Month: December 2022

Review: The Leviathan

Written by Toby Young on 14th December 2022. Posted in Books.

Christmas, 1643. The Leviathan has awoken.

Thomas Treadwater is a solider in Cromwell’s army. He is returning home to Norfolk to be with his family on their farm.

An ominous letter from Thomas’ sister, Esther, tells of witchcraft and intrigue plaguing the town. Thomas won’t be having the festive homecoming he needed.

As debut novels go, it’s tough to find a more intriguing plot than this. Esther tells Thomas that the family’s servant girl, Chrissa, is pregnant. What’s worse is that she claims the child is Thomas’ Father’s. Chrissa is then put on trial for witchcraft, and Thomas’ father suffers a mysterious stroke.

In and of itself, this is a great plot line. It appears at first it will form the basis of the book. The truth is quite different.

Andrews begins her novel as a typical historical mystery, reminiscent of Andrew Taylor or C.J. Sansom. It soon develops into something far more sinister.

Before going into depth on the plot, the scenery deserves its own discussion. Andrews does a lovely job of setting up 17th-century Norfolk. Bleak empty fields, lonely farmhouses, and spectral churches loom over the towns like sentries. Few mentions are made of the civil war in the plot, despite being set at its’ height. The conflict serves more as a backdrop for Thomas’ story.

Usually, the use of such an important historical event as a mere backdrop would be a missed opportunity. However, the plot is so fascinating you will find yourself completely satisfied.

The title of the book is also of note. It bears the same name as the political masterpiece Leviathan by Thomas Hobbes, who was writing his work at the time Andrews’ novel is set. This Leviathan is a different beast entirely.

The book turns into a murder mystery when Chrissa is accused of killing two servants. However, this storyline doesn’t last for long, as intriguing as it is. Andrews flits between genres like a moth to light; the reader is constantly kept on their toes.

By the one-third mark of the book, the genre changes again into the dark, terrifying depths of demonic possession. It is at this point that The Leviathan sheds its skin and enters arguably its best and most intriguing form. We learn that an ancient evil, linked to a shipwreck years before has been hiding, dormant, in plain sight, waiting for its moment to spring loose. And now it is awake.

Andrews absolutely shines here. The reader has goosebumps when the Leviathan mentions events to come in the future such as the battle of Stalingrad and the atomic bomb. Things which have no meaning to Thomas but will make the reader’s hair stand on end with their implications to the leviathan’s intellect. The Leviathan’s motives remain wonderfully obscure throughout the book. It’s the sort of stuff that will have you up till 2am, unable to put it down.

It’s often dangerous to introduce an ancient evil in literary fiction. The dialogue has to be absolutely spot-on for it to be convincing. Andrews doesn’t just achieve this. She also manages to give her leviathan a terrifying sense of apathy. Beyond your usual all-knowing evil villain (think Palpatine or Sauron), you genuinely feel that the Leviathan is acting towards goals completely beyond our comprehension.

Other characters benefit from this treatment too. Thomas is complex, both modern and of his time. Although the civil war is not at the heart of this novel, Andrews has clearly done her homework and then some, as the whole story is dripping with reminders of the time period. One of my favourites was Thomas getting furious at his sister for seeing a male visitor into the house without him present; a brilliant reminder that these characters are very much products of their time.

Chrissa is another character that stands out. Although existing in a period of severe prejudice, Chrissa has a remarkable sense of independence and strength which appears totally genuine. Although she begins the story as the antagonist, I guarantee she’ll win you over by the end.

This novel is full of depth and content. It’s a phenomenally rich storyline, twisting and morphing into so many different forms. Although this is at times a strength, Andrews may have benefited from focusing on one element. It’s hard to decide what genre this book falls into, and it can seem like there are too many ideas at times.

Overall, Andrews has made me incredibly excited. If this is how elegantly she writes for her debut novel, then I really can’t wait to see what she comes up with next. The Leviathan is rich, detailed, and meticulously researched. It caters for all manner of genres and really has a little something for everyone. I loved every second, and I cannot recommend this highly enough.

Review: The Pantomime Adventures of Peter Pan

Written by Robert L. Gyorgyi on 14th December 2022. Posted in Theatre.

For the British, Christmas means Pantomime and vice versa. It is a night out for the family and, for many, their first memory in the theatre. As I, a foreigner, had never seen a panto before, I had no idea what to expect when I got my ticket for the two-hour show at Manchester Opera House.

After I realised that The Pantomime Adventures of Peter Pan (PAPP) would not involve the sad and monochrome Pierrot, I prepared myself for a campy, Dora-the-Explorer-style Peter Pan instead. While that expectation was certainly fulfilled with the audience’s active involvement (“oh yes it is! – oh no it isn’t!”), the performance proved to me that pantos are so much more than immature children’s shows.

And for that, there is no better evidence than my own uncontrollable laughs… and I’m nearly 30! Don’t get me wrong, panto’s primary role is entertainment—definitely not education—but the effort that is put into it and its showcase of talents must be recognised and celebrated.

PAPP’s story is a sequel to J.M. Barrie’s well-known story of Peter Pan. Pan (Ross Carpenter), Neverland’s hero, who refuses to grow up. Neverland’s waterfalls run out of pixie dust, so Tink (Samara Casteallo) asks for Wendy’s (Jessica Croll) help to solve the mystery. As always—especially in the festive season—the answer is love. Of course, Captain Hook (Great British comedic icon Jason Manford) is ready to take his revenge on Pan with his sidekick, Smee (Ben Nickless, a fixture of Manchester Opera House pantos).

As Harry Michael’s plot doesn’t get any more complex than this, even the youngest audience members can understand it and, by extension, enjoy it. After all, the storyline is only secondary in PAPP: it is but a theme and a frame to Michael’s eye-tearing jokes.

Now, don’t be fooled: the title is misleading. This show is not about Pan, Wendy, or Tink. Although these characters have a number of—albeit slightly forgettable—songs and a few minutes of stage presence, they are only there to bring the ‘family’ into ‘family entertainment’ by amusing the little ones with their charming smiles, colourful costumes (by Ron Briggs), and pretty voices.

Instead, the correct title of PAPP should be Captain Hook and Smee’s Pantomime Standup because most of the show is dominated by the sparkling chemistry of this duo of scoundrels. While it’s Nickless’ fourth time performing in a pantomime, Manford’s debut seems just as professional. Not only are they hilarious with their perfectly timed punches, but they are wonderful dancers, rappers, and singers, too (Manford’s ‘Cry Me a River’ performance is phenomenal, to say the least).

As for their mermaid scene… well, let’s just say that no Panto is complete without a good drag performance. In this case, it means that we get to see them wearing talking bras. Unfortunately, because of these two gigantic personalities, the rest of the characters fade into the background.

Indeed, Manford and Nickless are completely ridiculous to the point that, at least when I saw the production, they kept breaking the magic by switching between themselves as actors and the characters they portrayed. It was especially noticeable when Manford’s Salford accent resurfaced and Smee pointed it out — thus mixing fantasy with reality —, when his wig fell off, and when he forgot which hand he had been wearing his hook.

These innocent, honest moments made both the actors and the audience lose the plot at once. They also made the show so much better because they reinforced the very takeaway of pantomime as a genre in general: to not take everything so seriously when it is just better to have a laugh at ourselves sometimes. No wonder this genre is so popular in Britain!

Fortunately, this show is a comedy masterclass. It has uncanny impressions of celebrities set to multiple songs ranging from Taylor Swift to The Proclaimers. It also has bad dad jokes and puns that will make you facepalm and roll your eyes. There are live, improvised roasts of audience members (“She looks like Carol, my GP’s receptionist”, “He reminds me of Harry Potter who let himself go”), and the show’s region-specific humour, involving the express train from Piccadilly Station to Neverland, never fails either.

It is because PAPP finds the perfect balance between traditional clownish and contemporary dark humour (e.g. about the rising living costs). PAPP’s most distinctive feature is perhaps that while a few jokes will make your entire family howl, there is a clear distinction between naughty adult and innocent child humour.

The smutty innuendo and sarcastic political satire (‘There’s a new prime minister every week and Matt Hancock has some cheek!’) are carried out by Hook and Smee to entertain the older generations, and they smoothly go off the children’s heads. Meanwhile, the cute little one-liners aimed at the kids are delivered by Pan, Wendy, and Tink.

Music and dance, of course, play a vital role in the show. Gary Lloyd’s choreography is highly entertaining, and there is a small live orchestra that helps the magic come together. The costumes are purposefully cheap-looking, as if they were bought at a fancy dress shop, which is the perfect aesthetic for a panto. Ian Westbrook’s colourful stage design is fantastic: it’s got pyrotechnics, smoke (and mirrors), and projected visuals, so it’s no surprise that it works so well with Richard G Jones’s lighting design.

At the very end of the first act, there is a humongous surprise that must be seen. It is more impressive than anything I have ever seen in any stage production before. Hence my surprise that, out of any show, it was in this one. It is ticking, it has big, sharp teeth, and it snaps at the audience. If you know, you know. Warning: it might be a little scary for the younger spectators close to the stage.

The audience was involved throughout the performance. We were taught how to boo, cheer, and evil laugh properly, and, at one point, we even became the stage performers ourselves with a simple but effective tool of technology. There is just one thing to remember: if you don’t want to be singled out, do not sit in the first few rows. Similarly to the The Lion King, the dancers even appear amongst us, so we are made to feel as if we are part of the show. But that’s just it. We really are.

Pantos require audience participation, which we voluntarily give: singing along, thunderously applauding, laughing, and dancing. At the very end of the show, Manford even invited us to record the last song. I’m not sure whether it was clever marketing camouflaged as spontaneous generosity, but who cares? It was fun!

The Pantomime Adventures of Peter Pan is a mixed performance of musical theatre, magic tricks, and circus acrobats (The Acromaniacs a.k.a. The Lost Boys). It feels contemporary with the involvement of modern technology and cultural references (such as Alexa), while it still serves all the elements of a traditional panto. The show finishes with a reinvented version of one of the best-known Christmas songs involving five toilet rolls, which, once again, made me laugh unapologetically. As Hook proclaimed it, the show is on twice a day for the next three weeks (until New Year’s Eve), so make sure that you get your ticket to Neverland to remember what it feels like to be a child again.

The Pantomime Adventures of Peter Pan plays at Manchester Opera House until December 31.

Review: Hex

Written by Jay Darcy on 14th December 2022. Posted in Theatre.

The musical Hex sure lives up to its name; it really does appear to be cursed. It had its world premiere at the National Theatre late last year, after being embroiled in a nepotism controversy: Artistic Director Rufus Norris came up with the idea, wrote the songs, and hired his wife, Tanya Ronder, to write the script.

Days after opening, Tamsin Carroll (Queenie, the villain), caught Covid. Days later, her understudy, Tamsin Dowsett, went down with a throat infection. Ensemble member Natasha J Barnes then stepped into the role, with script in hand. When I saw the show, Barnes only needed the script minimally, and she hid it very well.

Rising Covid numbers, and members of the cast contracting the virus, led to press night being postponed, and then outright scrapped, with the musical being scheduled to be restaged later in the year.

The musical finally had its press night last week, just before its leading lady, Lisa Lambe (Fairy), became indisposed. The role has since been played by Neïma Naouri. I could not make press night so attended a show a few days later, just after Lambe fell ill.

The show was running smoothly until an emotional scene eight minutes before the end of the show was interrupted by the stage manager who told us that the stage revolve was not working and asked the actors to clear the stage. Awhile later, she came back to tell us that the flying equipment was not working either so they had to “rescue a fairy” (Naouri) from above. Eventually, Naouri was brought down, the audience cheered, and the show continued.

Because the flying equipment was not working, the other fairies could not “fly” down to the stage; the stage manager told us we would not be able to see them but we would hear them!

The recovery was superb but a couple of lines were a little ironic. Instead of descending from above, Naouri ran onstage, to which Princess Rose (Rosie Graham) commented on her falling from the sky. Another line had Victoria Hamilton-Barritt (Queenie), a theatre veteran, struggling to keep a straight face. It was a mostly smooth recovery, and these inevitable little accidents had the audience in chuckles.

