usually played by a Black woman. That casting adds a racial layer, even if it is unintentional. It speaks to White beauty standards and the vilification of strong Black women (e.g. the angry Black woman). Queen Latifah previously played Ursula in The Little Mermaid Live! – and, oh, was she bad!
There are a few things to think about, but the production leaves little to fault. The script is superb, the music is melodious, the lyrics are lavish, the stage design is spectacular, the costumes are captivating, and the performances are perfect.
With a bigger budget, the production could become even stronger – in particular, it would be amazing to see Ursula’s costume get an upgrade (as it already has done since the success of the original production last year). Then again, a musical parody might not benefit from having Ursula in a costume quite as extravagant as the one she wears in the official The Little Mermaid musical.
At its core, Unfortunate is The Little Mermaid for adults: a way for fans of the original movie to appreciate it in our old age!
Unfortunate: The Untold Story of Ursula the Sea Witch has now finished its run at the Lowry (Quays Theatre), but it is touring the UK until early October.
Dreamgirls is in Manchester for one night two weeks only!
Whilst the musical premiered on Broadway in 1981, it did not have its West End premiere until 2016 – a whole decade after the release of the film adaptation. Only now, over forty years since it premiered, is it embarking on its first ever UK tour!
Based on the showbusiness aspirations and successes of The Supremes – as well as other R&B acts, such as The Shirelles, James Brown, and Jackie Wilson – the musical follows the story of a young female singing trio called The Dreams.
The Dreams is made up of Effie, Lorrell and Deena (and later Michelle) – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. The musical follows the group as they embark upon a musical rollercoaster ride through a world of fame, fortune, and the ruthless realities of showbusiness, testing their friendships to the very limit.
The original Broadway production starred Jennifer Holliday, Sheryl Lee Ralph, Loretta Devine, Ben Harney, Cleavant Derricks, Vondie Curtis-Hall, and Obba Babatundé. The film adaptation’s cast is even more impressive: Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, Danny Glover, Anika Noni Rose, and Keith Robinson. The Broadway production won six Tony Awards out of 13 nominations, including Best Musical; the film adaptation also won, and was nominated for, numerous accolades.
Direct from the West End, with an extraordinary story and the unforgettable, spine-tingling vocals that send audiences wild, this spectacular musical production features the classic songs ‘And I Am Telling You I’m Not Going’, ‘I Am Changing’, and ‘One Night Only’ – as well as ‘Listen’, an addition to the film which was later added to the stage musical (albeit with some changes).
Whilst the West End production was originally lead by Amber Riley, the UK tour is headed by Nicole Raquel Dennis, who previously starred in the West End productions of Dreamsgirls and Dear Evan Hansen. She is also known for being a finalist of The Voice UK (series 8), where she wowed viewers and judges singing ‘And I’m Telling You I’m Not Going’ with team mentor Jennifer Hudson (who won an Oscar for playing Effie in the film).
Incredible – though not quite as impressive as the time Alexandra Burke performed ‘Listen’ with Beyoncé on series 5 of The X Factor!
As a huge fan of Diana Ross and the Supremes (this summer, I covered ms Ross’ in both Manchester and Lytham), I am so excited to finally see this stage musical. It is, after all, one of my favourite musical films!
So, go to the Palace Theatre for one night only and listen to one of the best scores in the history of musical theatre. The good times will leave you forever changed!
As summer draws to a close the Arndale shopping centre is still alive with shoppers looking for holiday sales or back to school bargains; so, if you find yourself peckish whilst on a shopping spree, PizzaLuxe is the go-to pizza place in the Arndale.
Located in the Halle Place food court in the Arndale Shopping centre, PizzaLuxe is a sit-down restaurant containing a classy authentic pizzeria aesthetic with tiled walls and floors, intimate lighting, and luscious green plants everywhere. The restaurant consists of cosy booths and tables which immerse you in the Italian style whilst also overlooking the ongoing bustle of shoppers.
The menu has a wide selection of sides, salads, and pizzas to choose from including the classics as well as exciting new flavour combinations and the option to choose your own pizza toppings or salad ingredients.
The food was not the only eye-catching feature on the menu as there were just as many tempting choices when it came to ordering drinks with a vast range of spritzers, cocktails, and mocktails on their new summer drink menu in partnership with Double Dutch. Needless to say when me and my brother arrived, we were spoilt for choice deciding what to eat and drink.
Photo: Chris Jackson @ The Mancunion
After much deliberation I chose the Classico Palermo pizza – a traditional mushroom, ham & chorizo topping, delicately flavoured with parmesan, truffle oil, and sage. The juiciness of the pork paired perfectly with the sharpness of the cheese and the subtle flavours provided by the sage and truffle meant this was no ordinary ham and mushroom pizza, but a masterpiece of taste. To accompany my pizza I ordered the LuxeGin & Tonic, which was the restaurants own flavour of gin served with another explosion of aromas: lemon peel, lavender, and elderflower tonic.
Photo: Chris Jackson @ The Mancunion
My brother, an avid pizza lover (& consumer), is also a stickler for traditional pizza toppings, ordering the Pepperoni Doppio which had the perfect balance of delicious dough, rich tomato sauce, and succulent sausage. The pièce de resistance for him, however, was the thin crust, freshly made sourdough base which we were told is a 96-hour slow-proved recipe to provide the tangy sourdough flavour we all crave.
Naturally we both devoured our food with delight, exchanging slices and agreeing the food perfectly emulates the genuine pizzerias we have eaten at in Rome.
The rapid service by friendly and passionate staff makes PizzaLuxe a perfect stopfor a quick, refined meal while shopping or a casual evening drink and bite before hitting the town. Alternatively during the day PizzaLuxe has a quaint coffee and cakes stall selling premium Italian coffee and freshly baked cakes to go for the shoppers who want to chase their next sale instead of a sit-down meal.
For those budget conscious students, PizzaLuxe is offering a pizza (or a salad) & a cocktail for £15 until the end of September that ensures anyone can experience their great food and drink without breaking the bank.
It’s September again and many of us are entering new phases in our life, phases that might stir feelings of anxiety in the stomach. If you’re the sort of person who would rather swap those nervous butterflies for romantic ones, I have the film for you!
Richard Curtis’s About Time (2013) is the ultimate comfort film: nothing horribly upsetting happens, there’s zero gore, and Bill Nighy is the ultimate philosophising dad. About Time is about mild-mannered Tim (Domnhall Gleeson) who discovers during a terrible hangover that he can travel in time. Tim resolves to use his new superpower for “the mothership” of life goals: finding a girlfriend.
Cue the many mishaps that come with time travel, all contained in delightful British rom-com fashion. Tim meets the love of his life – Mary (Rachel McAdams) – but her number vanishes from his phone after he travels back to save an ill-fated play opening. Curtis’s tight control of the script means About Time never strays into the melodramatic or overly sentimental territory but instead maintains a neat balance of comedy and jeopardy.
