tag:blogger.com,1999:blog-13513019580588649452024-03-05T11:34:32.503+00:00Now Then ManchesterA free magazine for Manchester covering local art, politics, independent traders, music and literature.Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.comBlogger395125tag:blogger.com,1999:blog-1351301958058864945.post-7768772624020631652017-05-19T20:12:00.001+01:002017-05-19T20:12:32.440+01:00Thanks for visiting the blog......but you'll be better served visiting our main website, <a href="http://nowthenmagazine.com/manchester/">here</a>, for monthly issues hosting citizen journalism covering Manchester's independent culture.<br />
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See you there.<br />
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<br />Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-50294577800109564592016-09-29T20:26:00.000+01:002016-09-29T20:26:07.538+01:00Filmreel News: Father of African Cinema Ousmane Sembène's Films Come to HOME MCR<br />
HOME Manchester's forthcoming film season offers an insight into Senegalese writer, producer and director Ousmane Sembène's prolific record as a filmmaker aiming to represent the marginalised and voiceless in society, revealing why he was awarded the title of the father of African cinema.<br />
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Under the banner of <a href="http://homemcr.org/event/rebel-with-a-camera-the-cinema-of-ousmane-sembene/">Rebel with a Camera</a>, the season comprises four feature-length screenings, ranging from his 1966 debut about a Senegalese childminder who returns with the child's family to the south of France, <a href="http://homemcr.org/film/black-girl/">Black Girl</a> (Sun 9 October), through to the posthumous documentary, <a href="http://homemcr.org/film/sembene/">Sembène</a> (2012), compiled by his colleague and biographer Samba Gadjigo, along with Jason Silverman. Gadjigo will also be appearing at HOME for a Q&A after the film on Sat 8 October.<br />
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The other films during the season are the colonial satire <a href="http://homemcr.org/film/xala/">Xala</a> (1975), which will be shown on Thu 20 October, and Sembène's final film before his death in 2007, <a href="http://homemcr.org/film/moolaade/">Moolaadé</a> (2004), which tackles the horrors of FGM and concludes the Manchester season on Mon 24 October.<br />
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The programme of his selected works is also touring the UK between October 2016 and January 2017, sharing his catalogue of African stories for African audience with intercontinental viewers. You can catch all four films across from Inverness to various London venues, with <a href="http://www.ayadistribution.org/upcoming-screenings/">other destinations</a> including Sheffield's Showroom, Keswick's Alhambra and Edinburgh's Filmhouse.<br />
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Words: Ian Pennington<br />
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<i>Rebel with a Camera: The Cinema of Ousmane Sembène runs at HOME from Sat 8 to Mon 24 October, 2016.</i><br />
<i><a href="http://homemcr.org/event/rebel-with-a-camera-the-cinema-of-ousmane-sembene/">homemcr.org</a></i>Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-58714106420592321122016-06-16T14:22:00.000+01:002016-06-17T12:24:25.615+01:00On Corporation Street @ Home, 15.06.16<div class="MsoNormal" style="text-align: justify;">
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<span style="background: rgb(254 , 254 , 254); color: #4b4f56; font-family: inherit; line-height: 107%;">Where were you </span><span style="background: rgb(254 , 254 , 254); color: #4b4f56; font-family: inherit; line-height: 107%;">on 15th June 1996? It’s a question that we
have asked each other when we remember, and try to comprehend the biggest bomb
detonation in mainland Britain since WWII. Twenty years later, Mancunians and their
adopted cosmopolitans have continued on with their lives, thriving, prevailing.
United. It is with this sense of unity that has allowed theatre company ANU to
ask us to share our memories, and give them a new existence as the heart of <b>On Corporation Street</b>.</span><br />
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<span style="font-family: inherit;"><span style="background: rgb(254 , 254 , 254); color: #4b4f56; line-height: 107%;">Creators of the sold out
award-winning Angel Meadow ANU, have returned to HOME with a new promenade
performance, weaving the audience through backstage and basements as they reflect
on the Manchester Bombings from a 2016 viewpoint. There is no fourth wall,
there is nowhere to hide, the audience are a part of this dreamscape and only
one thing is for certain: The opinion you leave with will be your own. </span><span style="background-color: #fefefe; color: #4b4f56; line-height: 107%;">I was luckily enough to be
familiar with the work of ANU after seeing Angel Meadow in 2014. After wiping
away a tear of nostalgia of my first printed theatre review, I knew I had
certain expectations (all good ones in case you were wondering), of content and
style. I have to admit the feeling of guilty amusement at my confused fellow
audience members wondering what is acceptable in a promenade performance:
"The character has just asked me a question! What do I do? Argh she is
still staring at me”. My advice, roll with it. You are going to get more from
the experience if you just invest in the moment.</span></span></div>
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<span style="background-color: #fefefe; color: #4b4f56; font-family: inherit; line-height: 107%;">We are first brought into
the auditorium, where we are introduced to all the potential characters we
could later meet in person. All make their way to the stage, and create an
intense slow motion sequence, impressively creating mini snapshots in the midst
of flying glass and the quaking earth. Impressive as it was, it did create a
pacing issue for the rest of the production, unless the next interaction the
audience has with a character really lands. I can only speak for my group, but
our first interface was a ten-minute monologue with a lot of long pauses; in
this case two slows don’t make a right. I completely understand the intent
behind the delivery; a young man trying to comprehend such senseless
destruction. However, I think this would have been more effective if this
encounter was in ‘real-time’ akin to the other encounters we are about to move
on to. This piece was reflective, such are the audience currently remember that
day, whereas our other characters are still taking in and processing something
that happened a few hours ago.</span></div>
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<span style="background-color: #fefefe; color: #4b4f56; font-family: inherit; line-height: 107%;">Two of my favourite moments
came from Jamie Matthewman and Una Kavanagh. In a hot and sticky corridor, we
listen through headphones to a soundscape of recollections and 999 emergency
calls. As I wince at the voiceover recall 180 people all arriving at A&E, a
surgeon (Matthewman) takes a quick breather, enveloped in exhaustion and
disbelief. All without speaking a word. A short walk away in a hospital
breakroom, we meet a nurse (Kavanagh) still trying to steady herself from feeling
the “shaking in the air”. As the rest of the audience sat around the table clad
with half eaten digestives and abandoned cups of tea, I stood near our nurse
host and noticed a vicious looking bite mark on her arm. She apologies,
profusely. She apologies for still being emotional, for talking too much and
for being Irish. My heart went out to this character, a woman caught in a
dilemma of identity and one she feels ashamed of. A heart-rending performance from
McCann and a great finish.</span></div>
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Artistic Director of ANU, has created another strong and unworldly production
with On Corporation Street, and one I can imagine will get a lot of comparison
to Angel Meadow. Some that saw Meadow may feel anticipations weren’t met,
because this production in many ways isn’t as overwhelming. Angel Meadow had a
lot to take in, design wise and narrative; it was all very surreal. Whereas
here, the production is very ordinary in a lot of ways, but isn’t that just it?