Summary

Hex is, essentially, a retelling of Sleeping Beauty. In this version, a baby Princess Rose refuses to sleep, much to the chagrin of her parents; her mother is going insane. The King and Queen ask an unconventional fairy (called Fairy) to make the baby sleep, but she refuses, for Rose does not want to sleep, and if she forces sleep upon her, it’s a hex – and if a fairy hexes, she loses her magic.

Fairy, trapped and brutalised by the Royal guards, eventually hexes Rose: before she turns 16, she will prick her finger on a rose and fall asleep until she is awoken by a Prince (the Queen had told Fairy she wants Rose to marry a nice Prince). Fairy then loses her powers.

Over eight decades later, Fairy is approached by an ogress, Queenie, who fell in love with a human King and is pregnant with his child. She does not look like an ogress, for she “adapted”, but she is struggling to fight her nature: she wants to eat her child. At first, Fairy refuses to help Queenie, for she no longer possesses magic, but she soon realises that her son could be the Prince to awaken Rose. So, she pretends to bless Queenie, and it works, like a placebo – but for how long can Fairy keep up with this lie, and what will Queenie do when she finds out?

Review

The promotional material for the first run of Hex put the focus on the “bad” fairy. The new launch, however, simply states that the musical is “based on Sleeping Beauty“. Indeed, the musical is not merely a retelling of Sleeping Beauty, from the perspective of the wicked fairy, à la Maleficent. It also serves as a sequel. It asks: what next? The Prince saves the Princess, and they live happily ever after, yeah… But what happens next?

The musical breaks down the very notion of happy endings. It exposes the illogicality of such a fantasy. It reverts fairy tales back to the horrifying, cautionary stories that they used to be – before Disney appropriated them into dozens of marketable, child-friendly, vacuous stories that say nothing about anything.

The musical’s original run, though not reviewed, received plenty of criticism from audience members. Personally, I loved it, and I found its wonkiness to be part of its appeal, but it certainly needed a clean-up. Norris and co. have clearly spent the past year perfecting the production; it’s significantly better than the original, albeit still a little messy, but that’s what I love about it.

The changes are obvious right from the beginning. The new version begins with three gorgeous fairies descending from above, their gowns flowing unnaturally, and introducing us to the show. In the original version, Fairy is the last-remaining fairy; the rest of her species is extinct. The new version, however, offers more socio-political commentary: Fairy, by virtue of having no wings and being unashamedly messy, is an outcast. The snooty High Fairies even refer to her as “Low Fairy”. The original cutesy but drab opening number, ‘Make It All Good’, has been replaced with ‘Nature of the Beast’ – much meatier song; the kind of opening number you expect to see in a musical as grand as Hex.

Even Fairy’s appearance has been reconfigured. Originally a bald, goblin-like creature, she now has gorgeous, scruffy, white-coloured bed head – similar to that seen on Princess Rose in the promotional poster for the original run (she was made ginger before the show began previews). The new Fairy is cuter and less creepy than the original, though it’s sad that two-times Olivier-nominee Rosalie Craig is no longer part of the production. However, Lisa Lambe has received rave reviews for her rendition of the role, and Naouri absolutely blew me away.

Fairy’s new main song, ‘Above It All’, though not quite spellbinding, is far superior to the song it replaced, ‘Probly Final’ (not even Craig’s captivating voice could make that song interesting).

Whilst some songs have been replaced, others have been slightly rewritten. Noticeably, the third number, ‘Beauty Sleep’, has had some lyrical alterations, to better represent the reimagined Queen Regina. In the original production, she was merely exhausted and stressed; the new production renders her maniacal and tyrannical. The original production had the King (Shaq Taylor) portrayed as, well, kingly, whilst the new production has Kody Mortimer make him more kindly.

Regina is usually played by Naouri; her understudy, Olivia Saunders (who also plays the lead High Fairy), was wonderful in the delicious role, but the grating ‘Beauty Sleep’ works better when the vocalist has a high-pitched voice. I much prefer Daisy Maywood’s original version, and I imagine Naouri’s rendition is equally as impressive.

Something that irked me about the original production was the King and Queen just disappearing. The new version shows them getting older, trying in vain to rescue their daughter. It makes Princess Rose’s line, “Where are my parents?” – following her awakening from a 100-year slumber – all the more tragic.

Rosie Graham (Sandition, The School for Good and Evil) brought both playfulness and power to Rose, who appears to be inspired by Brave‘s Merida. Her performance is not all too different from Kat Ronney’s, though I recall the latter being a little more feisty.

Michael Elcock (Queens of Mystery) – the only actor reprising his role from the original production – is electrifying as Rose’s true love, Prince Bert. His hip-hop-inspired solo number, ‘Prince Bert’, is an epic introduction to his complex character. It’s also hilarious; his mother (an ogress) and his “aunty” (a fairy) dancing on the table alongside him, with the creepy staff prancing around down below, had the audience laughing gleefully.

The show is stolen, however, by two-times Olivier and four-times WhatsOnStage Award-nominee Victoria Hamilton-Barritt. Having seen Hex last year, and having seen Hamilton-Barritt in Cinderella earlier this year, I knew she’d be perfect in the role. The morally complex Queenie becomes the musical’s villain (or, rather, anti-villain), with her inner struggle between good and evil. Whilst the first act is a reimagining of Sleeping Beauty, the second takes things in a new direction, with Hamilton-Barritt steering the act.

As is often the case, the “villain” gets some of the best songs. Queenie’s duet with Fairy, ‘In the Middle’, is darkly heart-warming, whilst her “villain song”, ‘I Know What I Am’, is heart-wrenchingly distressing. Having heard Tamsin Carroll’s original versions on the soundtrack, I think Carroll might sing the songs better, but Hamilton-Barritt acts them better; her deep, husky voice is perfect for the role of a glamorous ogress.

Whilst the script is a bit wonky, it’s a thrilling adventure that will have you on the tip of your toes, and Norris and his wife must be applauded for their ability to weave socio-political commentary into such a goofy story. The production’s design is some of the best you will ever see onstage. From the aforementioned ethereal fairies (and their dresses that seem to have lives of their own) to the opulent palace (which glides downwards and spins around to reveal a gorgeous inside, where Princess Rose sleeps for 100 years), the design will have you dazzled!

Hex is no Wicked but it is wicked. I loved it the first time around, and I love it even more now that the creative team has taken criticism onboard and neatened things up. It’s a shame that the musical has been plagued (or, rather, hexed) with problems, but the cast, crew, and creatives persevere. The musical could do with a blessing of its own!

Hex is at the National Theatre (Olivier Theatre) until January 14.

Ghosts of Fallowfield past: Why is the Owen’s Park Tower still standing?

Written by Lucy on 14th December 2022. Posted in Investigations.

Despite being unmissable even from afar, casting its empty ominous presence over Fallowfield, Owens Park Tower is a largely forgotten relic of University of Manchester halls-past.

The Tower last permanently housed students in June 2019 and has now stood empty for more than three years. Since then there has been little indication of what would happen to the Tower next and it looks as though this will continue. A Freedom of Information Request sent by The Mancunion has revealed that there are no current plans in place by the University to do anything with the Tower.

When it was first announced that the Tower would close back in 2014 The Manchester Tab published, with confirmation from the University, that it was set to be demolished the following year (June 2015). Seven years later, the Tower still remains standing, as does the possibility it could be demolished, but only as an idea as there are no official plans currently in place to demolish the building. The response to the Freedom of Information Act request stated that: “The ongoing Residential Strategy implementation includes consideration of the demolition of the Tower, however there is no set time frame in place at this time.”

Part of the reason for such a delay is due to a focus on developing other accommodations and setbacks due to the pandemic. The response from the request gave several reasons as to why no action towards the Tower had taken place, stating that, “Through the preceding 7 years this has been impacted by a combination of construction industry matters, financial considerations, and the global coronavirus pandemic.” Therefore, it seems that at least for now it is not clear what will happen to Owens Park Tower and the surrounding accommodation, despite it standing empty for more than three years.

Alongside the Tower, the other four blocks of Owens Park are empty. Tree Court, Green Court, Little Court, and the Mall have all been unoccupied since the academic year 2021/22. While these are unoccupied now, at its height of housing, Owens Park housed at maximum capacity 1,056-students.

Construction of the Tower was completed in 1966 and it is made up of 19 floors standing at an impressive 61 metres tall. It was once home to some famous alumni, including comedian Jack Whitehall, actor and writer Rik Mayall, and Radiohead guitarist Ed O’Brien.

The residence was renowned as the most lively student accommodation at the University; it was the centre of typical student antics essentially being the ‘original’ Oak House. Various drinking games were enjoyed by students, most famously a challenge which involved finishing a drink on each of the Tower’s floors until the top was reached. Participants would then have two drinks to finish off the game.

It was also home to the famous BOP, standing for Big Old Party, which was held every Friday in the common area for the halls. Although the last BOP took place in 2013 it had been a tradition for over 25 years.

Infestation issues, broken lifts, and water pumps continually breaking. It was joke worthy by the end

When it was first announced that the Tower would close, students jokingly pushed back. A student writing for The Manchester Tab wrote an article titled ‘Every reason not to knock down Owens Park’, detailing the buzzing social scene surrounding it, and its importance to student life on Fallowfield Campus. The Mancunion also reported on its closure looking back on the Tower as a symbol of returning home from a day on campus.

While it was remembered by some nostalgically as the heyday of their University lives, it was clear that at nearly 60 years old the Tower was well overdue a change or at least refurbishment. The Mancunion spoke to James, a former University of Manchester student who lived on the second floor of the Tower during his first year. James lived there from September 2017 until the end of the academic year in July 2018, which was just one year before it shut.

James told The Mancunion that while he lived there it had already been “earmarked for demolition”, which, consequently, meant that by then it was mainly being used as “a kind of overflow accommodation”. James said that this also meant that most of the floors were half empty and the “top few floors were completely unoccupied”. He described this as “sad” because it felt as though he was living in accommodation that had been left behind, and the inviting social aspect of the Tower, which often compensated for the drab exterior, was missing.

When asked how he found living there James expressed that “honestly [he] hated it”. It was clear that by the time James moved in it was well overdue some changes. Part of the problem was the consistent fire alarms that went off, “most nights”. Given the number of floors and the large volume of people that lived there, residents would have to wait a long time “freezing in the cold” , in the middle of the night to get back into the Tower.

Another former UoM Student, Georgina experienced similar trying issues when living in the Tower in 2016, “[There were] 3am fire alarms and one upsetting instance, when a bin was set alight and put into a lift almost burning the place to the ground”.

Georgina expressed mixed feelings about her time at Owens Park “[I feel] grateful for the friends I made there and the onsite staff, particularly the cleaners with messy first year students.” But Georgina was faced with a number of problems: “infestation issues, broken lifts, and water pumps continually breaking. It was joke worthy by the end.”

James also found the Tower to be lacking basic facilities. He told The Mancunion that “the carpets were vile [and] the furniture was gross and broken”. He also complained that because the accommodation was catered, the kitchens were far too small as “there were only two hobs for about 10-12 people.” Around 20 people usually lived on each floor , which were split by the lift shaft through the middle, one side for boys and the other for girls.

When asked what he thought should happen to the Tower next, he joked at first that they “should knock it down!” But he also went on to say that while he did not enjoy it for himself, he could see it had a lot of potential to be great, and that as long as they “redesigned it”, it could be “nice to keep, especially as the common rooms were huge”. “If it was just done up a bit it would be a really unique halls experience”.

However, James said that by the time he was living there it felt like it “was on life support, and you were standing in the ashes of something that used to have something very special about it”.

Georgina also echoed this sentiment, “in its last year, it was truly falling apart.” But, similarly to James she’s not sure if demolition is the best outcome “It’s a cracking view of Manchester which would be a shame to lose but it should perhaps house something other than accommodation for students”.

The Tower and Owens park complex originally closed for redevelopment, pending demolition. In the Freedom of Information request sent by The Mancunion, however, it was confirmed that under the Homes (Fitness for Habitation) Act 2018 it was still legally deemed habitable.

After University of Manchester’s halls oversubscription led to a £250,000 payout to students, and some first-years being offered accommodation in Liverpool, it could be questioned whether refurbishing the Tower could become an option.