About Time has an (ironically) timeless quality to it. Despite contemporary references to Kate Moss and ‘Mr Brightside’, it’s a film that depicts love as the essential source of happiness. About Time approximates the feeling of being in love as much as film can and has thus always been a great source of comfort to me. It can be stuck on during any chapter of your life and you will surely derive some wisdom from any of the characters, whether it’s about dating someone kind or that worrying about the future is “as effective as trying to solve an algebra equation by chewing bubble gum.”
About Time is Richard Curtis’s most well-arranged, heartiest film to date. It’s the movie equivalent of a roast dinner. I would prescribe About Time to any fresher feeling homesick, the film’s overall sentiment being that (even without time travel) everything will be okay
Community – Joe McFadden:
When I started uni in September 2020, the TV show I turned to for comfort was Community. Following the antics of disbarred lawyer Jeff Winger (Joel McHale) as he’s forced to attend a community college to obtain a real Bachelor’s degree, Community centres around the group of misfits Winger befriends as they form a Spanish study group. Despite its simple premise, Community is a show like no other; it goes from a tame comedy about a group of college friends littered with pop culture references (spot the references to John Hughes film The Breakfast Club in the pilot) to a meta-commentary on sitcoms, movies, and TV itself.
Beginning with Season 1 Episode 19 ‘Contemporary American Poultry’ (a riff on Goodfellas), Community began doing ‘genre episodes’ where a specific movie or genre was parodied by the characters with hugely entertaining results. Everything from Die Hard to Spaghetti Westerns and even Ken Burns documentaries have been lovingly parodied by the study group as they indulge in every nerd’s dream (with many meta references coming from best friends Troy (Donald Glover) and Abed (Danny Pudi).
What makes Community my go-to comfort show is how it blends pop culture parody with heart and meaningful character development. At its core, the show is about bad people trying to be better. It tackles themes like ageing, fulfilment, and self-improvement in a consistently hilarious manner, showing how we’re all works-in-progress trying to find our purpose in life.
The show’s college setting also makes it very relatable to freshers who may struggle to fit in during the haze of welcome week. Community offers a positive spin on what the university experience may entail (I would love a campus-wide paintball match). I love Community because it loves movies as much as I do. Like many others, I take comfort in retreating to other worlds and Community doesn’t just portray another world, it encourages us all to find comfort in the simple pleasures that stories give us.
#SixSeasonsAndAMovie
C’mon C’mon – Ibi Balogun:
The end of summer and a new academic year creeping in can cause a rise in anxiety. Mike Mills’ C’mon C’mon (2021) is a comfort film that may help alleviate the stresses that come with joining or returning to university.
C’mon C’mon follows the story of Johnny, played by Joaquim Phoenix, a middle-aged journalist tasked with taking care of his young nephew Jesse, played by the young but extremely talented Woody Norman. This film includes healthy discussions about the future, devoid of the usual discomfort and fear that comes with thinking about one’s next steps in life.
C’mon C’mon is a refreshing spin on the coming-of-age genre that is not too literal but still has introspective potential. During the first half of the film, Jesse exudes a seemingly positive energy thanks to his quirky wit but as the narrative progresses another side of him emerges as we learn about his familial situation. This melancholic side of the film reveals the influence and significance that external factors have on children and their internal development.
Additionally, the viewer is shown authentic interviews with children and teenagers about the realities of growing up in their neighbourhoods and how they’re treated by the adults around them. These interviews result in raw and surprisingly analytical conversations about life, the future, and the human condition.
C’mon C’mon came to me at the right time as I was – and still slightly am – unsure about my future plans. This film allowed me to embrace those areas of uncertainty, and, in the process, I remembered how essential it is to actually live my life rather than worry about how to live it. I would recommend this film for those in periods of transition whether it is a physical, environmental, or even a mental change; C’mon C’mon will comfort you.
A mini-guide to Manchester cinema:
Here are some great creative spaces in Manchester to discover films, meet other film lovers, and new up-and-coming filmmakers:
Manchester Film Festival (MANIFF):
This film festival has a great variety of films of all kinds from short animations to feature-length documentaries, from a great variety of filmmakers around the world from Russia to Bolivia. The festival takes place at the beginning of March in the Odeon in the Great Northern complex in Deansgate.
Everyman Manchester St Johns:
There are Everyman cinemas across the country including Manchester. This cinema has extremely comfortable seating including sofas and blankets, there’s even an art gallery. While Everyman is on the pricier side, it does offer student rates and hosts travelling cinemas such as Bounce Cinema, an organisation that helps share the stories of young and emerging storytellers across the UK. This cinema is located between Spinningfields and Deansgate.
HOME:
Home is Manchester’s hidden gem. HOME showcases a diverse range of classic and contemporary films as an independent venue for theatre and cinema. Offering student tickets and plenty of events across the calendar, HOME is a must visit for any fan of the arts. The modern glass building is easily accessible and can be found on First street in the city centre.
A lesser-known gate into the Upside Down could be found in Manchester this weekend. Rendition Cocktail Bar & Kitchen hosted a Stranger Things-inspired bottomless brunch, bringing Hawkins to Deansgate.
Diners channelled their inner Hellfire club personas to an 80s soundtrack as staff members donned Chrissy’s cheer uniform, Hopper’s sheriff hat, and Eddie’s bandana. Rendition was kitted out in Stranger Things paraphernalia, including the alphabet wall and Christmas lights from Season 1.
The Mancunian equivalent of Eleven (sporting a blonde wig and pink smock) hosted a round of games for diners to partake in, with the winners receiving free drinks.
Other entertainment included Eddie’s rendition (if you’ll pardon the pun) of ‘Master of Puppets’ by Metallica. This version was even more impressive as he played it on an inflatable electric guitar, the improv performance of a lifetime.
Photo: Rebecca Rommen @ The Mancunion
The themed event marked the launch of a new brunch menu, featuring bacon sandwiches, guac on toast, and eggs cooked several ways – Benedict, Florentine, on steak, or with fried chicken. Add a side of mini hash browns for £2 to complete the perfect indulgent meal. We’d recommend the steak & eggs if you aren’t averse to meat, the eggs florentine if you’re vegetarian, and the guac on toast for vegans.
Rendition bottomless brunch costs £30 per person, with the themes varying week to week; upcoming events include the Rocky Horror Picture Show, Spice World, and Emo Kid, with another Stranger Things affair slotted in for the end of September.
Photo: Rebecca Rommen @ The Mancunion
Photos: Rebecca Rommen @ The Mancunion
The 1.5h bottomless drinks selection included breakfast martinis, peach Bellinis, Peroni, Prosecco, and house spirits with mixers. A limited-edition Upside Down cocktail was concocted for the occasion – a beefeater, elderflower, and cranberry blend served as a smoking libation.
The event was marked by good food, decadent drinks, and the likes of Kate Bush, Talking Heads, and A-ha coming through the speakers.
Have you ever wondered what a flamboyant Demogorgon would look like? It looks like a regular Demogorgon, only strutting to Etta James’s ‘I Just Want To Make Love To You’ in a feather boa in the basement of Rendition. Stranger things have happened, I suppose.