An extraordinary event occurred to people going about their very ordinary days
and that makes it so hard to comprehend. What I would say, is the action is far
more interesting when we are living it with the characters. We are their
shadows, discovering the same things, hearing the same things, and struggling
the same way. This may not be as feasible with this reflective piece, but I
would have liked to see a bit more of it in this production.</span><o:p></o:p></span><span style="background-color: #fefefe; color: #444444; font-family: inherit;"></span></div>
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<span style="font-family: inherit;"><span style="background: rgb(254 , 254 , 254); color: #444444;"><br />Runs until 25th June<br /><br />Words: Kate Morris<br /><br />Photos: Graeme Cooper</span></span></div>
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-88836417290667788072016-06-01T12:46:00.000+01:002016-06-01T12:46:57.773+01:00Competition: Win Tickets To Mr Scruff's 17th Birthday @ Old Granada StudiosBack in 1999, <a href="http://bagthing.co.uk/event/mr-scruff-francois-k/">Mr Scruff</a> couldn't have known the reach and longevity of his sophomore studio effort, Keep It Unreal, in particular its foot-tapping wonders like 'Get A Move On'. 17 years on, the Stockport native is a household name for anyone with a mind open to jazz, soul and funk DJing. His crate digging has introduced many a hip shaker to long-forgotten records, providing the soundtrack to countless revellers' nights out.<br />
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For his 17th birthday jive at Old Granada Studios, he's joined behind the turntables by house and disco tune-peddler Francois K, and between them the former Corrie corridors will be alive with shoulder-jutting grooves.
Refreshingly, it's billed as a non-mobile disco, so put that phone away and enjoy.<br />
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The show isn't a solitary one for the Old Granada Studios venue, with <a href="http://bagthing.co.uk/event/dj-yoda-full-av-show-massonix-graham-massey-808-state/">DJ Yoda</a> and the <a href="http://bagthing.co.uk/event/craig-charles-funk-soul-club-ft-candi-staton/">Craig Charles Funk & Soul Club with Candi Staton</a> lined up for later in June.<br />
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We've teamed up with Old Granada Studios to offer a pair of tickets for Mr Scruff's 17th Birthday gig on Friday 3 June to a lucky winner. To be win with a chance of winning, simply email ian at nowthenmagazine dot com with your favourite Scruff song, as well as your full name. The competition closes at 3pm on Thursday 2 June and the winner will be notified later that day.<br />
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Words: Ian Pennington<br />
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<i>9pm-3am on Friday 3 June, 2016 Old Granada Studios.</i><br />
<i>Tickets are available from <a href="http://oldgranadamcr.nutickets.com/kiu17">oldgranadamcr.nutickets.com</a></i>Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-25382631511535154602016-05-10T12:00:00.000+01:002016-05-10T22:12:58.575+01:00Quippodrome @ Gullivers, 09.5.16<div class="p1" style="text-align: justify;">
<span style="font-family: inherit;"><span class="s1"><span lang="EN-GB" style="font-family: inherit;">One doesn't really know what to expect from a
night labelled <b>Quippodrome</b>. The website, scarce and intriguing, offers little
explanation. A video plays in the centre of the website of past Quippodrome
evenings and I'm immediately thinking of early Mighty Boosh. Homemade costumes,
silly looking characters, exaggerated acting.</span></span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<span class="s1" style="font-family: inherit;"><span lang="EN-GB"><br />From the offset, the evening was welcoming.