Whether the infamous Tower stands as an eyesore that needs to be knocked down, some kind of strange homecoming at the end of a long (or short day) at University, or a building that has a rich student history behind it. Its presence has been a hallmark for Fallowfield Campus for almost 60 years. It seems at least for now its lonely presence will remain standing tall over the area. One thing is clear though, if walls could talk this building would certainly have some stories to tell.

When contacted for comment, a University spokesperson said: “The Board received an outline business case for investment in the University’s residential portfolio as part of the wider residential strategy, aimed at improving students’ experience. The case to act and the demand for residential accommodation has been well-established. The outline business case covers investment in new developments at the Fallowfield and Whitworth Park campus sites as well as increased long term maintenance provision. As well as residences, the plans include amenity and social space and integrated pastoral support with gateway hubs facilitating interaction with key services. Amongst a range of issues, the meeting discussed rent affordability and the importance of ensuring a range of price points. No timescales for the plans have yet been agreed.”

New Dean of the Faculty of Humanities

Written by Jacob Hartley on 13th December 2022. Posted in News.

Professor Fiona Devine CBE FAcSS will be the next Vice-President and Dean of the Faculty of Humanities, the University has been announced.

She will succeed Professor Keith Brown, who is stepping down from the role at the end of the current academic year. The role overlooks over 20000 students including, among others, the School of Arts, Languages and Cultures (SALC), the Law School, Social Sciences, and the Alliance Manchester Business School.

For the last ten years, Professor Devine has been the Head of the Alliance Manchester Business School (AMBS). The school is ranked 36^th out of European Business Schools by the Financial Times. Its full time Masters in Business Administration (MBA) was ranked 11^th in 2020.

Professor Devine studied at the University of Essex. She joined the University in 1994, teaching Sociology. She became head of the department in 2004, and then was Head of the School of Social Sciences from 2009-13.

She is best known for work in social stratification and mobility. She is currently a Fellow of the Centre for the Study of Poverty and Inequality at Stanford University in the USA.

She will take over the role from Professor Keith Brown. Professor Brown studied Modern and Scottish History at the University of Glasgow, and joined the University as Dean of the Faculty of Humanities in 2010.

Professor Dame Nancy Rothwell, President and Vice-Chancellor of The University of Manchester said: “The role as Vice-President and Dean of the Faculty of Humanities has generated an exceptional field of candidates, both external and internal.”

“After a very competitive process, Fiona Devine was the agreed candidate to take on this significant role and she will help to continue to shape the future of a Faculty which is absolutely at the heart of the University’s success. I am delighted that Fiona has agreed to take on this role.”

Professor Fiona Devine said: ‘It is a privilege to be selected as the next Vice-President and Dean of the Faculty of Humanities starting in Summer 2023, succeeding Professor Keith Brown after 13 years in his role. Keith has done a fantastic job and I look forward to working with the Faculty Leadership Team on the new opportunities and challenges ahead.’

DJ Burnham raises £20,000 to fight homelessness

Written by Shikhar Talwar on 13th December 2022. Posted in News, Videos.

Andy Burnham, Mayor of Greater Manchester, and Steve Rotherham, Mayor of Liverpool, held a DJ battle, raising £20,000 for charity.

All proceeds of the DJ battle went to Burnham’s charity, A Bed Every Night. The charity supports rough sleepers in Greater Manchester.

This is a cause that Burnham has supported since his first term, donating a proportion of his salary to the charity every month. The money raised will now go on to fund more than 600 nights of the scheme.

A Bed Every Night provides hot meals, heating, and support in the temporary accommodation for rough sleepers in Greater Manchester. The charity plans to fund 1000 nights over the Christmas period.

Andy Burnham, talking to Fuse TV, explained that “there has been a rise in rough sleeping in the city. We are just seeing the cost of living crisis play out, with more people coming on to the streets sadly”.

Adding, “People’s benefits haven’t caught with inflation. We see a lot of young people come on the streets recently, hence we have made the decision to expand the ‘A Bed Every Night’ campaign”.

Tim Heatley, Chair of the Greater Manchester Mayor’s Charity, told the MEN: “it means a lot that so many people continue to get behind our efforts to support people at risk of homelessness when they need it most”.

He added, “Especially at a time when incomes are squeezed, it’s a demonstration of people’s generosity that they still choose to donate to others”.

The two mayors were battling it out on the DJ desks, to answer the question: Which city creates better music? Manchester was supported by Angela Rayner, the Deputy Leader of the Labour Party.

DJs from each city came out to perform to showcase the talent of their city. At the end of the night, the winner was Manchester. Rotherham promised to have a re-match next year in Liverpool.

“Make sure it never happens again”: Students gather in memory of Dr. Lloyd Cawthorne

Written by Jacob Hartley on 13th December 2022. Posted in News.

In response to the sudden death of Dr. Lloyd Cawthorne, students from the Department of Physics and Astronomy have raised £751 for mental health charities and the University and College Union (UCU) strike fund.

They gathered “to show support for striking lecturers, and call for improvements to mental health support services in the University”.

Approximately 80-100 students gathered on November 30 outside the Schuster building, the home of the department, in response to the death of Dr. Lloyd Cawthorne.

Dr. Cawthorne took his own life this October, aged 32.

Funds raised were split between mental health charities and UCU strike funds because Dr. Cawthorne was himself on a casualised contract.

He was also, in the words of Professor Gersabeck, “a strong champion of employee rights and quality of teaching”, who would “have surely” been on the picket lines during the most latest round of UCU strikes.

Obligatory picket selfie @UM_UCU
Today was tough as we would have surely been joined by Lloyd Cawthorne. He was such a strong champion of employee rights and quality of teaching. Miss you Lloyd!#ucuRISING pic.twitter.com/OupdTP0KuC
— Marco Gersabeck (he/him)🇪🇺 (@MarcoGersabeck) November 24, 2022

Students expressed their feelings of solidarity and determination at the event.

One third-year Physics student said, “All I could see was hope and eagerness in everybody’s eyes and souls to win justice for Dr. Lloyd and everyone who suffers from the brutal circumstances implemented across universities in this country”.

Riham, a first-year Physics student, added, “I cannot begin to describe how relieving it felt to be surrounded by students of various year groups and disciplines come together for a common cause. [….] There seemed to be a mutual understanding amongst everyone that positive change awaits and that we are the catalysts for it.”

Students who gathered raised funds for the mental health charities Campaign Against Living Miserably, and Andy’s Man Club, charities to which Dr. Cawthorne’s family requested funds be directed. In addition, they aimed to raise awareness of the “insufficient level” of mental health facilities available at the University.

Tom Rossall, a third-year undergraduate student, said, “Now we have to make sure it never happens again. This is why we encourage men to speak out, this is why we push for better mental health services”.

Dr. Cawthorne retweeted a post from the UCU linking the casualisation of staff to declining mental health. According to UCU research, widespread casualisation of University staff leads to unsustainable workloads, which compounds mental health problems.

71% of the 2,638 staff who took part in the UCU survey said that the precarity of their employment damaged their mental health. As of the academic year 2020/21, over 2400 staff at the University were on casual contracts.

A poster for the event read: “Anyone who has tried to access counselling services can attest to the fact that they are very limited in scope”.

It noted the difficulty in obtaining an appointment, saying: “when we do manage to get one, they are only one hour every two weeks at best. Our University prides itself on its mental health facilities. This is blatant hypocrisy”.

The University described this poster as “critical of the University’s mental health provision”, and noted the increase in mental health provisions that the University had made in the last two years, including a “new Triage Team” and a new setup for employees.

The University “also now fund a 24/7 mental health and wellbeing telephone service and complementary app, which is run by qualified practitioners”, describing “clear and rapid escalation routes where there are concerns for a student.”

The Mancunion revealed last year that the University employs “just 12 counsellors“, despite over 2500 students having disclosed problems with their mental health.

A University of Manchester spokesperson said: “We are deeply saddened by Lloyd’s death. We have been supporting his family throughout, and his friends, students and colleagues. We understand and share the strength of feeling that this has caused, but we cannot comment on the circumstances surrounding Lloyd’s death, or the reasons, ahead of a formal coroner’s investigation. Staff in the School and wider University are committed to listening to any concerns and will continue to meet with staff and students and offer all possible support.”

If anything in this article has affected you, these links may provide support

www.samaritans.org

www.papyrus-uk.org

nspa.org.uk

A Bookmark biography: The charity that helps children read

Written by Jacob Folkard on 13th December 2022. Posted in Books.

Bookmark is a tech-led literacy charity supporting disadvantaged primary school children to give them a fairer chance in life. The aim? To have every child reading.

Currently, one in four children leave primary school unable to read well. These children are more likely to experience poverty, face unemployment, and have a lower life expectancy.

At Bookmark, they improve children’s reading attainment, confidence, and enjoyment through their flexible, volunteer-led programme. Reading sessions take place online via their secure platform, supporting children nationwide. For the children who need Bookmark, they are changing their story.

Become a volunteer

As a volunteer at Bookmark, you will be helping 5 – 9-year-olds learn to read, developing their skills and confidence. During Bookmark’s 30-minute sessions, you’ll read together, play games, and see your reader progress. Twice a week, over six weeks, children gain essential skills with sessions being catered to their interests. Reading becomes fun as Bookmark’s readers grow more confident in the classroom and at home.

As a volunteer, you can book your programme through the Bookmark app and select sessions at times that work with your schedule. You can apply by heading to www.bookmarkreading.org without any past experience needed.

If you have any questions, email [email protected].

In conversation with Anna Pickles, Application Support Executive at Bookmark Reading

One in four children in the UK leave primary school unable to read confidently. Is there any particular reason for this?

It’s varied – there are lots of reasons it could be, making it challenging to pin down. One is that for many years schools have had funding issues and their priorities have changed. But, it’s also what happens outside of schools. So many children just won’t have that access to resources. Parents also may not be able to provide their children with the early years of education [due to lack of resources] that more privileged children have.

Bookmark doesn’t focus on that as much, we focus on what we personally can do. We know that providing that one-to-one help can be really impactful, creating very much a non–judgmental space trying to improve things.

Is there anything that from the perspective of a charity or a policy-maker you would change particularly or is it just a case of more funding for the education system?

I think that funding is a big one. In terms of other policies, I’m not sure.

Something interesting that has come up is the phrase “it takes a village to raise a child.” We need to move beyond the education system and see what we can do as a whole community. We’ve seen the value of that as more schools have come to us asking for our help, asking for that external help. There’s only so much schools can do.

The pandemic created a big setback for children in education. What effects did you see as a charity?

Bookmark started off just running face-to-face sessions in London. The charity adapted quickly to online sessions during the pandemic and they’ve worked really well. However, the attainment gap has widened in all subjects, not just reading.

The attainment gap is now at or above 2012 levels. Prior to 2012, the gap was decreasing.

Up to KS2, the expected literary standard fell from 75% to 67%. For disadvantaged pupils, the standard fell more than double compared to their peers. That’s an example of reading where the pandemics really disadvantaged pupils who were already disadvantaged.

Why is it so important for children to be able to read?

Reading is something that people take for granted; it’s not just about reading books. When you’re younger it’s reading a road sign or birthday card, and when you grow up, it’s things like reading the back of your medication or being able to read a housing contract in full. It’s just a crucial skill.

We know that there is a correlation between low literacy levels and higher rates of unemployment and poverty. One in five of the children that leave primary school below the expected reading level go on to achieve a pass at GCSE English. That shows the knock-on effect reading can have on their lives and education.

What’s the best way to improve your reading skills?

It’s to have fun, to be engaged in the book, and to foster a love of reading. A key aspect is to ensure the reading session is child-led, letting them explore and learn about their interests. Talk about the pictures in the book and have fun – that’ll reflect in the child’s reading.

How does Bookmark support volunteers or readers who are struggling?

First, if the sessions are completely going wrong and you’re not getting any connection with the child, then you don’t have to complete the full program. You can always talk to Bookmark or the school. We will arrange for someone else to take over if needed.

There are a few behavioural tips in the training and there will also always be a teacher in the room with the child. We always try to have empathy for a child – there’s usually a reason they’re distracted or rude. Maybe something has come up that day, or they’re distracted by something in the room, or they’re bored with the book.