You can experience it for yourself with other themed bottomless brunch’s coming up including Spiceworld (Saturday 10th September), Emo Kid (Saturday 17th September), and the last Stranger Things brunch (Saturday 24th September).
We’ve all seen the American sitcoms… Friends, How I Met Your Mother, The Big Bang Theory. Finding your friendship group is supposed to be like finding your family. A collective who experience your highs and lows alongside you. A group so secure you can hibernate in it as you would with a duvet on a rainy day.
Whilst many may have friendship groups at home, university is pitched as a unique place to find like-minded people that geography may have previously prevented. For lots of students, the transition to university is also a transition to a new city, a time to reinvent yourself as an adult away from your family. Being part of a group – finding ‘your’ group – is imagined as a sign that you have ‘made it’ and triumphed these changes.
Now in my second year, my first year of university was dominated by lockdowns. By necessity, many of my peers formed friendships with people in their close proximity, i.e. flatmates. Though online classes and Covid restrictions limited the prospect of alternative friendships, I found this urge to identify as part of a group still remained.
I spent the majority of my first year with some lovely girls I lived with. We were all quite different, but we got along and in a year that was honestly quite hard I managed to find some nice times with them. However, the group-mentality of our friendship dynamic sometimes felt forced. Matching cowboy hats, drinking games, and group chats – there was a sense of pressured closeness in which I too played a part.
I think our, or should I say my, anxieties pushed a desire to affirm our closeness. Plans started beginning with ‘we’, outsiders would ask about ‘our group’. Despite this seeming security, I still looked towards and envied other groups.
Instagram posts and Snapchat stories would recount the fun times these groups had together – from the outside it was very easy to assume their closeness, to perceive that they had ‘found their people’. Naively, I would sometimes think this is purely based on style. In seeing a group of stylish Y2K girls rummaging through the Withington charity shops I think I still interpret them as a collective. At times, I thought finding a group that perfectly represented you – in politics, interests, style, music, favourite activities – was key to happiness.
Heading to uni, my older sister’s advice was to explore friendships, not just settle with who you live with but to truly find your tribe. Though I attempted to carry this advice through my first year, arranging a series of walking dates with people from zoom seminars (current first years don’t know how good they’ve got it!), it goes without saying that the pandemic played havoc with my attempt to explore friendships.
But her mantra lived on in my mind. Like a meerkat, I stayed with my flatmates, yet constantly had my eyes peeled and ears twitching for other future best friends. By understanding friendships as an object or goal to be reached, I could never be truly present with those around me. For all my drunk protestations of love for my first-year girls or the funny memories we had, I didn’t always feel like myself. I probably wasn’t that close to them all, which today I know is okay.
Honestly, at least for me, I don’t think this perfect group exists. My current housemates sometimes describe me as ‘aggressively independent’, something I probably wasn’t always so aware of. For me, this means I’m naturally inclined to keep my feelings in and plan my days by myself, forgetting that I am surrounded by a network of lovely friends to live life with. But being more aware of this independence has led me to reflect on my misguided attempts to define myself through friendships or groups.
In trying to fit myself into groups or force friendships, I acted unlike myself – pushing myself to behave in a way that would allow me to fit in with a cookie-cutter group. Stripped from all the anxiety of first year, today I don’t want to be defined in relation to any one group, and I certainly don’t want all my friends to be just like me.
If anything, my uni experience has shown me how I can form friendships with a range of people from all walks of life, both similar and vastly different. To me, that’s a beautiful thing.
Just as I was in Secondary School and Sixth Form, I am now comfortable being situated in the ‘grey area’ of friendships. I am happy both being in and floating between different groups, settled with the individual close friendships I can have outside of them.
As cliché as it sounds, I would encourage future freshers and current first-years to focus on making themselves comfortable in a period of many changes. If you need to stay in and watch Bridgerton on a Saturday night in Oak House, that’s okay.
Equally, if you just feel like going out with some other mates whilst your flatmates are having a cute pamper sesh, that’s also fine! By prioritising what you need during this transition, I am sure a variety of friendships and relationships will follow.
“Every night I can hear my flatmate having sex and the bed bangs against the wall so I cannot sleep.
I have asked him multiple times to keep it down but he doesn’t listen. I can’t sleep until he’s finished (which doesn’t take long to be fair) but I am always exhausted and am considering asking for special consideration for my exams.
Should I talk to him about it or talk to Reslife privately?”
I’m sorry to say this, but I did have a giggle reading this. But men shagging loudly does seem to be an issue that’s on the rise. At this rate, there should be a watchdog investigation on the issue.
There are many avenues you can take here, with varying levels of dignity and maturity (or lack thereof). If one of three tactics fails, try the next one!
Tactic one: Play him at his own game. This can be with or without a partner, it really doesn’t matter. When he starts making noises, do the same… but much MUCH louder. Jump on the floors, blast porn through the speakers, scream if you gotta. Hey, why not get the whole flat involved for some cheeky flat bonding. He’ll get the message soon enough.
Is it the adult mature option? No. Am I bothered? Also no. If you wanna go the extra mile, play animal sounds. Nothing turns someone off like a Beluga Whale screaming outside your bedroom door. Be creative here, there’s no such thing as too far.
Although, if it’s late at night, your neighbours may not appreciate the sound of an orgy next door – which is understandable. Tactic two is talking to them (ew). You can be nice, or you can be blunt, you’ve just got to get the job done. By the sounds of it, you’ve tried, so the blunt route may be your best option.
Don’t try to dress it up. Just say how you feel. They may feel embarrassed but at this rate, these are desperate times. It’s not too much to ask that you don’t wanna hear your mate going balls deep every time they have a ‘friend’ over. Suggest moving the bed (or whatever furniture they use) away from the wall, or even shagging when no one’s home! It’s basic sex 101.
The third tactic is what you suggested: Talking to Reslife/ your landlord. This can be awkward, so maybe do it over email or text. Outline the issue plainly and say how badly it’s affecting you. It’s your home too, and at the end of the day, it’s compromising your sleep, education and wellbeing. Once you’ve sent that email, it’s no longer a you issue, but a them issue.
If all else fails, buy a klaxon. Every time the noise arises, open the door and blast.
Need some advice? Send in your mishaps and worries here!
It was 6:30pm on a Thursday night and I’d convinced my housemate to ditch the beer garden in the golden summer afternoon, get dolled up with me instead, and dine out at Manchester’s The Blues Kitchen.
I won’t lie, I did feel like a bit of a tit tottering along in my heels whilst it was still broad daylight as we rushed to make our 7pm reservation. But the moment we stepped through door, my housemate eventually uttered the words I’d been waiting to hear: “Ok you were right, this place is pretty cool.” And that was before we’d even ordered food and cocktails!
If it wasn’t for the neon red lettering which adorns the Quay Street entrance, stepping into The Blues Kitchen would transport any millennial with a yearning for the past into a 1920s prohibition speakeasy. Quirky brass monkey lights adorn the restaurant’s gorgeous tile walls which alongside the stained glass door and ceiling panels makes this place one of the coolest-looking restaurants I’ve ever dined in.