Compares Jack Evans, and Edy Hurst invite the audience to feel relaxed, and
assure us that the evening is probably going to fail. But when it fails, it
also works. The performers, clearly well versed in comedy, quickly manage to
pick themselves up, find a response, and even on this occasion, lecture about Kangaroos killing Dingoes; all to bemused laughter. It's a journey for both the audience and the performers and not your regular comedy night.</span></span><span class="apple-converted-space" style="font-family: inherit;"><span lang="EN-GB"> </span></span></div>
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<span style="font-family: inherit;"><span class="s1"><span lang="EN-GB">The evening continues with Chris Cantrill who
has established himself around the UK as a comedian with a penchant to see the
funny side in life's (sur)real stories. His set changes the pace a little,
but the laughs keep coming.</span></span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<span class="s1" style="font-family: inherit;"><span lang="EN-GB">After a short interval, we're welcomed back
for the main event, </span></span><span class="s1" style="font-family: inherit;"><span lang="EN-GB">The
Quippodrome</span></span><span class="s1" style="font-family: inherit;"><span lang="EN-GB">. The four players, Jack, Edy, Jayne and Jon perform a variety of
characters and vignettes, worthy of early Channel Four (or when Channel Four was
good|).</span></span><span lang="EN-GB" style="font-family: inherit;"> </span><span class="s1" style="font-family: inherit;"><span lang="EN-GB">It even kicks off with a very
Adam & Joe-esque title card and Evans’ Detective Inspector Horse-hand, who
wouldn't look out of place on </span></span><span class="s1" style="font-family: inherit;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB">Vic Reeves
Big Night Out</span></i></span><span class="s1" style="font-family: inherit;"><span lang="EN-GB">. D.I. Horse-hand (a Holyrood experiment if
you were wondering) spins his surreal yarn about a whole menagerie of weird
equine-hybrid Scots people, and the audience loves it.</span></span></div>
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<span class="s1"><span lang="EN-GB"><span style="font-family: inherit;">The melee of other characters who appear on
stage in unique, original acts continue. Dr. Love (yes, we've all heard of him,
but we've never actually met him!) gives us some tips on the best sex
positions, all with brilliantly graphic drawings.<br /><br /><o:p></o:p></span></span></span></div>
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<span style="font-family: inherit;"><span class="s1"><span lang="EN-GB">"It's ok, the perspective may be skewed,
but she has breasts, so…"<br /></span></span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<span class="s1"><span lang="EN-GB"><span style="font-family: inherit;">The segue between the Crane Position and the
Fraser Crane Position drew the biggest laughs. We're literally taken on a
rollercoaster in the next act with a great use of a web-cam, a stick, and a
couple of straws. This part of the show seemed like a metaphor for the whole
evening, with its twists and turns, the ups, and the downs, and, of course, the
failures (I'd suggest gaffer taping the extension lead!).<o:p></o:p></span></span></span></div>
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<span style="font-family: inherit;"><span class="s1"><span lang="EN-GB">The evening is drawn to a close with a
wonderful character from the comedic brain of Jayne Edwards. After all the high
testosterone, it's a welcoming relief to see Jayne, and her ‘</span></span><span class="s1"><span lang="EN-GB">pube art</span></span><span class="s1"><span lang="EN-GB">’ will stick in my mind like...
well, like a pube sticks in your teeth. Confidently Jayne’s character informs us
of how to make it in the porn industry when she was directing. A surreal little
story that wonderfully re-introduces the rest of the characters back on stage.</span></span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span class="s1"><span lang="EN-GB">Overall, I've not seen anything like this
before. These guys have worked the circuit, and got bored with the scene. They
may be doing this for the love of comedy, and I hope they are, because that
rawness and passion, and the laughs they gave the whole audience was worth way
more than the door price. So much so, I'm going back next month.</span></span></span></div>
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Words: Colm Feeley<br /></div>
Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-87056403281752085532016-05-06T13:46:00.000+01:002016-05-09T13:48:01.808+01:00Murder She Writes @ Kings Arms, 5.5.16<div class="MsoNormal">
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To quote a fellow Scot, "there's been a murdurrrrrrr!" In
fact, there's been a fair few in Cabot Cove and the residents have finally
realised that the link is one Jessica Fletcher; author and amateur sleuth,
always around when foul play is afoot. However, we are going to see dear Jessica in a brand new light, with Vertigo Production's Murder She Writes.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNpzBx1yfso-_b6kjZvOZRbIiCrJHMxfqgeItPGxURyXgkdwhe4Ln87GfivVhssBbyxcQtdy9xywkNG2Xy3bp1u4GWFwaY7qWdYSHiDv7M8EFU6oMVURjpcSn7wQrcK4MnFQ45gn16s65/s1600/13199078_10153478845371363_1622410681_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWNpzBx1yfso-_b6kjZvOZRbIiCrJHMxfqgeItPGxURyXgkdwhe4Ln87GfivVhssBbyxcQtdy9xywkNG2Xy3bp1u4GWFwaY7qWdYSHiDv7M8EFU6oMVURjpcSn7wQrcK4MnFQ45gn16s65/s400/13199078_10153478845371363_1622410681_o.jpg" width="281" /></a></div>
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TV series of 264 episodes starring Angela Landsbury, Murder She Wrote is the inspiration to this OTT
pastiche, along with Baywatch, Columbo and Twin Peaks. Filling the shoes of Landsbury, Dale Vicker commandingly dons a wig and cardie to bitch his way through two insane hours of whodunnit, complete with saucy songs, outrageous
characters and triple entendres.</div>
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Stuart Reeve adds more drag to the mix with his League of
Gentlemen style grotesque Gramma Frank. There's solid work from Richard
Allen as a knock-off Hoff, and Ash Preston as Columbo.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHg8D_fx368SBUgSNH0oPXXSZcHfV14LS20TZCWXJZLD9fsAsRsTsalijEb-44RoRrSgTdbQtZYAEyAvX8ybGBy7cw0k6oACIHoiLY2EYPQDX0wR7LQKtUayrKp_q-m9ksY838h_hNYnD/s1600/13149895_10153478845586363_1996705939_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWHg8D_fx368SBUgSNH0oPXXSZcHfV14LS20TZCWXJZLD9fsAsRsTsalijEb-44RoRrSgTdbQtZYAEyAvX8ybGBy7cw0k6oACIHoiLY2EYPQDX0wR7LQKtUayrKp_q-m9ksY838h_hNYnD/s400/13149895_10153478845586363_1996705939_n.jpg" width="400" /></a></div>