There’s no obligation for them just to read for the whole session. You can do games and activities, you can read to them a bit. Improving literacy attainment is all about making reading a good experience for the child.

Is there anything people can do to help improve literacy skills in the UK?

In terms of what Bookmark does other than this program, we have two things. The charity does book pack donations to schools to help improve their libraries, we run a magazine called ‘your story corner’ catered to 5 – 9-year-olds, and we’re about to send about 80,000 copies off all around the country to give kids something different to read.

If Bookmark, isn’t for you we recommend getting in with your local primary school or library to start up a scheme with them. Other than that it’s just keeping up with national campaigns really for social mobility. I know recently the education alliance did a big report on what they’d suggest so yeah just keeping yourself up to date and educated.

Will silence Hit the North? – Night & Day Café and The Leadmill facing closure

Written by Jacob Broughton-Glerup on 13th December 2022. Posted in Music.

Just a five minute walk into the Northern Quarter from Piccadilly Gardens, any music-lover will know to find Manchester’s Night and Day Café. Walking into the venue in broad daylight, there’s a sober sense of preparation for the evening, when this intimate space comes alive.

The walkway to the toilets is swamped with gig posters – ticket-stubs surrounding each wall, some dating all the way back to the venue’s opening almost 31 years ago – meaning you simply cannot escape the Café’s history. It is sown into the building. Just opposite the bar, there is an exhibit of Liam Graham’s 12 x 17cm creations, pieces of colourful art vibrantly accompanying the all-important centre-piece – the stage. Liam Graham is himself signed to the independent Waxing Crescent Records, and his various pieces are accompanied with a David Bowie print by famed Mancunion illustrator Stanley Chow. This is a truly creative space, furnished accordingly.

Sitting down to speak with Reece Ritchie – the In-House Promoter here at Night & Day – we discussed much of what makes this venue so special to so many here in Manchester: “Manchester isn’t Manchester without music. The only reason it’s such a musical city is because there’s a gig on every night”.

The venue itself has played host to an extraordinary variety of large commercial acts, including both Elbow and James Bay. The venue is a well-connected one, regularly being praised by the likes of Matty Healy of The 1975 and Everything Everything, who’s initial rehearsals and recordings began downstairs. Just behind where we sat, Reece was keen to point out a poster for Nile Marr, playing on February 3 of next year.

The venue is famed for being a springboard for talent: “We were the first venue to take a punt on My Chemical Romance in the UK” – a clear point of pride for all involved at the Café, playing their part in the momentous ‘emo’ group’s rise to fame. The same can be said for the ascension of Wet Leg, who played a gig here – surprisingly not sold out for anybody who has tried to see the Isle of Wight group in their last tour – over a year ago, just prior to the meteoric rise of their debut single, ‘Chaise Longue’. “There are tickets available for the bands of tomorrow.”

Having mentioned he was running up to six events per week up until recently (given the approaching end of a typical tour cycle), Night & Day still provide an incredibly lively supply of both established and up-and-coming artists to the burgeoning Northern Quarter. The intimate venue creates a unique experience for gigs, with the ceiling flanked by glitter-balls recognisable from any live-footage. Reece made sure to stress the importance of young bands in their rotation: “We’re always looking at young talent. That’s what Night & Day has always been built on.”

As an ex-Manchester University student himself and former editor of The Mancunion’s Music Section, Reece still maintains connections with the ‘student scene’. As he puts it, “That’s really the ethos; we are all about young live bands.” Just last September, King Violet headlined the Café with a bill full of bands provided by the University’s Gigs and Bands Society. “It’s my job to connect those young bands who make great music, but maybe don’t know how to put it in front of 250 people”.

Last year the Northern Quarter stalwart were issued with risk of closure by Manchester City Council. Ironically, for a bar prided on its creation of sound, a noise complaint dispute placed the beloved gig-venue into a long list of threatened small venues across the UK. With a ruling not expected until at least the January 17 2023, uncertainty seems to dominate the air. “Promoters have to think about, I have to think about it, the bands themselves have to think about it”, Reece commented.

There is also a genuine sense of struggle against an economic environment where seemingly, the last thing on the agenda is creativity and fun. With inflation rates soaring over 10% alongside the absurd increases in domestic bills, it is sometimes difficult to be optimistic for our plucky, smaller venues, reliant of course on paying customers. However, Reece was quick to remark upon how important the support of the campaign had been: “It’s wonderful and the team here are so so grateful”. Celebrity endorsements and a petition at over 86,000 signatures strong have helped along the way, alongside many a strong-willed Twitter exchange in the Council’s direction. “It makes all of the effort to fight it worth it”.

Just an hour away, across the Pennines, a similarly frustrating ordeal is playing out on the front-line of live music. The Leadmill is Sheffield’s oldest music-venue and club, having played host to the flowering careers of the likes of Pulp and Arctic Monkeys prior to both bands’ infamy, as well as other renowned groups from the city, such as The Human League and Cabaret Voltaire.

First opened in the spring of 1980 as The Leadmill Community Arts Cooperative, the venue primarily functioned as an arts-centre oriented towards the young and unemployed – a grassroots organisation formed purely as a space for creativity. Autumn of the same year saw the venue take shape, with summer of 1982 seeing the ‘Festival Against Unemployment’ rock the venue – true enough to ‘The People’s Republic of South Yorkshire’.

In March of this year, the venue’s landlord issued a year’s notice for eviction, a shocking attempt at prising the venue out of good hands and into the clutches of a more corporate space. Sparking similar outrage to that of Night & Day, The Leadmill’s struggle with their landlord has inspired the likes of ex-Labour leader Jeremy Corbyn, comedian Eddie Izzard, and even infamous Tory Culture Secretary Nadine Dorries to call for a resolution to the dispute, alongside a plethora of artistic names (comedian Joe Lycett and The Libertines frontman Peter Doherty to name but a few).

Currently, the Save the Leadmill campaign petition sits at just over 46,000 signatures, but there is little indication that this is taking serious effect as of yet. The venue itself is a piece of Sheffield music-history, a legacy littered with oddities: from a Jarvis Cocker directed pantomime in 1982, to the Arctic Monkeys’ secret album launch in 2007 during a customary club-night – a rallying cry at the centre of the campaign to halt the eviction.

The venue itself is not only an artefact of a Sheffield music-scene been and gone, but – much like Night & Day in Manchester – an ever-present and active part of the South Yorkshire music scene. Tramlines festival in Hillsborough Park has its second stage named after the venue, and it regularly wins Exposed Awards’ Best Live Venue title (victorious as recently as 2019). Just last summer, local band Minds Idle – a charming 60s revival pop machine lead by talisman Ted Mitchell – sold out their smaller room, joining the ever-growing list of young talent to grace the venue.

Club nights at The Leadmill are a mainstay for any Sheffield teenager, as are gigs, with it serving as one of the last refuges in South Yorkshire for a major touring act – particularly if the artist or band in question lean towards the ‘indie’ side of things (read that as you may). This falls despite that part of Britain often being forgotten en route up North in favour of Leeds’ Brudenell Social Club or Manchester’s 02 Ritz.

Photo: PookieFugglestein @ Wikiemedia Commons

Sheffield’s music scene does not live or die by The Leadmill, as important as it is to its heritage. Venues such as the relatively new Sidney and Matilda and Delicious Clam do support bands and artists coming through their doors, as well as embracing touring artists. The likes of the new Desolate Spools record label (spear-headed by Adrian Flanagan, of Eccentronic Research Council and Moonlandingz fame) pushing to the fore the odd and interesting of Sheffield-based music prove the health of music in the region, as an electronica reimagining of the likes of The Human League sits on the horizon.

But The Leadmill, just like Night & Day Café, is an intrinsic part of Northern gig-culture. To lose either would be a catastrophe for any music lover, and as such these venues need protecting at all costs. Given the nature of being a young artist or band today, with literal pennies earned from Spotify listens, performing live is an integral part of any musician’s living. Artists and bands all over Britain will not cease to write, rehearse, and record the nation’s next adopted anthems; but without venues to inspire and host this country’s next generation, we risk more and more great artists getting lost in the algorithm. Spotify has its virtues, but nothing replaces a grassroots venue.

For anybody interested in supporting any of the campaigns mentioned, linked below will be petitions and any other relevant information.

Petition for Night & Day

Petition for The Leadmill

A game away: Spectating South Korea’s football culture

Written by adampogrund on 13th December 2022. Posted in Sport.

Over reading week, I went to visit my sister who is studying in Seoul for her year abroad at Yonsei University. I arrived on Friday evening and headed straight into early Halloween festivities. The next morning we took the Seoul metro an hour from Sinchon (Yonsei territory) to a stadium closer to Korea University (KU).

The venue was the Goyang Stadium, the home of the now-dissolved former K-League two-side Goyang Zaicro FC. It is occasionally used for South Korean international football fixtures. The stadium boasts a capacity of 41,000, making it bigger than Elland Road, and the same size as Stamford Bridge. It’s a far cry from The Armitage Centre, where the UoM Football team are based.

Outside of Goyang Stadium. Adam Pogrund @ The Mancunion

This was all in the afternoon on the same day of the shocking Itaewon stampede, which we were very lucky not to be involved in.

The fixture was part of the Yonsei-Korea Friendship Games’, an annual competition between two of the biggest Seoul universities. They compete in nine sports against each other before the winning university is crowned. Basketball and ice hockey are the most sought-after events and due to high demand, international students are not allowed to attend.

The Games mark the peak of university sport, with the student-athletes having waited their whole degrees to compete in the end-of-season game.

Yonsei versus KU is a historical rivalry and the fanfare can be most easily compared to the Oxford v. Cambridge boat race, but much bigger. University sport in Korea is much more similar to the US than the UK. It is often the route to professional football, so these footballers are likely to be those scouted by K-League teams.

The whole event was a complete culture shock. Crime rates are incredibly low in Korea, which meant that opposing fans were not separated by any barriers or stewards. This meant at first we accidentally strolled into the KU fan area.

Not only were there no stewards separating the fans, but there was not a single steward or policeman protecting the pitch from fans, or in attendance at all. Nor was there a single-ticket inspector. Incredibly, all the turnstiles were fully open, and you didn’t need a ticket to watch the free event. It was open to the public, not just students. You could enter and re-enter as many times as you wanted, and bring in any items of food, drinks, or alcohol that you pleased.

Complimentary gimbap and fruit. Adam Pogrund @ The Mancunion

This was only the beginning of the crazy spectacle. The football kicked off at 2:30pm, but we arrived at 1:45pm, catching the end of a rugby match. The two matches were both in succession at the same stadium, with makeshift rugby posts and lines removed before the football started.

As we entered the atmosphere was absolutely electric, and very friendly. The KU fans were totally drenched in red clothing, with Yonsei fans drenched in blue. There was loud chanting and dancing from the fans throughout the whole 90 minutes. This was partly a result of the compulsory chanting and dancing lessons my sister and other Yonsei students were given a month previously, in anticipation of this fixture.

Most people donned American-style sports jackets, proudly displaying their university badge and their degree. These jackets seemed to take over Seoul after the game. When we returned back to Sinchon, these jerseys could be seen everywhere, and chanting from fans continued for hours in streets and bars.

The biggest cultural difference I noticed was how seriously the game was taken, and how much funding there was. Free food was handed out to spectators. We received cakes, ice cream, milk, fruit, and gimbap. The milk and cake was even sponsored by Yonsei University!

The stadium was totally decorated with KU and Yonsei merchandise. Banners and flags of the players were placed on different stands. Even Match Attax cards of every player were handed out, with a QR code directing you to their respective Instagram pages.

Free Yonsei branded cake and milk. Adam Pogrund @ The Mancunion Pogrund

Throughout the match, there were dancers dressed as elves interacting with the fans. This role is apparently sought after even more greatly than competing in the sport games itself. There were also loudspeakers that played music throughout the game.

Match Attax style card with QR code leading to the players’ Instagrams. Adam Pogrund @ The Mancunion

Despite the picturesque stadium and pitch, and all the effort put into the game, the quality was surprisingly low. The players seemed fairly technically skilled, but there lacked any sort of tactical play from either side. In a game of little footballing excitement, Yonsei scored halfway through the second half, in the one moment of real quality in the game. The goal was greeted with jubilant celebration from Yonsei fans and players alike, which continued until well after the final whistle

It was a really special occasion to be able to attend. It really couldn’t have been more different from any BUCS competition.