The Zombie & Sage and Pineapple Cocktail. Photo: Annie Dabb @ The Mancunion
After being shown to our seats, past bustling tables, a live jazz singer and impressively stocked bar, our super friendly waiter took us through the menu, advising us of their recommendations and of new items. At the risk of making a mess of blues, for drinks I opted for the Zombie cocktail (£11) and my housemate Ryan the Sage and Pineapple cocktail (£10). Where cocktails are concerned, the bartenders certainly know what they’re doing and I would definitely recommend it as a great place to impress on date night!
For our starter, we ordered the Buffalo Cauliflower (£7.50) and the Smashed Avocado Tostada (£7.25): a blue corn tortilla stacked with shaved radish, red onion, coriander cress, and of course the gorgeous guac. One thing I will say, the food presentation is topped only by the interior decor.
The Buffalo Cauliflower and Smashed Avocado Tostada. Photo: Annie Dabb @ The Mancunion
Whilst both dishes were delicious, especially the cashew nut cream seasoning and lemon zest on the cauliflower, we did both think the price was a bit steep for what it was. We were extremely glad that they’d only been starters, our appetites unsatiated by the small portions. Equally, the cauliflower could have been crisped up for a little longer.
Our main course was brought out next we opted for the Chopped Salad (£10), Crack Tacos (£13.50) and a side order of fries (£4). I must take responsibility for the poor decision of the salad which, whilst nice and healthy, was at the end of the day, just a salad.
The Crack Tacos & Chopped Salad – Annie Dabb @ The Mancunion
We both agreed that the real showstopper was the Crack Tacos. This dish consisted of three mini tacos filled with panko roasted broccoli, BBQ sauce, iceberg lettuce, avocado, pickled onions and green goddess. Ryan and I both took a bite of these tacos and were instantly blown away by their rich flavour and tangy filling.
Genuinely some of the best tacos I have ever eaten in my life. Definitely worthy of their name.
By this point I was feeling very well fed, but that didn’t stop us from ordering the Vegan Chocolate Chip Shake (£5.50) to share. Ryan was very satisfied with our dessert choice, and claimed it was “a pretty decent milkshake that like”. High praise indeed.
The Vegan Chocolate Chip Shake. Photo: Annie Dabb @ The Mancunion
Overall I’d definitely recommend The Blues Kitchen, whether you’re stopping by to catch some jazz and indulge in a few cocktails, or to delve into their extensive menu of classic American dishes with a twist. You certainly won’t be left with any downhearted blues, despite what Bessie Smith may think.
If you do go for food, I cannot stress this enough, order the Crack Tacos. I promise every other taco afterwards will be a disappointment, but it’s worth it.
Describing itself as the only true dedicated jazz venue in the North-West of England, Matt and Phred’s in Manchester’s Northern Quarter is a melting pot of traditional musical styles.
From rhythm and blues to soul, roots rock to funk, and everything in between, if you live in Manchester and enjoy live music, you’ll know Matt and Phred’s. When I moved here from a small town, I was daunted by the gig listings. A jam night always levels the playing field, and Matt & Phred’s hosts one every Monday night. So that’s where I headed.
The only thing I remember clearly from that night is Jon Coley’s exquisite performance of Amos Lee’s ‘Arms of a Woman’. He infused the melancholic, soulful tune with bluesy, fingerstyle licks. His gravelly vocals were interspersed with a falsetto that had everyone looking up from their candlelit cocktails.
I learned later that Jon is a renowned self-taught fingerstyle and acoustic musician, influenced by performers such as Nick Drake, Neil Young, John Martyn, Jackson Browne, James Taylor, and Sam Cooke. He has played New York’s famous club, The Bitter End, and played supporting spots and festivals alongside Michael Chapman, Ralph McTell, Wizz Jones, and Dylan LeBlanc.
Jon Coley performing at Matt and Phred’s Photo: Ellie Hughes @ The Mancunion
Calling Matt and Phred’s his “bolthole”, Jon tells me it’s a place he can play just for himself and have fun without the pressure that comes from headlining his own gigs. Since I saw him at that jam night, he has made Piccadilly Records’ top 100 albums of 2021, supported Tré Burt’s UK tour, and was nominated for a Mercury prize for his album If All I Ever Wanted Was All I Ever Needed. This month, he supported Paolo Nutini’s intimate album launch at Jacaranda Records in Liverpool.
Jon is from Staffordshire but moved to Manchester five years ago. Despite coming from a musical family, as a child he didn’t play much himself beyond a bit of clarinet at school. He tells me that when he was 22, a serious injury put a sudden end to the archaeology career he had just started. As he speaks, he points to a long scar down his forearm where a metal plate has been inserted. Unable to dig, he turned to the guitar as a means of rehabilitation, becoming very good, very quickly.
As a beginner, he saw open tunings as a gateway to more innovative playing. It opened up new chord voicings and – only partly in jest – he says by tuning his guitar to the first chord of a song, he had one fewer to remember. “It doesn’t quite work that way, but it’s certainly shifted what I do”.
He spent the next few months and years soaking up the techniques and sounds of his favourite artists, honing his own in an effort to develop a distinctive style. He had no formal teaching, joking that if someone asks him to play a diminished chord, he plays it slightly quieter.
In a matter of months, he was playing fingerstyle guitar to live audiences. Within a year he was writing his own material, and by the end of a second had recorded an album with the memorable title Hamsters Can’t Climb and Other Tales of Disillusionment.
His newest album takes a more contemplative title: If All I Ever Wanted Was All I Ever Needed. He had originally intended on finding a path back into archaeology, but it soon became clear to him music was what he did best and was, he claims, “the most useful thing I could put into the world”.
Indeed, in those early months, he was so impressive that at times he exaggerated how long he had been playing just to avoid awkward exchanges with those who did not believe his prodigious progression. He still pleads: “I genuinely do not know what I’m doing on a guitar – it’s different every time – it’s just completely autonomic”.
Jon Coley performing at Matt and Phred’s Photo: Ellie Hughes @ The Mancunion
Still, this extraordinary ability didn’t magically open doors. He may play guitar like a demigod, but just like a mortal, throughout his career Jon has experienced his fair share of frustrations, crises of confidence, and even tragedies. “It’s up and down with me. There were a lot of points where I’d have felt justified in going, ‘OK, I get the message’…but I like contributing”.
Despite the setbacks, he attributes his impressive trajectory as a working musician partly to luck, partly to hard work, and partly to good old-fashioned networking, which he fears is becoming a lost art. “I don’t think enough people make that connection with the people they’re touring with, particularly in America where security means there’s almost no contact between the support acts and bands”.
This yearning for personal connection spills over into Jon’s other endeavours, including the monthly folk session he runs at the Rose & Monkey in Manchester city centre. This isn’t your usual folk session. Scribbling Town, named after a line in the old folk song ‘The Wandering Bard’, referring to this very inn, is centred around inclusive and diverse collaboration. It encourages musicians to listen to others and identify complementary skills.