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Subtle this ain't and although the rest of the cast ham it up
for all they're worth, it did feel like self indulgent fun among mates at
times. Sound issues with the backing tracks also meant the lyrics were easy to
miss causing some of the songs to fall a bit flat and seem rushed.</div>
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Gloriously trashy though it undoubtedly was, the script
raised more titters than belly laughs and it needed to be a lot tighter. It
just about stayed on the right side of offensive, rather than adult panto but
maybe tipping even more into the abyss would have harvested more humour.<o:p></o:p></div>
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It's a fun romp though and Vertigo always come up with
something different which is to their credit. <o:p></o:p> </div>
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Lord knows what they would have made of Midsommer!</div>
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<o:p></o:p>Words: Drew Tosh <br />
<br />Photos: Courtesy of Craig Hepworth </div>
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<br />Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-67750831717093681602016-05-05T12:49:00.000+01:002016-05-05T12:55:11.556+01:00Avenue Q @ The Palace, 3.5.16<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; margin: 0cm 0cm 7.5pt; vertical-align: baseline;">
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<span style="font-family: "calibri" , sans-serif; font-size: 11pt;">Being a Twentysomething isn't short of ironies; you hate coffee
but it’s your favourite beverage to drink in copious daily amounts. You’re in
unpayable debt after getting a degree for a job you hoped would leave you never
needing for anything, and there’s everyone’s favourite; already having the experience
where you’re </span><i style="font-family: Calibri, sans-serif; font-size: 11pt;">not</i><span style="font-family: "calibri" , sans-serif; font-size: 11pt;"> experienced. Ultimately,
you’re stuck somewhere between an adult and a child, working the gap between
your big dream and the current pays-the-bills job. What can be said of the Twentysomething of today, is that we are adaptable and persistently know the
only way to survive this quarter life crisis is to keep making new plans; hopefully
ones that make us as happy as we were as kids. Can you remember how happy you
were watching weekend cartoons, or </span><i style="font-family: Calibri, sans-serif; font-size: 11pt;">Seasame
Street</i><span style="font-family: "calibri" , sans-serif; font-size: 11pt;">? What if you could feel like that again? </span></div>
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<span style="background-color: white; font-family: calibri, sans-serif; font-size: 11pt;">At the Palace theatre, sitting in front of fresh faced musical theatre students
the lights went down and two screens flicked into life, </span><span style="background-color: white; color: #333333; font-family: calibri, sans-serif; font-size: 11pt;">depicting a sickeningly happy cartoon sunshine as the company
flourished into the opening number of </span><b style="background-color: white; color: #333333; font-family: calibri, sans-serif; font-size: 11pt;">Avenue
Q</b><span style="background-color: white; color: #333333; font-family: calibri, sans-serif; font-size: 11pt;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVd7FCEao59dvWzyrv3vwBlajxJORk04oSarIuE208k7a2oWrrW6eW1sJoXdoX4603raqkDJNdvlJcDDFLoK2hyphenhyphen1gPi3FrXI7jmOZ_9TYX0op3NaIglTshxXCmqxzFYBYSyUPQoLNbwfA/s1600/Sarah+Harlington+as+Kate+Monster+and+Richard+Lowe+as+Princeton+in+Avenue+Q.+Photo+Credit+Matt+Martin+Photography.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVd7FCEao59dvWzyrv3vwBlajxJORk04oSarIuE208k7a2oWrrW6eW1sJoXdoX4603raqkDJNdvlJcDDFLoK2hyphenhyphen1gPi3FrXI7jmOZ_9TYX0op3NaIglTshxXCmqxzFYBYSyUPQoLNbwfA/s400/Sarah+Harlington+as+Kate+Monster+and+Richard+Lowe+as+Princeton+in+Avenue+Q.+Photo+Credit+Matt+Martin+Photography.jpg" width="400" /></a></div>
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<span style="background-color: white; color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt;">The abundantly talented cast made it easy for the
audience to suspend their disbelief and fall in love with the 11 puppet
characters. The actors themselves become essentially invisible; it is the
puppets that carry the identity and the spotlight. You may expect to find Big
Bird, but we are not on </span><i style="color: #333333; font-family: Calibri, sans-serif; font-size: 11pt;">Seaseme Street</i><span style="background-color: white; color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt;">
anymore. Instead we meet Princeton (Richard Lowe), a recent college graduate
who finds himself wandering onto Avenue Q with a BA in English and eager to
find his 'purpose’. There he meets the colourful (literally) and exceptionally
funny characters that live there. All the residents are finding life to be a
bit disappointing, but come to accept that this feeling of loss is “only for
now” while they journey to their aspirations. </span><span style="font-family: "calibri" , sans-serif; font-size: 14.6667px;"></span></div>
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<span style="background-color: white; color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt;">A huge hat tip goes
to Sarah Harlington who played the role of Kate Monster and the infamous Lucy the
Slut, for her impeccable vocal ability. Other credit goes to my forever
favourite characters, Gary Coleman (Etisyai Philip) and the deliciously devious
Bad Idea Bears (Jessica Paker). </span><span style="font-family: "calibri" , sans-serif; font-size: 14.6667px;"></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyJUI2GS4ZAPDak6fFI4Lc1-Ahk9uUzIt9aLcbpMe55odCFRzM0MEadGE5JxLCw8Hha4rVaubWtdjA4joodYyhOy_eeWSkzbDa2kpo8y70BdQOVE9GTtopmSAqyoO0ws_M93KObylnlBn/s1600/The+Cast+of+Avenue+Q.+Photo+Credit+Matt+Martin+Photography.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVyJUI2GS4ZAPDak6fFI4Lc1-Ahk9uUzIt9aLcbpMe55odCFRzM0MEadGE5JxLCw8Hha4rVaubWtdjA4joodYyhOy_eeWSkzbDa2kpo8y70BdQOVE9GTtopmSAqyoO0ws_M93KObylnlBn/s400/The+Cast+of+Avenue+Q.+Photo+Credit+Matt+Martin+Photography.jpg" width="400" /></a></div>