Albums of the year 2022

Written by Alex Cooper on 13th December 2022. Posted in Music.

Kendrick Lamar – Mr Morale and the Big Steppers (Alex Cooper)

Kendrick Lamar‘s Mr Morale and The Big Steppers is a furiously ambitious, self-examining piece of work. As Musa Okwonga puts it succinctly, it’s his one-man stage play. Lamar presents a brutally honest image of his struggle, exploring therapy, grief, and the perils of being idolised. Mr Morale is frequently uncomfortable, including on domestic abuse, and the controversial inclusion of the convicted Kodak Black should not be ignored or trivialised. However, every word, every beat, every flow matters, whether that be on chart-friendly hits ‘Father Time’ and ‘N95’, or the extraordinary and seminal tribute to two trans relatives on ‘Auntie Diaries’. With artists like Lamar, the boundaries of what music can be are moved. Kendrick Lamar is this generation’s greatest, but he is not your saviour.

Read the full album review here.

Read the live review here.

**Fontaines D.C. – Skinty Fia (Maddy Oxley)**

I was wrong about Fontaines D.C. For too long I unfairly dismissed them, but thank god I rectified this after the release of Skinty Fia. No doubt everyone will have heard how good ‘I Love You’ is by now, but it’s a testament to how great this album is when that isn’t even the best track. From the almost haunting ‘Big Shot’ and the ridiculously catchy ‘Jackie Down The Line’, to the tender but confrontational album closer ‘Nabokov’. Skinty Fia is a near perfect record.

**Loyle Carner – hugo (Serena Jemmett)**

Without a doubt the highlight of the music year, Ben Coyle-Larner‘s third album is his best album yet. It’s fuelled with anger, political thought, self reflection, and exploration of identity. This album is beautifully intimate and vulnerable, a credit to his lyrical skill and storytelling ability. Every track links back to the central question of “but where do I go next?” (in reference to his identity), making the album cohesive and genuinely an album, rather than a bunch of songs. The album branches out from the previous Loyle Carner type of track (chill rap); instead it blends genres, features samples from non-musicians, and shows Carner to be courageous, not only being political, but also letting us into his personal thoughts and identity battles.

Read the full album review here.

**Zguba – Znój (Kristin Cooper)**

Released in the February of this year, Znój (meaning ‘toil’ in polish) by Zguba creates an immense encompassing sound filled with choral and orchestral elements. This album feels like a religious experience and is reminiscent of some plane beyond our own. Znój is emotive, producing haunting emotions like loss and loneliness through the stretched out choral elements. This ominous yet impressive drone album is safely among some of the best music created this year.

caroline – caroline (Kristin Cooper)

caroline’s eponymous debut album is beautiful and comforting. Filled with layers of instrumentation, caroline’s attentive playing comes together to form a soothing yet remarkable album. This album will be remembered in decades to come as hopefully the start of many exceptional albums put out by this 8-piece. As much as one can sign their praises about this album, caroline truly come into their own in a live setting with the space to improvise so if you are presented with the opportunity to see them perform live then grab it.

Read The Mancunion‘s interview with caroline here.

**Three Days Grace – Explosions (Imogen Mingos)**

As a rock fan, I would have to pick Explosions by Three Days Grace as my album of the year. I have been a fan of Three Days Grace since my want-to-be goth phase when I was about 11 years old. I was hooked by their album One X which quickly became my favourite of theirs, but I enjoyed other songs like ‘Villain I’m Not’ and ‘I Hate Everything About You’. I couldn’t believe it when I saw that their latest album, Explosions, was going on tour this year and would be visiting Manchester – I instantly booked tickets in June to see them live in September.

Consequently, I listened to their album on repeat over the summer! I found it difficult to choose a favourite song; if I had to choose, I’d pick ‘Lifetime’ because I thought it was particularly relatable and emotional. There wasn’t a single song, however, that I disliked from the album. Of course, the songs were even better when performed live which probably makes me slightly biased in naming Explosions as my album of the year! I was happily put in the top 1% of Three Days Grace listeners by Spotify Wrapped and they were my top artist of the year if my credentials weren’t sufficient for this review!

Taylor Swift – Midnights (Amarachi Uzokwe)

Through her 10th studio album, Midnights, Taylor Swift explores new limits of the familiar pop soundscape constructed throughout her previous pop efforts. Co-produced by long-time collaborator Jack Antonoff, distorted vocals and atmospheric synths characterise the world of Midnights. Swift takes us through the “stories of 13 sleepless nights”, with high points including the catchy, self-critical lead ‘Anti-Hero’ and the characteristically cathartic track five ‘You’re On Your Own, Kid’. With the record-breaking commercial success of Midnights, Swift shows new and returning listeners that whilst the sound may change, her clear prowess as a songwriter in crafting fully immersive worlds does not.

Read the full album review here.

Mitski – Laurel Hell (Maisie Outhart)

When Mitski released Laurel Hell in early in 2022, I listened to it on repeat and so loudly my neighbour started knocking on the wall. If MARINA helped me navigate the angst of my adolescence, Mitski is the lyricist who captures experiences in young adulthood. With heart-wrenching emotional lyrics you can cry about coupled with the upbeat music you can dance around your room to; Laurel Hell explores Mitski’s turbulent relationship with her own career as well as complex romantic entanglements. It’s powerful vulnerability packaged in a exquisite mix of synth-pop, electro, and 80s indie pop.

CMAT – If My Wife New I’d Be Dead (Jacob Ainsworth)

I, like many others, was introduced to CMAT’s cowboy-boot-stomping blend of indie and country
through BBC’s widely-discussed Conversations With Friends. As protagonist Frances (Alison
Oliver) wandered through Dublin to the piano-led theatrics of ‘I Don’t Really Care For You’, I simply fell in love. CMAT’s If My Wife New I’d Be Dead is a giddy, yet emotionally loaded, piece of long-player perfection. It has it all – somersaulting, sleep-deprived vocals (‘2 Wrecked 2 Care’), seductive odes to attempted marriage-wrecking (‘Peter Bogdanovich’), and unashamed dependence on Robbie Williams (‘Lonely’). What more could you want?

Read the live review here.

Yard Act – The Overload (Sarah Taylor)

The late 10s and early 20s have welcomed a post-punk revival, and it’s fair to say that some of the more recent offerings from this genre have been middling at best. But then along came Yard Act, breaking all the rules and breathing new life into it with their polemical and witty lyrics, punchy riffs, and all the chaos, and camaraderie that comes along with their live shows. It’s safe to say that Yard Act have not only produced the best album of the year, but they have also cemented themselves as an unmissable live act – so much so I’ve caught them five times this year. From the post-Brexit panache of ‘Dead Horse’ to the existential yet sentimental ‘100% Endurance’ (which even enticed Elton John to collaborate), The Overload is a near perfect record, and one that’ll have you singing along to its silly tongue-twister lyrics after a few listens.

Read the live review here.

Read the interview here.

“Intimacy coordination was a self-healing journey for me”: Rufai Ajala on Sex Literacy and Safety Onset

Written by pipcarew on 13th December 2022. Posted in Film.

The Mancunion spoke to Rufai (Roo) Ajala about their work as an intimacy coordinator as part of our behind the camera series. Rufai has worked on innovative productions such as Dreaming Whilst Black and Channel 4’s Let’s Make a Love Scene, ensuring the wellbeing of the crew members and talent. The role of the Intimacy Coordinator is a relatively new one but is essential for safeguarding and communication with the cast and crew onset during intimate scenes. Rufai spoke to me about onset ethics, being vulnerable, and queer storytelling.

Warning: this article contains mentions of abuse.

What are your methods of making your actors (and everyone else onset) feel more comfortable?

It changes every time depending on the onscreen talent because everyone requires different needs. But the goal is that the onscreen actors understand what the scene is about, that they’re comfortable and have agency. That might be creating a space for rehearsals prior to the shoot, to run through some of the heightened emotional intimate scenes that they might be doing, if that’s by themselves or with their scene partners, to build trust and to build the intimate or emotional bond between their characters.

I like playing a lot with touch, I usually employ a Pilates ball in my rehearsals or a foam roller, or yoga mats and use tactile exercises between actors to build that trust and build that familiarity between each other and allow exploration between their characters. Building trust between themselves gives them agency to explore and be more spontaneous. Before that there’s a lot of discussing boundaries and discussing limits, places on the body that are okay and not okay for touch.

There are specific practices that are individualised with certain intimacy coordinators which make them successful in their practice and that define their method statement and working practices.

How did you initially get into the role?

I was working on a lot of productions that focused on a community that I am a part of, which was specifically stories around queer trans people of colour. And a lot of the stories we were telling were intimate stories either around transitioning or exploring queer sexuality and intimate moments like that. Being the cinematographer, I was very physically close when shooting those vulnerable moments. And because a lot of the onscreen talent were close friends I was thinking, “okay are there any tools or skills I can learn to support friends who were in such an intimate situation in front of the camera?” Usually as a cinematographer, you are so close to the talent, you can almost seem like an invisible third person in a scene between two characters. I feel like unconsciously there was a desire to have a skill set to support anyone in front of the camera at that time.

Another pathway into the role was that I’ve also done some in-front of the screen work as well, mostly as a supporting artist doing nude body double work or simulated sex scenes and I saw first-hand how vulnerable being in those situations can be. Particularly coming from my time behind the camera and now stepping in front of it- the power dynamic completely changes when you are as an onscreen talent suddenly in front of a crew, nude. Even if you are partially clothed or have modesty garments on, it can be quite a vulnerable thing.

Unfortunately, I worked with a director who abused their position of power and that traumatic experience kind of started that journey for me for how I could better protect myself against that abuse of power or having a safer set. Intimacy coordination was a self-healing journey of me healing from this abusive and traumatic episode. That was a very powerful instigating factor for me, how could I not be in this position at work?

Intimacy within the role of stunts to a degree, at least a third of trained intimacy coordinators come from a stunts background. The harm that is caused when an intimate scene goes wrong usually isn’t physical like when a stunt goes wrong. In intimacy it’s more emotional and mental harm, it’s not visual harm we see so it’s easily brushed under the table compared with physical bodily harm.

Do you think it’s important that sex scenes onscreen are portrayed in a realistic way?

In terms of sex literacy, I think in one way there should be an understanding that what’s onscreen is a glamourised version, in the sense that I feel that the sex in our personal lives there are pauses for safer sex practices like condoms, lube, or, dealing with blood. Sex can be very messy but very funny and also awkward, a lot of that is sanitised in film where unless it’s a particular show, that adds to that realism, like a show like Bonding where they brought on a BDSM expert/consultant to add more realistic examples of fetish practices to their scenes.

Realism has its place but isn’t needed for every narrative. If you look at Fast and Furious, sometimes you don’t want to see them stop and fill their car up with petrol during the race, you just want to see the action!

I think there’s a broader conversation in terms of literacy around sex and intimacy and having the diversity of that onscreen is very important. That should be reflected in education. Because I’ve done a lot of work with porn literacy and education, I think people start to see what’s onscreen as literal and how sex should be.

Sean Bean has recently commented that having an intimacy coordinator onset “spoils the spontaneity” what are your thoughts on this?

When I read that, my takeaway from it was if he was saying an intimacy coordinator might hamper improvisation during a scene- which I disagree with. There are intimacy coordinators who do a lot of work in improvisation. With improvised scenes it doesn’t mean a free fall. There should still be very clear established boundaries in terms of touch and intimacy.

I also don’t know who Sean Bean has worked with, I also think it’s important we listen to not just actors, but everyone involved in a process to learn and be introspective of our work and because this role is fairly new and being integrated into the industry, that maybe we take on feedback that is given and see areas where we can improve. We shouldn’t be above criticism, this would only help to make us better and improve our role within the industry.

Do you believe that having an intimacy coordinator onset is especially important in a post-Me too era?

I think it’s important to safeguard people involved in the process and who are part of any Stage or Screen practice or doing any intimate scene and the me-too movement has highlighted the structures in place that allow people to abuse their power and position. Me-Too has signal boosted and helped highlight the need for intimacy coordinators and wellbeing practitioners to safeguard all onscreen talent.