Jon explains that part of what drove him to launch Scribbling Town was observing a segregation particular to the music scene in Manchester that he says often works to prevent collaboration. Those put off by the ‘folk’ label shouldn’t be. “It’s about taking folk music back to what it used to be: anything made by the people, by the untrained community. The nicest thing about it is introducing two people who you can’t believe have never met before”. The delightful venue is reason enough alone to come along. As Jon says, it is a piece of magic in a dwindling milieu of historic and characterful Manchester inns.
Creating spaces for others to learn and collaborate like this sets Jon apart as an authentic advocate for meaningful music-making in all its forms. Scribbling Town is a platform that is at the same time a nod to tried and tested tradition and an innovative way of forging musical communion. It is not enough to say Jon is an important part of the Manchester music scene; he strengthens its very foundations, helping others to climb up.
Jon’s approach to most things appears unorthodox, and nothing at all about his songwriting is hackneyed. One song on his new album, which has been described as “heart-wide-open”, is about what he describes as the “nihilistic upside to bipolar disorder: sometimes, when you should be sad, your brain just won’t let you [be]”.
The album lurches from optimism to despair with no mercy; its second track is based on something a friend said to him soon before she died which led him to conceive the unforgettable line: “Sympathy for Judas, because no one gets to be who they deserve to be”.
Jon’s empathy with his own music is palpable on the album, and his live shows seem to draw you into the experiences that influence each song. Be warned: they demand your attention and your emotional energy; listen to ‘Only Call Me When You’re Ready’ at your own risk.
This interview has been edited for length and clarity.
At university, pre-drinks (a.k.a ‘pres’) can often be better than the night out. It’s the ideal time to get to know your flatmates. There’s no loud music, no pushing through rowdy crowds, and you don’t even have to travel far.
In order to create a great atmosphere for a successful pres, you need good music. Most flats have the designated DJ – the one who thinks they have the best music taste. If you want more of a mix of tunes, Spotify’s collab feature means you avoid any song repeats. If you’re looking for a starter playlist though, try this on Apple Music!
Once you’ve sorted out the tunes, drinking games are a must. There’s the classics like ‘Never have I ever’, ‘Who’s most likely’ and ‘Two truths one lie’. Even a good ole ‘Truth or Dare’ or ‘Ring of Fire’s’ a great way to get to know your new friends’ darkest secrets and guilty pleasures. There are also plenty of fun online drinking games such as Piccolo, Drunk Pirate, and Party Roulette.
Another way to make everyone feel included and save money is by sharing a bottle. As long as you trust your flatmates to not hog it, going to the shops together and splitting a bottle of spirits ensures no one is without a drink.
Want to take your booze to the next level? Create a huge cocktail is the way to go. A big bucket or keg will do and you can find tone of great recipes on TikTok. I personally recommend a bottle of vodka mixed with sours, peach schnapps, VK or some other lower percentage alcohol, lemonade, fruit juice and lots of ice. Then you have a delicious drink that will get you significantly more drunk than your average Squirrels pitcher.
Once you’re an experienced pre-er, doing pres a at bar or pub is the natural next step. It can be more expensive, but it’s often worth it for the experience and the variety of people around you. Bumping into people or making new friends from different accommodations is easier done in a Fallowfield pub. Places like Nest, Friendship Inn, and Haus are more relaxed and full of students drinking before a night out.
If you’re looking for something further out of Fallowfield then Southside Tequila Joint and The Victoria in Withington have a great atmosphere. Closer to the clubs in central Manchester are bars like The Font and Courtyard, which are great if you want to experience the city without its higher prices. I recommend going to a place with music to get yourself in the mood and feel free to bring along cards to play once you’re there if you get bored of drinking game apps.
Unfortnaly, UoM doesn’t offer practical degrees in filmmaking, journalism, or the arts. What we do have, however, is a huge range of media societies. From Manchester Media Group (MMG) to Gigs & Bands Society, there are loads of options out there, with all these groups providing various opportunities to get into the media and creative industries for free.
Each university has a student paper, but with Manchester’s being the biggest in the UK (even winning best publication in 2022) this one stands out from the rest. The Mancunion welcomes all years and abilities – I became Lifestyle Editor in my first year! There are absolutely loads of opportunities here to either scale the ranks of the newspaper or build your journalism skills with our MMG workshops.
Each week, section meetings are held from 5pm – 7pm (Monday and Tuesday). The meetings can be 10-20 minutes, where the editors will go through article ideas for the week. Editors are also there to provide support with any pieces you’re working on too. You can find each section’s times/day on our Facebook group banner, with each section also having there own Facebook group – these can be found via the ‘Mancunion Writers’ group.
Don’t feel like writing? Well, join The Mancunion‘s marketing and social media team or even design for our bi-weekly print issue (design days being Thursday and Friday)!
Fuse TV covers every role from behind the camera to presenting and cinematography. The station covers key university and political events, often interviewing Manchester’s mayor, getting the inside scoop. Additionally, it’s a place for producing entertainment through game shows, documentaries, dramas, and comedy – anything you’d usually see on TV!
The group often works closely with other societies, filming their events. Again, there are various roles within the society such as station manager, technical director, and head of editing that you can work your way up to.
If you’re into film and all things techy, then this is where you want to be. You’ll learn to edit, shoot, direct, and write scripts – every skill you could possibly need to work in the industry. Not only does Fuse TV make students more confident around the camera, but it gives you a head start when applying for internships.
Memberships are just £5 to have access to all their equipment and editing software. If you have any queries, head down to the Fuse TV office in the SU’s Hive. Or even join the Fuse TV Facebook group to stay in the loop.
Love the sound of your own voice? Great, Fuse FM is for you. Become a radio DJ or host your own podcast with the station supplying all the equipment for you. UoM is known for having loads of great podcasts and shows, some of which you’ll subconsciously recognise… you see Fuse FM producers love to advertise with stickers, usually pasting them on every toilet door in the SU.
This is the society where you can have the most creative freedom in what you do, whist still being supported in making it amazing. You can even make your show award winning thanks the annual MMG awards!
For £10 you have access to all the radio and podcasting equipment in the SU, and training on how to use it. There’s top of the range microphones, editing software, soundproofing and even the chance to get famous!
If you’re ever curious to see how the shows work, pop your head into the radio booth (in the SU’s Hive) and say hello. Radio hosts love to have their ego stroked, and may even let you sit in on their show. Otherwise, join the Fuse FM Facebook group to get involved.
If you love music or going to gigs, GABS is definitely for you. Every two/three weeks, the society hosts gigs showcasing Manchester’s best up-and-coming bands. They also host open-mic nights in venues across Manchester.
GABS is welcoming and full of music enthusiasts. It’s a great way to learn about event management, mingle with Manchester’s music scene, and maybe even start your own band. The group is always looking for videographers, bloggers, DJs, photographers, or even just a keen audience. They also work closely with The Mancunion‘s music section (another great way to see gigs for free).
Memberships are £2 for the year where you can get a badge, earning you the right to a few exclusive GABS events. Otherwise usual GABS gigs are £3-£5. Either way, the society is a bargain and a great way to see tones of artists in one night.