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<span style="color: #333333; font-family: "calibri" , sans-serif; font-size: 14.6667px;"><br /></span></div>
<span style="color: #333333; font-family: calibri, sans-serif; font-size: 11pt; text-align: justify;">The
UK tour cast have brought back the essence intended by music and lyric writers Robert
Lopez and Jeff Marx, which deserves huge congratulations. The production is
ultimately a 'coming of age’ story and uses the </span><i style="color: #333333; font-family: calibri, sans-serif; font-size: 11pt; text-align: justify;">Seasame Street </i><span style="color: #333333; font-family: calibri, sans-serif; font-size: 11pt; text-align: justify;">metaphor as a device to satirize the anxieties felt
going from childhood to adulthood. As children we are encouraged by such
characters that we can be anything we want to be and build high aspirations,
but fail to be told how disappointing life can be and that in life sometimes
our options are limited. This is a sign of the times, and it is something every
person in the theatre has felt or is still feeling - actors included. This
point really hit home for me listening to the undergrad musical theatre
students behind me, imagining that “one of us could be in this programme one
day. Such and such, Arden school of theatre.” Unbeknownst to them I am already
a graduate and it took me 3 years to land my first paid acting job with a
longer wait for a second. But who am I to tell them life isn't that easy? </span><span style="color: #333333; font-family: calibri, sans-serif; font-size: 11pt; text-align: justify;"> </span><span style="color: #333333; font-family: calibri, sans-serif; font-size: 11pt; text-align: justify;">This powerhouse of a musical was doing a fine
job of it, and by the same token the entire cast and creative team endured the
same difficulties, but now have this success.</span><span style="background-color: white; color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt;"></span><br />
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<span style="background-color: white; color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt;"><span style="font-size: 11pt;"><br /><span style="line-height: 107%;">Avenue Q is bright, bold
and ballsy. Funny where it needs to be, with a heart that is accessible to
everyone. It can be easy to undermine musical theatre as just a sing-a-long
'isn’t everything great’ two-hour experience, but if you dig a little deeper
and listen to what the writers, directors and actors have placed in front of
you, you will see that this show is made of better fluff…I mean stuff </span></span><span style="background-color: transparent; font-size: 14.6667px;"> </span><span style="font-size: 11pt; line-height: 107%;"></span></span></div>
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<span style="color: #333333; font-family: "calibri" , sans-serif; font-size: 11pt; line-height: 107%;"><span style="font-size: 11pt; line-height: 107%;">Words: Kate Morris </span></span></div>
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<div style="color: #333333; font-family: Calibri, sans-serif; font-size: 11pt; line-height: 107%; text-align: justify;">
<span style="font-size: 11pt; line-height: 107%;">Photos: Matt Martin Photography </span></div>
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-42385060875708839932016-04-08T16:42:00.000+01:002016-04-12T16:53:31.553+01:00JB Shorts 15 @ Josuha Brooks, 7.4.16<div class="MsoNormal">
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<span lang="EN-GB"><span style="font-family: inherit;">Audiences for theatre are a bit like church goers. They feel
they ought to go but rarely feel enthused enough to actually attend. Maybe it's
too expensive, too time consuming, hard to follow or just plain boring. Not so for
JB Shorts however. JB is the perfect evening for people who want to dip a toe
back into live theatre, or even engage with it for the first time. Six 15
minute, stand alone pieces – a smorgasbord of drama featuring a range of
characters and mini tales. If you don't find yourself getting into a particular
piece, fret not, there's a whole new story coming along shortly. It isn't easy
to write a 15 minute piece; you have to hit the ground running to grab the audience’s
attention, lay out a scenario and quickly establish characters but, the writers
of JB Shorts 15 by and large, made an impression with every piece.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><b><span lang="EN-GB">The Intruder</span></b><span lang="EN-GB"> (Diane Whitley) tells of a break-in
that causes two elderly sisters to reminisce about a past event. It's left to
our imagination to decide what happened but the main focus of the play centres
on the effects of Dementia. Thanks to the engaging performances of Joan Kempson
and Melissa Sinden and the warm humour in the writing, this piece manages to
make the audience smile despite the subject matter.<o:p></o:p></span> </span></div>
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<span style="font-family: inherit;"><span lang="EN-GB">Two women meet for a reunion with their 'wild child' school friend
in <b>A Different Time</b> by Lia Holdsworth. There's clearly no love lost here,
as the former class mates exchange fantastically awful remarks and opinions on
each others lives. This is where the piece is at its funniest, as Linda and Amanda
viciously chip away at each other, expertly displaying the competitive nature
of school reunions. When wild child Samantha does appear, she is a reformed
character who forces them to re-evaluate what actually went on in the past. <o:p></o:p></span></span></div>
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<span lang="EN-GB" style="font-family: inherit;">Office life can be a battery hen existence, punctuated by
pointless and boring meetings. This gathering is attended by characters that we
can all recognise; the timid woman who somehow became a manager, the
disenchanted go-getter getting nowhere, the skiver and the unbearably smug know-it-all
(a hilarious Will Travis). Peter Kerry’s <b>Humble</b> at times gets a little
too OTT, and even though we know the pay off from the outset, it's a journey of
belly laughs getting there.<o:p></o:p></span><span style="font-family: inherit;"> </span></div>
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<span style="font-family: inherit;"><span lang="EN-GB">If the scene from the Last Supper had happened up North; <b style="mso-bidi-font-weight: normal;">False Prophet</b> is how it might have
played out. Jesus, a fading star with wannabes snapping at his heels and his disciples