You can see Rufai’s work at http://rufaiajala.com/ and https://intimacyconsultancy.com/home

The housing crisis: A tale of negligence

Written by Jake Aldridge on 13th December 2022. Posted in Opinion.

Housing inequality within Britain has long been seen as a key and seemingly unsolvable issue. From the advent of the industrial revolution to the present day, where you live and the quality of your home has a huge impact on your education, health, and life outcomes. As a society, we’d like to think health conditions caused by poor housing, such as tuberculosis, have been relegated to the history books, but this is unfortunately not the case.

Last month, a coroner ruled that two year-old Awaab Ishak’s death was caused by prolonged exposure to damp and mould. The owner of the property where Awaab lived, Rochdale Boroughwide Housing (RBH), knew about the mould at the property from July to December 2020 and should have made repairs, but they failed to act. This resulted in Awaab developing severe respiratory issues, yet when he and his mother visited Royal Oldham hospital, the day before his death, he was discharged and told only to come back if he became unwell again.

The doctor that spoke to Awaab’s mother was forced to rely on Google Translate, which resulted in Awaab’s father taking him to the wrong hospital through miscommunication. The NHS trust running the hospital later admitted the failure to provide the correct information resulted in Awaab’s chances of survival being reduced.

The fact that a family of non-white immigrants were given accommodation unfit for habitation, before being mistreated by both landlords and the healthcare system resulting in the death of a young child, doesn’t come as a surprise. Awaab’s father said himself that he felt his family was “treated in this way because we are not from this country” .

Can you really argue with that?

We live in a country where both the media and government work hand in hand to systematically dehumanise refugees from the global south. Whether it be referring to immigration as an “invasion” or creating a “hostile environment”, time and time again political rhetoric reduces refugees from the global south to a headline or a ‘problem’ that needs to be ‘solved’.

Awaab’s death shows the power that political rhetoric has. Rhetoric is a lot more than words on a page, or a quote in a speech; it has serious real-world consequences. These consequences result in vulnerable families being given unfit accommodation. These consequences result in families pleading with their landlords to remove mould, for them to not even lift a finger. These consequences result in avoidable deaths: deaths that should never have happened, and deaths that would never have happened had a basic duty of care been followed.

Migrant deaths are also not an isolated case. A man staying at Manston, a migrant processing centre in Kent, died recently after becoming unwell. This case is currently awaiting a post-mortem and potential IOPC investigation. Manston has a capacity of 1000-1600 and is meant to house people for just 24 hours, but in October it was revealed Manston was holding 4000 people. This further shows how immigrants are treated, this time directly by the state. Instead of being provided with an acceptable level of accommodation, the migrants are instead made to live in a disused military base.

This shows how little respect the Government has for migrants. They simply feel no duty of care. If they did, do you really think they would be forced to stay in accommodation unfit for habitation? It just further goes to show the extent to which government goes to dehumanise immigrants in the UK.

This is a symptom of a larger societal problem. Inequalities render themselves in many different faces. Race and class often go hand in hand, especially with housing inequality, in deciding the quality of the home people live in.

In capitalist economies, inequalities are at their most apparent and widespread during times of crisis. The coronavirus pandemic was no different. Almost every policy put in place affected working-class people more, solely because of their economic position. Working-class people will, on average, have smaller, less spacious residences. At the time of the pandemic, it was estimated that 3.7 million people lived in overcrowded homes. This makes working from home more difficult and the spread of coronavirus more likely. More illness and a lower quality of work results, which in turn leads to the chances of a pay rise or promotion being reduced. It’s easy to see how a cycle of inequality is created, which can be impossible to escape.

These housing inequalities will also almost always result in a rise in mental health illnesses. The home is the site of life and is where people spend most of their time. If this space isn’t fit for habitation, especially during a lockdown, the deterioration of people’s mental health should come as no surprise.

A YouGov poll found that 11% of all British adults felt depressed during lockdown due to a lack of space in their home and 5% of everyone who said they had a lack of space said that had led them to seek medical help for either their physical or mental health . The direct correlation between class, race, and a lack of space shows how housing inequalities turn into deep societal inequalities.

The pandemic exacerbated the UK’s housing problem and made clear that there is a correlation between class and race regarding mental health as well as physical health, with a lack of space being a leading factor in the degradation of mental health. This was reinforced by a review from Public Health England who discovered BAME people were hit worst by the pandemic due to higher rates of overcrowding and poor housing conditions .

One of the most striking things I found, or rather didn’t find, when writing this piece was the complete absence of the law in protecting people. Not a single criminal charge has either been made or is being considered regarding Awaab Ishak’s death. Not a single person will spend a single day, hour, or minute in court, never mind behind bars. The chief executive of RBH, Gareth Swarbrick, didn’t even resign over Awaab’s death. He was instead sacked, less than 48 hours after publicly receiving the board’s full support.

This makes you wonder.

Why are there no laws in place to prosecute for gross negligence in the housing sector – especially when this negligence has led to a death?

How can a death go unpunished – not because there’s a lack of culprits but because the infrastructure simply isn’t in place to charge people?

Why is there a complete lack of accountability- are people in powerful positions unaware of the power and responsibility they possess?

How is this happening, and why did it even happen, in 21st Century Britain?

The conditions in an RBH property resulted in someone dying, yet they won’t even receive a slap on the wrist, let alone a criminal charge. This is beyond criminal, it’s inhumane.

Why I’m fed up with straight people telling me to visit Dubai

Written by Luke Hewitt on 13th December 2022. Posted in Opinion.

With this year’s World Cup being hosted in Qatar, a spotlight has been shone on the issues that LGBT travellers are confronted with when attempting to traverse the globe. Prior to any trip abroad is the customary Google to see whether or not homosexuality is acceptable in your destination of choice.

In Qatar, like in 67 other countries around the world, it is illegal to be gay. If you are Muslim, this is punishable by death. The hosting of this year’s World Cup is seen by many as Qatar’s attempt to put itself on the tourism map, replicating the year-round tourist hotspot Dubai in the neighbouring United Arab Emirates.

A large and varied range of tourists, from Instagram influencers to octogenarians, have flocked to the Jewel of the Desert to bask in the sheer wealth that permeates the streets. I, however, have no intention of ever visiting Dubai.

In recent months, countless well-intentioned people have suggested Dubai and other homophobic countries as ideal holiday destinations for myself and my partner. Such a suggestion is often accompanied by phrases like, “You’ll be fine! There are loads of gay people who live in Dubai!” or “My friend who’s gay has been and had no trouble.”

Like I said: well-intentioned, but ignorant. To go to a country where it is illegal to be myself is not exactly the holiday thrill I am looking for. Bungee jumping? Sure! Scuba Diving? Why not? Persecution and incarceration? I think I’ll leave it, cheers.

The criminalisation of homosexuality is not limited to the Middle East. The Kingdom of Brunei reinstated stoning to death for gay sex in 2019. In July 2022, in Nigeria, three men were sentenced to death by stoning for engaging in homosexual acts. It is important to note, however, that whilst we in Britain may look at these laws as inhumane, a large number of the countries that criminalise homosexuality, particularly in Africa and Asia, are ex-colonies of the British Empire. Their laws are often remnants of the British penal codes forced upon them.

The chances of punishments being handed out to tourists are slim, but not unheard of. In 2017, a British tourist by the name of Jamie Harron was arrested and sentenced to three months in prison for brushing against another man’s hip in a busy bar in Dubai. Thankfully, Harron was released after an intervention from the ruler of Dubai, Sheikh Mohammed bin Rashid Al Maktoum.

The worrying thing about this case is that Harron identifies as straight. Whilst this shouldn’t matter, it does. Harron faced an immense uphill battle to secure his freedom, it was only until the highest official in Dubai saw the negative press coverage gathering and decided to nip it in the bud. Imagine if I, as a gay man, had been accused of the same ‘crime’. Would I have been believed in the same way? Would the ruler of Dubai have intervened for an openly gay man? I suspect not.

I’m sure many LGBTQ+ people have visited Dubai without issue, but for me, any holiday in Dubai would be spent in a constant state of paranoia about looking ‘too gay’ with my partner. I’d worry over the smallest transgressions; an accidental handhold, an overly long hug, or a quick peck on the cheek could result in a prison sentence.

This level of paranoia whilst abroad doesn’t exactly scream “holiday”. The sheer nervousness I felt when travelling through Qatar a few years ago led me to delete Grindr from my mobile. That was just for a two-hour layover. This paranoia is unfortunately justified, a recent report in the i, describes the horrific ordeal one person went through when they were lured into a trap by Qatari police posing as a gay man on a dating app.

A common response to the LGBTQ+ community’s concerns and fears about travelling to homophobic countries is to be “respectful of other cultures”. When travelling, I always endeavour to be respectful of the country’s customs and traditions; I am a guest and must always remember that. In reality, this is not an issue of respect but one of tolerance. I can be the most respectable tourist the country has ever seen, but because of the necessity for homophobic regimes to vigorously police homosexuality, there is no room for tolerance. My existence is deemed disrespectful.

The years of misery I spent trying to hide my sexuality from the world took such an emotional toll. Lying to friends, family, and colleagues for years is damaging beyond belief. Do I really want to relive these feelings for the sake of taking a photo of the Burj Khalifa and pretending to my Instagram followers that I’m rich for a week? The closet door only opens one way.

I’m often told I don’t ‘look gay’ (for the sake of time and my own sanity I’ll avoid unpacking this staggeringly uneducated remark), so it might be possible for me to go to a homophobic country and run into very few problems. What about my partner? What about every other LGBTQ+ person who might not align with this absurd vision of straightness?

People always give me a quizzical look when I mention the countless problems with Dubai as a holiday destination for my partner and I. It’s as if I’m overreacting. Until you have trawled the internet to find out if you and your partner are allowed to hold hands, slow dance, kiss, or simply show affection in a public place whilst abroad, please just suggest a rainy week in Skegness so we can all move on with our lives.

Review: Betty! A sort of Musical

Written by Jay Darcy on 13th December 2022. Posted in Theatre.

This year’s festive musical at the Royal Exchange Theatre is the world premiere of Betty! A Sort of Musical, co-written by and starring Maxine Peake. It’s a pretty big deal so we sent both our Theatre Editors to review it!

Jay Darcy (Head Theatre Editor)

Maxine Peake is considered to be one of the country’s finest actors, on both stage and screen. She had her Royal Exchange Theatre debut several years ago, when she played the title character in Hamlet – years after playing Ophelia in another production. This was followed by The Skriker, A Streetcar Named Desire, and Happy Days. I caught the latter two. I was enthralled by her in the former. As for the latter – let’s just say, not even an electrifying actress like Peake, who possesses an abundance of gravitas, can make Beckett entertaining.

After four-and-a-half years, Peake is back at the RX – once again directed by her frequent collaborator Sarah Frankcom, the theatre’s former Artistic Director. Whilst the RX traditionally produces classic musicals over the Christmas season, the new Artistic Directors have shaken things up. Last year’s little-known The Strange Undoing of Prudencia Hart has been followed by a world premiere!

Betty! A sort of Musical follows a Dewsbury-based amateur theatre group, lead by Peake’s Meredith, attempting to create a musical about Baroness Betty Boothroyd – the first female Speaker of the House of Commons and a Dewsbury icon. It’s a play (musical) within a play, going back and forth between reality and fantasy. The play’s wonky meta structure is charming but limiting.

In the first act, the musical numbers are a series of songs, each written by a different member of the group. They are wildly different, each showing off the personality of the writer and establishing a different period/aspect of Boothroyd’s life. It’s genius.

However, the musical fails to provide a satisfactory historical account of Boothroyd. Perhaps that isn’t the point, for Boothroyd is not actually a character in the play, and the characters not quite understanding her is part of the fun – but the play, itself, seems not to understand her (or, at least, not know what it wants to achieve by using her as an artefact).

Boothroyd is a feminist icon, by virtue of being the first female Speaker, yes, but also because of what she had to do to get there – which the play fails to interrogate. Boothroyd’s authoritarianism was a by-product of a hard-fought political career; it was a tool to exert and demand power, control and, most importantly, respect, in a male-dominated space.