Similar to Fuse TV, MUTTS is a society for students passionate about the behind the scenes work done for film, tv, theatre as well as UoM events. This group are great collaborators with UoM’s performance societies as well as Fuse TV.
Originally founded for students interested in production without necessarily just dealing with cameras, MUTTS trains it’s members in everything you’d need to put on a show. To put it bluntly, without MUTTS, a lot of UoM event coverage wouldn’t look at professional as they do.
The best thing about MUTTS? It’s free! Learn all the core industry skills without paying a penny (minus your degree tuition). Plus, if you’re still unsure about getting involved, they run taster sessions and various other workshops. Join the team and keep up to date with their socials by following their Facebook page.
Noisy neighbours are more of a nuisance than you might initially think. You might be going into halls thinking you might even be one of them, so what’s the harm? We’re all here to have fun, right?!
Well, that’s not just half true but also why this quick guide is well worth a read!
Regardless of what ratio you’re aiming for, everyone has come here to learn, (and occasionally needs to focus on their studies!). Whether you’re a book worm, a half-and-halfer, or are mostly here for the nightlife, everyone will be slightly different, with different priorities and tolerances, and everyone’s experience is just as important.
So whether or not you can already feel yourself dreading the communal parties in and around your accommodation, it’s worth getting to grips with the idea of what it really means to share a living area with hundreds of people, and very thin walls; as well as preparing for when it gets annoying, especially when you have to be up for a 9am exam (they do happen!).
We’ve probably all had experiences of noisy neighbours in the past. It’s inconvenient, but not the end of the world. That’s easy to say when you’re at home, have multiple rooms to escape to, or the option to turn up your own entertainment and drown them out.
However, in halls, things are a bit different. The room you have is pretty much it, and it won’t be all that big. If it’s on the side of someone who’s blaring their music through your wall, or shouting at 3am, I promise you you’ll hear it. While turning on something of your own to drown it out a little is an option, it’s a very limited one. No matter what you think your relationship is with your housemates, you definitely risk getting reported yourself if you’re too loud in return, or even getting grouped in with the original disturbance when security come looking!
At home, the stakes are a lot lower too. Uni is predominantly about coursework, catching up, and exams. While you might be easy going now, when your grades depend on being able to concentrate or sleep, you might find it harder to ignore the slamming fire doors (they’re not quiet!) and 2am raves.
So what can you do? Well, from someone who’s been there, used pretty much every option, and came out of the other side with a bit of healthy insight, I’ve got a helpful chain of options for you to try if you’re in need of some advice!
1. Can you put up with it?
I know this doesn’t seem like much of a tip, but bear with me. It’s always best to start small, and start with yourself. If you jump the gun, you might be told to go away and start here anyway; the more you can say you’ve already done, the more you have working in your favour. Plus, it’s a lot more zen to focus inwards than get angry, trust me.
I mentioned everyone’s here for different reasons, and enjoying themselves is one of them. Reminding myself of this really helped to lessen my own frustration and approach the situation with slightly more understanding. That doesn’t mean you have to accept everything, every time, but it does help to unburden a sense of entitlement of sorts to being able to have the environment how you’d like. After all, you are sharing an accommodation block with hundreds who feel the same way. I find it useful to ask myself whether, if I was at the party or more free to enjoy some music myself at that time, whether I’d do the same thing.
So, take a breath. Remind yourself everyone has a right to have some enjoyment in their day. And see if a change of attitude calms your perception of the irritation. It doesn’t sound like much, but honestly this moment of mindfulness has shut down my own haste to annoyance several times.
If it’s still too much, move to step 2.
2. Can you modify your own environment?
This one’s still on you, but again, trust me. It’s so much easier to change what you’re doing, than try to change what others are doing, even if you’re in the right.
Ask yourself if you can modify what you’re doing to lessen the noise from within. Maybe you could put on some music of your own. Or, if you’re working, some noise cancelling headphones and ambient music. Or you could decide that, if others are having fun, maybe you deserve some too, and put on a film or game for a bit with the volume up (just loud enough!). See if there’s something you can do in your own room or flat to lessen the noise; or at least make it less annoying for you.
3. Go Out
If you really can’t do anything, maybe it’s time for a quick wellbeing walk instead – take yourself away and grab some fresh air. This isn’t you being driven away, it’s a genuine chance to look after yourself, take a few deep breaths, and get moving among some nature.
I had to be forced to take a break and look after myself in first year – this might be the nudge you need and I promise it’s always worth it! It might be that you’ve been working away with your head down for longer than you thought and it really isn’t worth sorting this out right now when you’ve got to get out of your room anyway.
Alternatively, could you use this nudge to get out of your room as an opportunity to get your shopping done? Killing two birds with one stone helps put the ball in your court and empowers you rather than leaving you feeling annoyed and helpless. As a bonus your future self will thank you for having gotten it out of the way and it’s one less thing to worry about.
If you can’t get out, don’t have time, or really don’t want to and don’t feel you should have to – move on to step four and worry not.
4. Can you ask them to turn it down?
This is a super quick point. More a 3b if anything, because it’s not usually possible and not something I would encourage, especially in the middle of night. But it serves as a forewarning that you might be asked this. If the noise is coming from your flat, or a next door neighbour that you know, it could be worth popping by and requesting politely but firmly that the noise be kept down. You’re here to study and look after your own wellbeing, and that comes first and foremost over excessively loud entertainment or a shouting match that could wait ’till morning.
Ask if they can turn it down a little – even make a joke out of it or let them know what time you need to work until if it helps you (though you don’t need to – it’s your right to a safe, liveable environment).
5. Contact reception or ResLife.
All halls have on-site teams of people available for this sort of thing. No need to feel nervous or apologetic for using them; that’s what they’re there for and they are completely used to this.
You’re perfectly within your right to ask for people to not affect your own uni environment without your consent if it’s bothering you or your ability to concentrate.
Most inductions to halls will include contact details, but if you’re not sure, go to your reception and explain the situation. It might be that they can do something immediately, or they might pass you on to the person who can. Either way, it’s always worth a shot!
If it’s out of hours, ResLife have on-call people for exactly this thing, so it should be simple and guilt-free! The ResLife number likewise should have been handed to you, but if not, it’s usually posted on the reception windows somewhere. It’s also online and just a quick google away. Let them know what’s been happening, and if you can, include how long for. A bonus inclusion could be what you’ve already tried and how it’s affecting you; though, as I said, you shouldn’t need to justify it at all!
Typically, someone will be sent round to request the noise stops, or quietens down. Once again, it’s what they’re there for, it’s kept anonymous, and you won’t be in any trouble for phoning them.
6. If all else fails, on-site security are your big guns.
Security should be very easy to contact, as it’s their job to be available for students and deal with the less pleasant side of being alone and away at uni. It’s not as scary as it sounds – they usually patrol the campus anyway – and they’re there for your benefit and protection. This includes dealing with anyone upsetting the peace on site.
Uni halls have strict rules with regards to maintaining etiquette and not causing a disturbance, so it’s perfectly acceptable to have those enforced. Sometimes students get over excited at being away and treat campus like a holiday rather than a shared living space. But remember, everyone’s an adult here and are expected to act like it.