of fans worshipping a new kid in town. It's a clever and funny idea written by
Paul Coates, that the enthusiastic cast wring every last laugh out of.<o:p></o:p></span> </span></div>
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<b style="font-family: inherit;"><span lang="EN-GB">Build A Bonfire</span></b><span lang="EN-GB" style="font-family: inherit;"> by Trevor Suthers suffered a
little by being the only straight play in a collection of comedies, but it did
raise an interesting point about art and censorship. Should the crimes of the
creative prevent their work from being displayed? However, the characters and their
middle class world were a little clichéd and difficult to sympathise with.<o:p></o:p></span><span style="font-family: inherit;"> </span></div>
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<span style="font-family: inherit;"><span lang="EN-GB">A Labour Party Spin Doctor ends up in a coma after Ed
Milliband fails at the Polls. Fedora wakes up weeks later, only to discover
Jeremy Corbyn is the new Labour leader. Paul Mason and James Quinn’s <b style="mso-bidi-font-weight: normal;">Party Animals</b> is the strongest and
funniest play of the evening. Fedora is an appalling, outrageous yet fantastic
creation thanks to the combination of sharp, topical writing and a magnificent
performance from Sally Carman who quite rightly got the best reception of the
night.<o:p></o:p></span> </span></div>
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<span style="font-family: inherit;"><span lang="EN-GB">A thoroughly enjoyable evening of theatre in a wonderfully
intimate venue. </span></span></div>
<div class="MsoNormal">
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<span style="font-family: inherit;"><span lang="EN-GB">Words: Drew Tosh </span><br /></span><br />
<span style="font-family: inherit;">Photos: Courtesy of JB Shorts<br /> </span><br />
<br />
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-23585980689722271662016-02-26T15:18:00.000+00:002016-02-27T13:26:13.362+00:00Preview: Extra Love Album Launch gig @ Band on the Wall, 26.02.16<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #222222;">Building on the success of their EP, <b>Big Man</b>, Extra Love serve up more helpings of feelgood, conscious music with their debut album, <b>Out Of The Dark</b>.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8dml06E_kx4fXLQPdPpUJYoK8-EKnVNpC1c2lL6Ck6-uGdzncsjC397h1s1kCyxwslOS1AHORrQMvyYWTmNiaYH_PAUhpFzArAtoK0lF-E87dFeL1X8M1iKiYYtnVbVsJyqGmtK5wScpE/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8dml06E_kx4fXLQPdPpUJYoK8-EKnVNpC1c2lL6Ck6-uGdzncsjC397h1s1kCyxwslOS1AHORrQMvyYWTmNiaYH_PAUhpFzArAtoK0lF-E87dFeL1X8M1iKiYYtnVbVsJyqGmtK5wScpE/s320/photo.JPG" width="226" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;">With their signature brand high on energy and positivity, they bring their unique flavour to create a fresh style of reggae.</span><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;"><br /></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #222222;">Highlights of the album include the easy, atmospheric sprawl of 'Rubadub Soldier', the soaring vocals and jazzy horns of 'Freedom', and the infectious bounciness of 'Be Ready'. 'Ruff Out There' has a slightly darker edge, but still boasts a nice, laidback swagger.</span><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;"><br /></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #222222;">The deep tones of singer Angelos, coupled with the rhythmic chants of Kuntriranks is the perfect vehicle to express the band's message.</span><br style="background-color: white; color: #222222;" /><span style="background-color: white; color: #222222;"><br /></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #222222;">Out Of The Dark brings a touch of sunshine to the rainy Manchester streets, makes your body get up and puts a great big smile on your face.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #222222;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: #222222;">Words: Anna Tuck</span></span>Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-52377857056618978572016-02-08T23:43:00.000+00:002016-02-08T23:43:24.019+00:00Cats @ The Opera House, 2.2.16 <div class="MsoNormal" style="text-align: justify;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
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<span lang="EN-GB"><span style="font-family: inherit;">Much like the first album I bought, I will
always remember the first musical I saw on stage. Musicals, or music in general
for me, had been restricted to VHS, music channels or CD before then.
Everything suddenly become so much bigger, and that is what resonates most in
my memory. How could it not, with a cacophony of voices and choreography that
was explosively elegant and soft; all under a low hanging full moon? <o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><b><span lang="EN-GB">Cats
</span></b><span lang="EN-GB">was other worldly, and certainly set the motion for
my own stage aspirations. Now, over a decade later, “let the memory live again”.
Yet, this wasn’t the show I remembered. The same déjà vu moon had me convinced I had been here before, so why
was everything so strange?<span style="color: red;"><o:p></o:p></span></span></span></div>
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<br /></div>
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<span style="font-family: inherit;"><span lang="EN-GB">Based on T.S Eliot’s Old Possum’s ‘Book of
Practical Cats’, the show is set on a junkyard playground where the annual
Jellicle ball takes place. We are introduced to each feline friend and their
personalities through song; lyrics from the 1930’s poems of Eliot and melodies
of composer Andrew Llyod Web’ber. The show has had an impressive life span of
over 30 years. Considered as ‘ground-breaking’ when it opened in 1981, Cats
went on to be crowned the longest-running musical in the history of the West End
in 1996. It then scooped up the same accolade in Broadway the following year.
Translated into ten languages, performed in over 20 countries, while continuing
to sell out tours; the longevity
of a cat’s life holds true.</span><span class="MsoCommentReference"><span lang="EN-GB" style="font-size: 8.0pt;"> </span></span><span lang="EN-GB"> <o:p></o:p></span> </span></div>