The wonderfully camp and comedic opening of the second act shows Boothroyd squaring off with some of her biggest political adversaries – a recreation of her most dramatic Commons’ moments through a spectacular series of rap battles, dance-offs, and duels. The play, understandably, chooses spectacle and comedy over substance and critical analysis; the male grandstanding and cockfighting is abundantly evident but Boothroyd’s uphill battle for respect as a woman is not. The flashy fights render her more a floundering fool than a formidable female leader.

The end of the sequence is a showdown with Thatcher. It’s hilarious, especially because Thatcher is played by Peake’s co-writer, Seiriol Davis, in drag, but it’s also reductive: it literally reduces two fierce female politicians to swinging handbags at each other. Granted, the male politicians are also parodied (Ian Paisley literally breaks into Irish dancing), but portraying our first female Prime Minister and Speaker in such a way has some negative consequences.

This sequence (spoiler) is an eye-opener for the tyrannical Meredith, who almost immediately steps down from her position as Chair of the Dewsbury Amateur Players, finally giving her exhausted inferiors the respect they deserve. But pairing these two scenes together is a little mucky, for Betty and Meredith are not one in the same, and the lovely members of the theatre group, who just want some respect, are not comparable to the sexist pigs in the House of Commons who gave Betty the hardest of times. Of course, this is but Meredith’s interpretation – she sees herself in Betty – but I was a little unsure about what exactly the play was trying to communicate regarding Betty.

I know that the numbers are all interpretations of the amateur theatre group members, none of whom truly understand Boothroyd – but the result is the play, itself, never grasping the gravity of Boothroyd.

Unlike the tenacious Betty, Betty! appears to lack a driving purpose. The lack of clarity in the play’s philosophy is a problem, and it’s a big one, but it’s also the only one. Everything else is epic!

The script is wonderfully written, with constant comedy, even when things get serious. There’s romance, betrayal, injury, drag and Thatcher – everything but the kitchen sink! Yet, it never feels overstuffed or unnecessary; it’s deliberately excessive and ridiculous.

The music numbers are brilliantly bad. As contradictory as that sounds, one must commend the writers and actors for their enviable ability to pull off good bad writing and acting; they truly have mastered the art. It’s easy to write and act terribly; it’s incredibly difficult to deliberately write and act terribly. The incredible, real-life, professional actors are playing incredibly bad amateur actors – and they do it so well.

The play requires audiences to have at least a little understanding of late 20th century political history – at the very least, a familiarity with the political bigwigs of the day. Harriet and I are both political junkies (I’m a Politics graduate), but even we were a little unfamiliar with a few references to politicians and nods to 90s pop culture and happenings. The humour, too, is definitely aimed towards a particular crowd – the exact folk you expect to see at the RX – but it doesn’t alienate others; it welcomes everybody to be a part of the fun.

Betty! A sort of Musical is not an intelligent interrogation of Baroness Boothroyd, nor does it pretend to be. It doesn’t even pretend to be a musical. Whilst it, arguably, trivialises her achievements, it is a witty celebration of the formidable politician that tackles an abundance of issues and themes, through the microcosm of a relatable, loveable, diverse community group.

Maxine Peake (foreground) and Carla Henry (background) – Photo: Johan Persson

Harriet Cummings (Deputy Theatre Editor)

I had the privilege of meeting Maxine Peak during the Women in Media Conference back in June. As someone already in awe of her work, I was numbed by her self-effacing but inspiring advice. In fact, when I was interviewed for the role of Deputy Theatre Editor back in July, I was asked which upcoming plays I desired to see in the next academic year. Betty! A sort of Musical was the first on my list.

Written by and starring Maxine Peake (Hamlet, Happy Days) and Seiriol Davies (Milky Peaks, The Messenger), Betty! is a play that encapsulates the life of Betty Boothroyd (well, sort of).

For those who aren’t familiar with the name – in 1992, Betty became the first female Speaker of the House of Commons. Betty is celebrated for sacrificing any chance of private life to become a progressive, scrupulously fair, no-nonsense figure in political history.

The plot focuses on a small drama group in Dewsbury (Betty’s hometown). Each member of which has prepared a small number that they think would best commemorate Betty’s life. The comedy style matched that of Dinnerladies – a nineties show qualifying Maxine Peake as a household name. The target audience was undoubtedly of the same generation. Sometimes an uproar of laughs responded to a name-drop of a politician/celebrity figure that Jay and I had never heard of. But the comedic material was so cleverly written that I still found myself irrepressibly leaning forward in a physical chortle.

All six actors displayed talent in abundance. The difficulty of portraying an amateur rather than a bad actor is an unfathomable artistic task that the cast executed effortlessly. I cannot credit enough the beauty behind casting a diverse group of actors/characters and not forcing the plot to revolve around that fact. The slippage between prejudicial slurs thrown away by Meredith (Maxine Peake) and the wholesome relationship this little local drama group have for one another; gathering every week for some time away from a useless husband, grandchildren, or a monotonous job in the carpet industry, was heart-warmingly fluid.

Thatcherism, patriotism, Irish dancing, a drag Britannia, the BBC, the Cold War, Mr Blobby, and the Houses of Parliament. A list of things I didn’t believe would ever belong in a sentence together, but this charmingly eccentric story made sure they did. Knowing where to start when reviewing such a funny, moving, bizarre, whirlwind is incredibly difficult. A wind machine being another stage effect this play didn’t abandon. As well as a model of Big Ben descending from the ceiling, upside down. The audience was set to indulge in everything the showy, garish side of theatre had to offer.

I typically try to avoid spoilers in my reviews, especially a long-standing production like Betty! However, I will divulge the ending of this hilariously camp story left me moved. I was situated in the relationship between these charming characters. I witnessed Meredith’s veil dissolve. And the others return to their everyday life with a swift exit through the drama hall door. The play was over, but their realness stayed with me.

Betty! A sort of Musical runs at the Royal Exchange Theatre until January 14.

Live review: Nation of Language take fans Back to the Future at Gorilla

Written by Jacob Ainsworth on 12th December 2022. Posted in Music.

The 1980s: somehow, it’s a decade that never seems to leave the public consciousness, at least in Western culture. Thatcher, Reagan, AIDS, the miners’ strikes, Princess Diana, Wet Wet Wet, Back to the Future, aerobics leg warmers, E.T., Furbies – you get the idea.

It’s been over four decades since the 80s, but our generation is still oddly nostalgic for (and familiar with) a time period we never lived in, and consume more 80s kitsch than you could imagine (from the gargantuan cultural phenomenon that is Stranger Things, to the deliciously sleazy Channel 4 comedy White Gold). Nation of Language are a band that tap into this consistently popular kitsch, crafting a hypnotic sound owing to 80s British synth-pop. Their Manchester show is a whirling wave of chattering synths, crisp drum machine loops and propulsive bass pickings. Oh, and some ecstatic, bug-eyed, David Byrne-esque dance moves thrown in for good measure.

Whilst unavoidably derivative, Nation of Language perform their synth-pop musings with a great deal of fidelity for the bands that they’ve been inspired by. I’ve often thought that all the best electronic bands are those that are able to balance the futuristic sounds of digital technology with human idiosyncrasies.

Whilst it can be a deeply enriching – and often unnerving – experience to get lost in the sounds of a computerised world (late 70’s Kraftwerk springs to mind), it can often seem cold, sterile, and subsequently, hard to emotionally engage with. Bands like New Order avoid this issue by, for lack of better phrasing, being a bit shoddy. Their intricate experiments with drum machines, sequencers, and synthesisers may have paved the way for dance-rock, acid house, and Madchester, but it’s Bernard Sumner’s out-of-key vocals, Peter Hook’s tendency for aggressively breaking strings mid-performance (which Nation of Language bassist Alex MacKay joyously apes on single ‘Indignities’) and Gillian Gilbert’s clumsy keyboard solos that make them endearing, enduring, and grounded. They’re human, flawed, just like we are.

Photo: Nation of Language @ Ailish O’Leary Austin

Nation of Language fortunately seem to share this belief, melding their punctual backing tracks with charmingly cheap-sounding keyboard tones – sometimes sounding more like a high-pitched bird than an instrument – and a wonderfully characterful performance from frontman Ian Richard Devaney. His veins bulge as his venue-filling voice soars and screams over the group’s mechanical whirring. We can’t really tell what he’s singing at any point in the set, but it doesn’t matter: we just know that he means it.

He, like New Order’s Bernard Sumner, is the human element that electronic bands often can’t quite grasp. Devaney dances with a sweat-soaked conviction, prancing around the stage like a caffeinated Fred Astaire, clutching the microphone until his fingers turn red. Here is a frontman, unabashedly idiosyncratic and chaotic, that makes a fun 80s throwback something much greater than just a novelty act.

Nation of Language’s live show isn’t going to be everyone’s cup of tea – that’s a given. Their songwriting style is intrinsically designed to be repetitive, the musical components of each song chugging away like a steam-powered locomotive (such as the tinny drum machine on ‘Wounds of Love’, or the sparkling strings on ‘September Again’). To some, this will be dance-inducing and hypnotic. To others, it will be deathly boring. Gorilla’s audience seemed to house both camps.

The band’s discography is also somewhat indistinct, with a lot of their chorus melodies being far too similar to other songs in their back catalogue and sometimes – as is the case with ‘On Division St’, which slyly magpies New Order’s ‘Bizarre Love Triangle’ – even other band’s discographies. To put it bluntly, their music can often feel forgettable.

Luckily, there’s enough quality in Nation of Language’s songwriting to stop their occasional lack of distinction and originality from being too big of an issue. Classic single ‘I’ve Thought About Chicago’ shows the group at their most nostalgic, sensitive and escapist, with Devaney’s lyrics at their most thematically concise. Weaving in and out of keyboardist Aidan Noelle’s spine-tingling synthesiser solos, the singer reminisces about the past, as well as wondering what the future may hold: a glittery ode to conflicted ambition. Their newer material also shares this vulnerable sensibility; ‘This Fractured Mind’ anxiously rambles about a life lived a little too fast.

Nation of Language are a band that satisfy both the body and the mind. Lose your limbs to rhythms handpicked from early 80s Soft Cell or Spandau Ballet (‘Friend Machine’), but do try to pay attention to Devaney’s minimal – but concise – lyricism (that is, if you can manage to make out any of the words). With a tight-knit three piece line-up synchronised to simply mechanical perfection, and a frontman determined to make every penny of your £15 worthwhile, Nation of Language’s live show is a lovely way to spend an evening for any fan of synth-pop. Or, even if you’re not, who knows? You just might be reminded of a life you never lived.

You can listen to Nation of Language’s music here.

Live review: Shygirl comes out of her shell at Albert Hall

Written by Jay Darcy on 12th December 2022. Posted in Music.

I have been listening to South London’s Shygirl for quite some time, but I never really knew much about her. Only recently did I find out what she actually looked like. She’s a “plus-size”, curvaceous, gorgeous, melanated, Black woman – with an OnlyFans account! We love to see it.

Shygirl’s most-played solo song, ‘Cleo’, was my top song on Spotify in 2022. It’s always amazing seeing your favourite songs performed live, and sometimes I will go to see artists just to hear them sing that one song. However, I was already familiar with Shygirl’s incredible catalogue, and I’d been listening to her recently-released debut studio album, Nymph, in anticipation of the gig. Her sound is a mix of genres including grime, hip-hop and hyperpop. She’s inventive and transgressive, and she brought that energy to her live show.

Her opening act was the brilliant, bold, bobbed Rose Gray. Her music complimented Shygirl’s sound well; she was a great choice for an opening act. Her look is just as funky as her music: she wore a futuristic, figure-hugging black dress with neon green taping. In other words, she came to slay.

Shygirl’s stage design was simple but incredibly effective. The stage floor was covered in white sheets whilst a mirror was placed behind it, on a near-45 degree angle. Moving images and video footage were projected on to the floor and reflected in the mirror. It was an inventive artistic decision that made the show feel like a fever dream. The moving images were especially stunning during the third song, ‘Heaven’. Shygirl appeared to be standing in a tropical paradise, and the reflections enclosed her in the space. She looked like an angel, in a different dimension to us ordinary folk.

Some of the images and videos projected on the floor were of Shygirl herself. The show, like her music, embodied self-love. She wore a loose black dress that proudly exposed her breasts. She had a remarkable stage presence but not in a “diva” sense – her presence was more angelic and relaxed.