Security usually have their contact details posted around halls and online on your accommodation pages, but for UoM it couldn’t be easier to find their number, as it’s on the back of your student ID. If you’re suffering in silence and hesitant to call them, let that reassure you that they really are designed to be accessible to you.
Hopefully this loose checklist of what to do when you run into your first noise complaint is helpful. Just remember, if you feel awkward about ‘ruining anyone else’s time’, your time is equally important, and the only way everyone can have a good experience is by respecting the rules that are in place for everyone’s benefit.
This is particularly important around exam seasons, and if you’re studying for an assignment or exam, do feel free to skip further down the list without trying earlier options. Students should be mindful of noise during those times, and it’s not acceptable for your grades to be affected by noise disturbances on site, so make sure you speak up before it’s too late! There are probably other students in the same position – and with a variety of needs – hoping someone does something, and will thank you for being pro-active.
As boring as it might be to say, you’re all spending a lot of money to get this degree; you can party afterwards.
Her Majesty Elizabeth II, the longest serving Monarch in British history, has died aged 96.
A statement released by Buckingham Palace yesterday (September 8 2022), at approximately 6.30pm, stated: “The Queen died peacefully at Balmoral this afternoon.
“The King and The Queen Consort will remain at Balmoral this evening and will return to London tomorrow.”
The Queen’s death follows a series of reports and concerns about her declining health. At approximately midday on September 8, Buckingham Palace released a statement saying: “Following further evaluation this morning, The Queen’s doctors are concerned for Her Majesty’s health and have recommended she remain under medical supervision. The Queen remains comfortable and at Balmoral.”
The Queen had last been seen by the public during her meetings on Wednesday with the incoming and outgoing Prime Minister’s, Liz Truss and Boris Johnson, respectively. Her Majesty received the two PMs at her summer residence in Balmoral, Scotland, in a marked departure from the established tradition of receiving incoming and outgoing Prime Ministers at Buckingham Palace.
Health concerns were first raised on Tuesday when she did not attend a virtual privy council meeting on the orders of her doctors.
The University of Manchester released a statement offering “condolences to the Royal Family” and saying “we join them in mourning, but also thanksgiving, for the Queen’s exemplary and extraordinary life of public service.”
“As a mark of respect, the national flags on University buildings will be flown at half-mast for ten days of national mourning.”
The Queen last visited the University of Manchester in October 2004, when she personally granted the University a Royal Charter to mark the merger of the Victoria University of Manchester, and the University of Manchester Institute of Science and Technology.
A report by the University documents her address to the gathering. She is reported to have reflected on her many previous visits to the university, and stated that “the creation of the new University represents a bold and imaginative response to the challenges facing higher education. In creating this new institution, you are building on a rich academic heritage and a fine tradition of excellence in both teaching and research”.
Her Majesty proceeded to meet a range of students from the University, who reported that she was eager and “very interested” to hear about their work, and upon her departure, was met by crowds of waving and clapping fans.
The news of the Queen’s death has been met with a wave of tributes from across the UK. In a speech outside 10 Downing Street on Thursday night, Prime Minister Liz Truss said “Queen Elizabeth II was the rock on which modern Britain was built” and “through thick and thin [she] … provided us with the stability and the strength that we needed.”
Andy Burnham, the Mayor of Greater Manchester, paid tribute to the late monarch. A statement attributed to the Mayor’s by Greater Manchester Combined Authority stated : “On behalf of everyone in Greater Manchester, I wish to convey our deepest sympathies to the Royal Family following the passing of Her Majesty The Queen.”
“Queen Elizabeth II has been an ever-present in our lives. Our sense of loss is profound because she gave us all so much. As the longest reigning monarch in the history of the United Kingdom, she gave our communities and our country the greatest possible service and guidance. For that, and for her exceptional life, we give thanks.”
He was joined by Deputy Mayor Bev Hughes in his statement of condolences, who added “As the longest-serving female Head of State in world history, the Queen worked alongside 15 Prime Ministers and was a source of inspiration to many women working in the public sphere.”
“Her dedication to and support for charitable causes has also benefited so many of our citizens. Her Majesty acted as patron to over 600 organisations and charities – helping to raise hundreds and thousands of pounds during her reign.”
“Our city-region mourns the passing of Her Majesty, while her legacy and achievements will continue to be remembered and appreciated by people here across Greater Manchester far into the future.”
The Queen made many visits to Greater Manchester during her lifetime, most recently in July 2021 where she visited the set of long-running soap opera Coronation Street and the Manchester Cathedral, meeting with several representatives of support groups who provided care during the Covid-19 pandemic.
Elizabeth II came to the throne on February 6 1952, aged 25, following the death of her father, King George VI. Her reign bore witness to multiple history-making events, with her first Prime Minister Winston Churchill (1940-45, 1951-55) being born in 1874 whilst her final Liz Truss (2022-) – appointed only two days prior to her death – was born 101 years later in 1975.
Born two weeks before the 1926 General Strike, The Queen witnessed historic event after historic event throughout her lifetime. Her seven decades on the throne saw her appoint 15 Prime Ministers to lead the British Government whilst 13 U.S Presidents, from Dwight D. Eisenhower to Joe Biden, served their terms during her reign.
Throughout her reign The Queen navigated, mostly successfully, a multitude of political crises from the Suez Crisis to the dissolution of the Soviet Union and, most recently, Brexit and the Covid-19 pandemic. Whilst Her Majesty herself always remained extremely popular with the British public, often perceived as a stabilising and calming force on a nation increasingly racked with political crises and stark divisions, in recent years the institution of the monarchy has repeatedly been called into question.
From the death of Princess Diana to the accusations of sexual assault levied at her son Prince Andrew, the very idea of a monarchy has become a polarising source of debate in British politics. Her reign’s twilight comes at a time when the role of Britain on the international stage – both contemporary and historically – is becoming increasingly controversial within public debate. Many will question the role and relevance of a monarch, the title associated with the British Empire and its legacy of conquest, plunder, and oppression for centuries, at a time when society’s ideals widely held upon Elizabeth’s ascension are markedly divergent to those held by the general public today.
All in all, history will be kind to Elizabeth II. Her reign observed a significant, but not always consistent, increase in living standards, education rates, and decreases in poverty across the UK and Commonwealth whilst Her Majesty herself was viewed with admiration and adoration by the British public all throughout her time on the throne. As the nation grapples with the loss of its figurehead, Elizabeth II’s reign will in no doubt be viewed as the ‘Great Elizabethan Age’ despite the uncertain future ahead for the institution Her Majesty dedicated her life to serving.
Sydney rockers DMA‘s have amassed an impressive fanbase in the UK, following an extensive 2021 tour including a three night residency at Manchester’s Victoria Warehouse. Their live show in February 2020 and later album in March 2021, Live At Brixton, reminded us that live shows would be attainable again. With songs influenced by the Oasis and Stone Roses songbook, and energetic live shows, it’s not hard to understand why the UK have adopted them with such open arms.