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<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVeI665dvwMSD-bMk02Loe7kYQoCCkdDbcsD_Z7_tC-2ruFDLh_6Km1q48aV5ZKQkqQhukqSx-DxKNQIZgRgGqX-HxNcPH-ZWvi1FnGvLM4Y5vUHYE-BaGWQHcF0SJi5R7R2R0RzPYJ-X/s1600/30041_full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEVeI665dvwMSD-bMk02Loe7kYQoCCkdDbcsD_Z7_tC-2ruFDLh_6Km1q48aV5ZKQkqQhukqSx-DxKNQIZgRgGqX-HxNcPH-ZWvi1FnGvLM4Y5vUHYE-BaGWQHcF0SJi5R7R2R0RzPYJ-X/s400/30041_full.jpg" width="400" /></a> </span></div>
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<span style="font-family: inherit;">There are still glimmers of this shining success story
during the performance at The Opera House. Sadly, an irresistible curiosity to
update the show well and truly killed the cat. One moment in particular being
the infamous Rum Tum Tugger scene where we are introduced to the cocky and charismatic
Tom Cat of the show. Oozing confidence and sexiness, Tugger satirises the ‘bad
boy’ of a given generation, so earlier performances used Elvis Presley as a
model. The instinct to update this is the right one, but the result was oh so wrong
and laden with stereotypes that came off almost cartoonish! Dressed with a
backwards cap, gold chains and baggy pants, Tugger is updated into our 21</span><sup style="font-family: inherit;">st</sup><span style="font-family: inherit;">
Century bad boy from the streets. Though, give him a slingshot and go back 15
years you’ve got Bart Simpson. Maybe Mr Webber is trying to relate to the Topshop
generation, who are also stuck in the 90s. </span></div>
<span style="font-family: inherit;"> </span><br />
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<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ-HdMPvFnFGya-ZcsR5WfOCv-ymDCoMugU7DWhmZjHBSKg7VrWcTY-OLer2Md8SY9G3ycoT-Stk1prvu2xpUQ8VqmJrb2TZLNH_iT94GBLGRwF1DNPmPXc_kW5HbViWoGTRnzZXNlkCUJ/s1600/30095_full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ-HdMPvFnFGya-ZcsR5WfOCv-ymDCoMugU7DWhmZjHBSKg7VrWcTY-OLer2Md8SY9G3ycoT-Stk1prvu2xpUQ8VqmJrb2TZLNH_iT94GBLGRwF1DNPmPXc_kW5HbViWoGTRnzZXNlkCUJ/s400/30095_full.jpg" width="400" /></a><br /><span style="text-align: start;"> </span></span></div>
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<span style="font-family: inherit;">Despite the tone given off so far, the cast are all
evidently talented; both the choreography and the score are notoriously
difficult. A phenomenal range is required from it’s singers and a fierce
precision from the dancers, but above all, a collective ability to work as an
ensemble. This, for the most part, the company did do well. On occasion,
performers were in it for themselves rather than as a group, sending key
moments out of sync. To be picky, in the opening song ‘Jellicle Songs for
Jellicle Cats’, you really can’t have a lyric boasting the ability that </span><i style="font-family: inherit;">all</i><span style="font-family: inherit;"> cats can begin a scale in high C, to
then only have one cat demonstrate. Each cat has their opportunity to have
their own moment, so I was disappointed that the ensemble scenes were not joint. </span></div>
<span lang="EN-GB"><span style="font-family: inherit;"> </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFL2Olwik2fP414seLAQGXSrGriKFqZf8GNNwv2FeDIY0zKRqBevM9iHrZP7AHi551B-B-Qyntpa0Jaql2PrzvWV1fsjl8AnDiTyHXTs2-H1PtQMeDPaPkgjYbBqpBNXXI7w-on9UQ3XR/s1600/30094_full.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVFL2Olwik2fP414seLAQGXSrGriKFqZf8GNNwv2FeDIY0zKRqBevM9iHrZP7AHi551B-B-Qyntpa0Jaql2PrzvWV1fsjl8AnDiTyHXTs2-H1PtQMeDPaPkgjYbBqpBNXXI7w-on9UQ3XR/s320/30094_full.jpg" width="320" /></span></a></div>
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<span style="font-family: inherit;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: inherit;">The most famous song of the show, ‘Memory’, is
easily the best thing about this production, and thankfully went untouched.
Grizabella (Anita Louise Combe), the Glamour Cat, sings this beautiful
nostalgic song of remembrance of her glorious past, and declares her wish for a
new life. To dominate a song of such magnitude is an astonishing
accomplishment, and one that Combe’s performance was nothing short of. </span></div>
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<div style="text-align: justify;">
<span style="font-family: inherit;">Cats has one more of it’s nine lives left to live,
and one I feel would be the thriving if it stayed true to what it does best.
The rebirth of this classic was understandable but evidently unnecessary. This
musical is one that has been passed through generations, and has done so with fond
memories from the audience’s first experience. Like Grease or The Sound of
Music, you can’t change the originals. Some memories last forever, it’s our job
not to forget them.</span></div>
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<span style="font-family: inherit;"><span lang="EN-GB" style="color: black; mso-themecolor: text1;"><o:p></o:p></span><br />Words by Kate Morris<br /> </span></div>
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<span style="font-family: inherit;">Images courtesy of Ambassador Theatre Group </span></div>
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-43488180123876933702016-01-21T17:32:00.000+00:002016-01-21T17:32:29.634+00:00Orphans @ Hope Mill Theatre, 14.1.16<div class="MsoNormal">
</div>
No time for a clever anecdote for this one kids, I just need
to jump straight in and talk about Play With Fire’s production of <b>Orphans</b>. I know the purpose of a review
is to give an honest account of a piece and balance both the positives and the
negatives, but spoiler alert this one is going to be positive. This piece did
have a couple of negatives I would like to raise, the main one being the
audience numbers where not what this piece deserved. The second, we will get to
later.<o:p></o:p><div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiGV6dgXT1AhztyMyTTE9-s5eazZGGxSRemzDiyLk-bTC56GpV_IL1Xj9yVpoHbXdZeCwnu4xAqsXLOlibWZfMETs5cgxedEBSKohcKLlGUz_OvnAbbGjUdG-rhokJK9utUcDGS1FnpgE2/s1600/5153401_orig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiGV6dgXT1AhztyMyTTE9-s5eazZGGxSRemzDiyLk-bTC56GpV_IL1Xj9yVpoHbXdZeCwnu4xAqsXLOlibWZfMETs5cgxedEBSKohcKLlGUz_OvnAbbGjUdG-rhokJK9utUcDGS1FnpgE2/s400/5153401_orig.jpg" width="400" /></a></div>
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Orphans is a story of two brothers bereaved as children
after the death of their mother and desertion of their father. Alone to raise
themselves, the now adult boys live in the dilapidated family home in
Philadelphia. Eldest brother Treat (James Oates) provides for his little brother
Phillip (Daniel Bradford) by being a petty thief, which soon changes their
lives forever when he kidnaps a Chicago gangster (Shaun Hennessy). <br />