Shygirl sang songs from her EP, ALIAS, her album, Nymph, and several non-album singles, such as the aforementioned ‘Cleo’. Highlights from the former included ‘Coochie (a bedtime story)’, ‘Honey’ (which she told us is about a slow orgasm), ‘Poison’ (which featured some great moves), and, of course, fan favourite ‘Shlut’.

The latter was one of the best performances of the night. She lay down on the stage and was surrounded by a (projected) circle of people. The mirror allowed the audience to see exactly what was being projected on the stage. We were stood in the VIP section at the side of the stage in the balcony, so we could see Shygirl and the projections from above, but if you were watching it head-on and saw all the projections reflected in the mirror, you saw something truly beautiful. Other highlights included ‘TASTY’ and non-album singles ‘Firefly’ and ‘BB’ (the latter being the penultimate song of the four-song encore). The only song I was sad not to see performed was ‘UCKERS’.

It’s paradoxical, but the concert was simultaneously energetic and relaxed. Shygirl achieved the perfect balance between “let’s go crazy” and “chill the f*** out”. It was thrilling seeing her vivacious music come to life onstage, and I hope that more people come to appreciate her artistry and excellence.

Shygirl is touring the world with Nymph World Tour PT. 1 until mid-June 2023, and you can buy tickets here.

Mindfulness around Christmas

Written by nelliehodgson on 12th December 2022. Posted in Lifestyle.

While Christmas can be the happiest time of year for some, even twice as happy as usual, it also has the uncanny ability to make everything twice as difficult. Going home for the Christmas holidays can be particularly daunting – it’s not usual you relocate for a month and are expected to re-immerse yourself into a life that isn’t your daily one anymore. No matter your faith, other people’s joy, or the millions of Christmas lights that decorate Manchester from early November, it is important to remember that others may not be as delighted this time of year.

While many students will be excited to return home to see old friends and spend time with family, others may struggle with the trauma of rehashing old memories, or being faced with greeting people you may have been happy to leave behind. Remember that this could be an opportunity to mend relationships, or to spend the long overdue time with family members that haven’t moved with you to a new city, and are desperately awaiting your return.

Equally, it is also true that if you are not enjoying the plaguing assignments and the responsibility of cooking, laundry, and general self-care, that you make the most of the time you have at home. Christmas can help you feel as though you can come back to university with a clean slate, and hopefully give yourself a fresh start.

A vital part of Christmas is quality time with your family and friends. While for some this is lovely, for others it is far harder. As the Christmas markets are re-opening and restrictions have eased, it is important to remember those who have lost family members in recent years, and will still be suffering.

While you may complain about the boring old traditions, or that one family member that always gets that little bit too drunk, be mindful of the losses people have faced in recent years, and offer them more than gifts – instead, unconditional support and gratitude for the part they play in your life. It can mean much more to someone than you know.

It’s also important to remember those of other faiths during Christmas time, who often experience underrepresentation of their religious holidays. Cultural and religious sensitivity is incredibly important at Christmas, as well as any time of year, and remember that the aspects of kindness, joy, and understanding can go a lot further than one may believe they would.

This is not to suggest that Christmas should not be enjoyed and appreciated to the fullest. Rather, it is an opportunity to spread awareness and empathy, and a chance to remember that Christmas does not mean the same thing to everyone. Gift-giving is only part of the Christmas experience, especially to those families suffering particularly this December as a result of the cost-of-living crisis.

Whatever your Christmas looks like this year, know that it is okay. While Christmas is often joyful, it is also just another day. If nothing else, hopefully this Christmas can give you a well-deserved break from uni work, and time to spend with family or friends.

Behold the Bottomless Feast at Red’s True BBQ

Written by Izzy Langhamer on 12th December 2022. Posted in Food & Drink.

Christmas is the time for friends and family to come together, for snow and laughter, and to share gifts with each other. More importantly though, it’s about food – and lots of it!

Menu at Red's — The menu at Red’s, Photo: Izzy Langhamer @The Mancunion

Barbecue food might not be the usual choice for the festive season, but we can guarantee it’s much tastier than a dry bit of turkey or boiled Brussels sprouts. Last week, Red’s True Barbecue launched their new Bottomless Christmas Feast, alongside a dedicated Bottomless Cocktail menu. From Meat-Lovers to the Meat-Free, there’s something for everyone to get tucked into here.

We tried a range of festive cocktails, starting off with a refreshing mimosa – the perfect way to kick off the night. The atmosphere at Red’s was relaxed, welcoming and warm. During our meal, we were even treated to an entertaining visit from Father Christmas, who brought the house down with a tune or two from the likes of ‘Let Me Entertain You’ and ‘Sweet Caroline’.

More cocktails followed this live performance. This included a very Christmassy gin cocktail with an icing sugar rim that shimmered under the lights. It can sometimes be tricky to balance the line between novelty and taste, but Red’s cocktails certainly delivered on all fronts.

We were kept well supplied with drinks, including Pornstar Martinis as well as Whiskey Sours. Both of Red’s Bottomless Packages come with drinks included, which means you can enjoy a range of lager, cider, Prosecco, red & white wine, and festive cocktails with your meal. When the drinks are flowing, and the fun keeps going!

Meat-Lovers feast at Red's — Meat-Lovers feast at Red’s, Photo: Izzy Langhamer @The Mancunion

Onto the main event: the bottomless feast.

Both the Meat-Lovers and Meat-Free versions came with mash, gravy, onion rings, fries, and festive cornbread. The cornbread was surprisingly delicious, and its sweetness offset the heaviness of the meal. The onion ring was enormous and crispy, and the mash was smooth and tasty. If I had one criticism, it would be the gravy. For a Manchester restaurant, it is essential to get the gravy right, and Red’s was simply too thin and tepid. Improve the gravy game, and the rest of the plate has more of a chance to shine.

I opted for the Meat-Free version, which came loaded with pulled jackfruit, cauliflower wings, smoked vegan sausage, garlic chilli greens and crispy onions. The cauliflower wings were crispy and smokey, and I coated them in some of Red’s speciality sauces.

I was impressed with the garlic chilli greens, which were chargrilled broccoli, adding some much-needed veg to the meal. Generally, I’m not a fan of jackfruit and find it a bit stringy and sweet, but that’s just my personal preference. However, the beauty of this bottomless plate is that there’s so much on offer that you’re guaranteed to find something you like, and you definitely will not go home hungry.

My friend tried the Meat-Lovers feast, which definitely lived up to its name. She had pork ribs, cheese and jalapeno sausage, pulled pork stuffing balls, turkey breast, unholy BBQ XXXL wings, smoked chicken, and meaty pit beans. Unexpectedly, her favourite part was the pit beans – they had a deep and rich, smoky flavour to them. She also enjoyed the pork ribs and BBQ wings, all perfectly accompanied by the extra sides on the plate, such as the mash. She was even given an extra plate of stuffing balls, which were deliciously herby! In the end, the plate defeated her.

After all, that’s what you want from a bottomless anything: enough simply is not as good as a feast!

Red’s True BBQ Bottomless Feast is available all day Wednesday – Sunday until 30th December in Manchester, Leeds, and Nottingham! To book a bottomless feast at Red’s, head to their website.

Soy to the World! The Vegan Christmas Markets are here

Written by Aimee Butler on 12th December 2022. Posted in Food & Drink.

Just when you thought Manchester couldn’t get any Christmassier, the city took first place once again with its Northern Vegan Christmas Markets.

As a non-vegetarian but a housemate of plenty, I was intrigued to attend the animal-friendly markets, comparing them with the usual markets. I arrived at Bowlers Exhibition Centre in Trafford with low expectations, thinking everything on offer would be just an unfulfilling, yet pricier version of what was typically available at a Christmas market. I was immediately disproven upon stepping into the building.

After receiving complimentary Vitamin C sweets and vegan chocolates, the smell hit me first. Beautiful aromas of sweet chocolates and cakes filled the air, and wafts of mouth-watering fried chicken, rice, and fish and chips swept over me in large gusts. Of course, it wasn’t real chocolate, nor real chicken or fish – everything was purely vegan.

‘There’s No Catch!’ was the remarkable plant-based vegan fish and chips bar that had hordes of people swamping it almost the entire time I was in attendance.

Just one aisle over was The Vegan Basket – an incredibly aesthetic red and white checked stall imitating a traditional picnic, complete with an array of savoury treats, such as Porkless Pies and spiced squash and mango chutney filo triangles.

The markets embodied vegan food of all kinds, offering a multitude of different cuisines, much like the German-themed markets in Piccadilly. House of Habesha dazzled with shockingly inexpensive authentic Eritrean and Ethiopian dishes, alongside Michael’s Caribbean Storehouse.

After dragging myself away from the savoury stalls, I was pleasantly accosted by the sweet treat stands, with the Wild Soul Bakers entrancing me with their gorgeous display of baked goods. From Oreo cookies that were running low – a testament to their taste – to jam and custard cake jars and Biscoff jars. All of these treats were sold at the small price of £2, with the option to add a steaming hot chocolate for only £1 more!

Out of all the food stalls though, the stall that knocked it out of the park was The Happy Mouse – a tofu-based cheese alternative. The sample boards offered chilli, garlic, cranberry, and blue cheese alternatives that were being eaten up by the swarms of people surrounding the stall. Even as a rather below-average cheese fan, The Happy Mouse blew me away, with their immaculate presentation of a cheese alternative I believe could easily appeal to all cheese lovers.

Happy Mouse, Photo: Aimee Butler @ The Mancunion

The markets did not hold back at simply vegan food. The several aisles also hosted clothing, jewellery, and toiletry stalls.

Viva La Vegan replicated the vibe of Affleck’s, with a little bit of everything on sale, from t-shirts and vests to tea towels, stickers and badges – the perfect gift for those animal lovers in your life. Alongside Viva La Vegan was the Vegan Haven, where I bagged perhaps the softest knitted jumper I had ever seen.

Vegan Christmas Markets Stand, Photo: Aimee Butler @ The Mancunion

Finally, in accordance with the vegan markets’ affiliation with Miracle’s Mission, an animal welfare charity that dedicates itself to diligently helping sick and disabled animals across the globe was also in attendance, Pet Respect, joined by PlantLife. Both stands offered information packs and guidance on current environmental and animal safety issues, and how the public can help. Pet Respect also advertised school workshops, in order to reduce animal cruelty among children.

My only fault with the event was only that it was not Christmassy enough. The huge hall was filled with music and chatter, yet to my dismay, the music was only the current chart toppers, not Michael Bublé or Mariah Carey. The hall also lacked Christmas decorations, and most of the stalls also lacked any particular Christmassy feel. For a Christmas market, I feel as though the theme fell through the cracks.

All in all, the Northern Vegan Christmas Markets were a beautiful surprise and a great experience, heralding a new perception of all things vegan. With affordable pricing and fantastic quality gifts, I would urge all residents (and visitors) of Manchester to pay a visit to the markets. You can experience all that you would experience at the usual Manchester Christmas Markets, however, this encounter is completely guilt-free, supporting an animal-cruelty-free and environmentally friendly Christmas for all.

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Month: December 2022

Summary

Review

Become a volunteer

In conversation with Anna Pickles, Application Support Executive at Bookmark Reading

Kendrick Lamar – Mr Morale and the Big Steppers (Alex Cooper)

Fontaines D.C. – Skinty Fia (Maddy Oxley)

Loyle Carner – hugo (Serena Jemmett)

Zguba – Znój (Kristin Cooper)

Three Days Grace – Explosions (Imogen Mingos)

Taylor Swift – Midnights (Amarachi Uzokwe)

Mitski – Laurel Hell (Maisie Outhart)

CMAT – If My Wife New I’d Be Dead (Jacob Ainsworth)

Yard Act – The Overload (Sarah Taylor)

Jay Darcy (Head Theatre Editor)

Harriet Cummings (Deputy Theatre Editor)

**Fontaines D.C. – Skinty Fia (Maddy Oxley)**

**Loyle Carner – hugo (Serena Jemmett)**

**Zguba – Znój (Kristin Cooper)**

**Three Days Grace – Explosions (Imogen Mingos)**