However, the new single ‘I Don’t Need To Hide’ falls short. Instrumentally, it’s a departure from their well-honed sound, with pop-style synth sounds front and centre in the mix. Singer Tommy O’Dell’s vocals feel incongruous with the rest of the song, and at some moments the autotune is jarring.
Lyrically, the song is about “the confidence you obtain when you find someone that loves you for all your faults, quirks and obscurities… you don’t need to hide anything from anyone anymore”. It’s a wonderful sentiment, but it does feel a little overstressed, and doesn’t have the killer anthemic hook of ‘Feels Like 37’ or ‘Lay Down’.
The song will nestle into the live set, and perhaps triumph within a live mix. But, in terms of the recorded single, ‘I Don’t Need To Hide’ appears to conceal the punch that fans have grown so accustomed to.
DMA’s will tour the UK in October, beginning at London’s Roundhouse, before heading up to Manchester Academy and Glasgow Barrowlands. You can buy tickets here.
We celebrated what would’ve been Freddie Mercury’s 76th birthday by welcoming We Will Rock You (WWRY) back to Manchester. The jukebox musical, featuring Queen’s greatest hits, is currently in the final week of its 20th anniversary UK tour.
Jay and I attended as Queen fans first and critics second, having both seen Queen + Adam Lambert live in concert. We were sceptical but intrigued about the premise and managed our expectations accordingly. Basing a dystopian musical around a timeless rock band’s discography seemed chancy. The storyline, penned by Ben Elton (who has been interviewed by The Mancunion), could have worked out if fleshed out in an Orwellian novel or Black Mirror episode, but it felt half-baked as a musical.
WWRY, set 300 years in the future, tells the story of a ragtag group, aptly called Bohemians, and their defiance against an oppressive regime/corporation. The head of the regime/corporation is Killer Queen, who works tirelessly with her Chief of Police, Khashoggi, to stamp out resistance and individualism. (Yes, the characters’ names are all derived from Queen lyrics).
Galileo Figaro and his feisty love interest, Scaramouche, rebel against the regime/corporation with their fellow Bohemians, searching for the lost art of rock ‘n’ roll. The only music available in this new world is entirely computer-generated. I can see how this concept would appeal to some viewers with its implicit criticisms of corporatisation and electronic music.
The script has been tweaked since its 2002 debut, with some nods to Covid worked into the dialogue. The first mention of Covid was a success – Galileo and Scaramouche agree to “use protection” and proceed to put on face masks before making out. This attempt landed with the audience. The next time Covid was mentioned felt like overkill – and then it was mentioned again, to no laughter at all.
Paying homage to an icon like Freddie Mercury is a gamble. Finding an ensemble cast that can accommodate Mercury’s unparalleled vocal range (famously spanning bass low F to soprano high F) is no mean feat. Jay and I had both felt the same internal conflict watching Adam Lambert perform alongside the greats, as his talent is up to par and his stage presence exceptional, but it’s jarring watching someone embody the late Freddie. Even Rami Malek’s Oscar-winning portrayal in Bohemian Rhapsody left fans conflicted.
Admittedly, some WWRY cast members exceeded expectations and delivered those notes with pizazz – special mention goes to Elena Skye, who plays leading lady Scaramouche.
Michael McKell (who The Mancunioninterviewed ahead of the show) played Cliff, and he was certainly a fan favourite. Olivier nominee Ian McIntosh was off. Instead, his alternate, Damien Walsh, played the lead role of Galileo, whilst Edward Leigh covered for David Michael Johnson (who has been reprising his role of Brit).
Notable moments included an oppressive headmistress who’s the spitting image of Jessie J, garish wigs, and soulless “Gaga girls” who look eerily like the Fembots in Austin Powers.
The musical was initially met with scathing reviews twenty years ago but has since asserted itself as an audience favourite. Perhaps my cynicism will subside in another twenty years. While the show’s not for everyone, it’s a fun night out, especially if you know Queen’s songs front-to-back.
My main conclusion (to counteract my criticisms) is that I am not the target audience for this show. The majority of my fellow Queen fans are from a different generation, and the sense of humour seemed to appeal to them. Jay and I were among the youngest in the audience, and the baby boomers present punctuated the acts with whoops, signalling that, yes, this was the Queen tribute they had paid to see.
Manchester often plays host to the world premieres of musicals. Manchester Opera House is often the lucky host – Ghost, & Juliet, Back to the Future, etc. At the end of the month, Chester Storyhouse (not in Greater Manchester, but close enough) is welcoming the world premiere of the stage musical adaptation of The Time Traveller’s Wife – ahead of a West End run.
But before that, Bolton Octagon is staging its own world premiere – a stage musical adaptation of The Book Thief.
Markus Zusak’s best-selling 2005 novel was adapted to the big screen in 2013. The stage musical adaptation of the novel is hoping to replicate the success of the film.
The Story
At a snow-covered graveside in 1930s Germany, an illiterate girl steals an abandoned book – Liesel Meminger’s first act of book thievery.
As Liesel’s appetite for books grows, so does the Nazi regime, and the shadow of death is never far away. When her foster family hides a Jewish boxer in their basement, he teaches Liesel the power of words, and together they plant seeds of kindness in a world set against them.
The Writer: Jodi Picoult
The musical was written by Jodi Picoult and Timothy Allen McDonald. The wider writing team first met whilst working on a musical adaptation of Picoult’s own novel, Between the Lines. In a syndicated interview, McDonald explains that, “McDonald, Kate Anderson, and Elyssa Samsel and I got so close during the process that we began to have separation anxiety. We wanted to find a new project to work on together… but I didn’t want to adapt one of my own books again.
“We each made a wish list: if you could make a musical out of any book, what would it be? The Book Thief was on all of our lists. It had that magical combination of being morally relevant, historically important, and sweeping in scope. It felt like it could be a Les Mis for the current generation. I had just met Markus Zusak, the author, at a literacy event… so I said I’d write to ask him about the rights.”
Picoult spoke about the challenges of adapting a novel into a script: “You really want to honor the original story. A musical isn’t a novel, so they shouldn’t be identical, but you do want readers and theatregoers to leave with the same message and feeling. To that end, you have to figure out what gets cut from a book as lengthy as The book Thief but what is integral; you have to figure out whose story we are following and how and when music should convey emotion or plot points. As a novelist myself I don’t take this responsibility lightly. I am very cognizant of wanting Markus to be proud of this new incarnation of his story”
Picoult admits to being excited about developing the entire story to the stage, “because this is our first three-dimensional production! But I have to admit that there is one culminating musical moment – it’s called The Word Shaker, and it’s an allegorical story that the main character writes – that is going to be spectacular and magical. When I saw our choreographer, Thomas Jackson Greaves, and Lotte developing the language for that in a workshop, it took my breath away”
When asked what she hopes audiences take away from the musical, Picoult said eloquently: “That the past has a nasty habit of not staying in the past. That a single individual who chooses love over hate can make all the difference in a broken world. And that a seed of kindness can grow into hope, when you need it the most.”
The Book Thief runs at Bolton Octagon from 17th September until 15th October. Come steal a seat!