<div class="MsoNormal">
<br />
Written by Lyle Kessler, the script is incredibly moving and engaging. There is
a delectable sprinkling of humour and brilliant one liners, that really give
the characters some dimension. This masterfully crafted dialogue acts almost as
a ‘safety net’ for its actors, for there is no way we could not get a sense of
who these characters are; it is literally ingrained in the things they say. But
the cast went above and beyond, with each individual’s performance matching the
already brilliant quality of this script.<o:p></o:p><br /><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRNjVUF9xK_Khl2lhG1gpmwdhRsdkY-XC_SpWdUhGxcjZVBenVx0PqM6jkJtGDcnYayS0LnTZRAUv5AMvSoaoSPY1OUsT-2KLDcLrG7yBvXOoWo_oeK1pEFLw5QLqGBJ1ezzH7pfJZ5Rz3/s1600/279181_orig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRNjVUF9xK_Khl2lhG1gpmwdhRsdkY-XC_SpWdUhGxcjZVBenVx0PqM6jkJtGDcnYayS0LnTZRAUv5AMvSoaoSPY1OUsT-2KLDcLrG7yBvXOoWo_oeK1pEFLw5QLqGBJ1ezzH7pfJZ5Rz3/s400/279181_orig.jpg" width="400" /></a></div>
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<div class="MsoNormal">
Oates explosive performance as Treat is superb, as he
encapsulates the demeanour of a violent and manipulative adult, with an underlying
vulnerability and childish longing. This makes it is easy to feel empathy for
him when the time comes. Hennessey gives a stellar performance of Harold. Although
we first meet him in a vulnerable position, tables are turned when with gun in
hand Harold throws the boys a lifeline and becomes the parent they have yearned
for. Hennessy was a natural fit for Harold’s fast paced, hilarious dialogue; all
the while being the tender vein running through the play. The stand out for me
however was the excellent Bradford as Phillip. I have seen Bradford in a show
before where again he was wonderful to watch, but he didn't have much to apply
in terms of physicality. So to see just what more he had to offer when
approaching a role was a great surprise. Rather than portray housebound Phillip
as child trapped in an adult body, I sensed Bradford instead create a portrait
of someone with potential Autism spectrum disorder, who could thrive and functioning
at a high level, but not without the experience and help he’s not getting. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGlrThyphenhyphenm4QUItJO0VVIEvWYkW42jbc4sbHh8ooK8zwOCZBPfw7DrLRm66E_3wTTzFsC4zfl84ZolNNmXGOn19mu3TxiY3U-76Q1y94ysekVt0xLIOgAo10082PdRglcB7FEs8L_PO3R8TQ/s1600/96637_orig.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGlrThyphenhyphenm4QUItJO0VVIEvWYkW42jbc4sbHh8ooK8zwOCZBPfw7DrLRm66E_3wTTzFsC4zfl84ZolNNmXGOn19mu3TxiY3U-76Q1y94ysekVt0xLIOgAo10082PdRglcB7FEs8L_PO3R8TQ/s400/96637_orig.jpg" width="400" /></a> </div>
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It’s all been pretty positive so far hasn't it? It continues with direction and
production of the show, which is both slick and precise. The only thing I would
bring up, was that some of the physical combat scenes were a tad sloppy. Understandably
the moves where risky and it’s best to approach with caution. However, with the
characters all having such prominent behavioural traits there is a brewing
feeling that any one of those behaviours could get out of hand. When it inevitably
does in those moments, the pace slowed down.</div>
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<br /></div>
The standard of this production was what you would expect at
The Exchange or HOME, and I'm proud to say it has come from a team of independent
theatre makers. So while you’re buying a season ticket at your favourite
theatre, think about what you could be missing on the Indie scene.<br /><div class="MsoNormal">
<o:p></o:p></div>
<div>
<br /></div>
<div>
Words by Kate Morris <br /><br />Images courtesy of <a href="http://georgehillphotos.co.uk/0bhqc6zr195qhsxjpf0vg7j6vu5rdw" target="_blank">George Hill Photography </a><br /><br /></div>
Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-65337209961040971512015-12-11T12:26:00.000+00:002016-01-05T12:29:41.139+00:00Into The Woods @ The Royal Exchange, 09.12.15<br /><div class="MsoNormal">
The pantomime season is upon us and if, like me, you want to
go to the theatre without the risk of someone saying “It’s behind you” or
listen to the same tired jokes you've heard a thousand times before, fear not. There
is light in the forest of the Manchester theatre scene.</div>
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<o:p></o:p></div>
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<b>Into The Woods</b> at
The Royal Exchange is an imaginative telling of Stephen Sondheim’s enchanting
musical. The story opens with a wealth of fairy-tale characters, including Little
Red Riding Hood, Cinderella and a wicked witch, all looking for their happily
ever- afters before embarking on various quests that require them to go into
the titular woods. Each character’s tale starts to intertwine amongst the trees
and branches, before they eventually reach the end of their stories, or so we
think. Soon we are shown what happens after happily ever after, and it’s not
all singing birds and friendly dwarves.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHD9SQb0VTfsqyO-461MSzPt6Tw3VTxFeewmPkg-uANzITLwivjKbm29B9SY71Zugtk3eWVNA41CRnhCWRnfifWWYlGhTL8Af2ZzG8WPNEYSySPgEbZC5CVYkt-3tSMxbZI1cMPAfgKSx/s1600/WebsiteIntoTheWoods.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHD9SQb0VTfsqyO-461MSzPt6Tw3VTxFeewmPkg-uANzITLwivjKbm29B9SY71Zugtk3eWVNA41CRnhCWRnfifWWYlGhTL8Af2ZzG8WPNEYSySPgEbZC5CVYkt-3tSMxbZI1cMPAfgKSx/s320/WebsiteIntoTheWoods.jpg" width="320" /></a></div>
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The Royal Exchange hold no punches with this production. The
second you walk into the theatre, you see large trees surrounding the
performance space, inviting the audience to go into the woods themselves to see
the show. The entire cast are amazing. Normally
when watching a show, it’s easy to see the standout star, but each cast member
shines, never missing a single beat. Some highlights from the show are Marc
Elliot and Michael Peavoy’s duet, ‘Agony’, which has the entire audience in
stitches with their perfect timing and sublime voices. It was a joy to watch. Gillian
Bevan’s portrayal of the Witch was a real showstopper and Natasha Cottriall
brought a wonderful mix of childish innocence, sass and edginess to the part of
Little Red Riding Hood.<o:p></o:p></div>
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The cast were just one part of this fantastic show. A
special mention has to go to director Matthew Xia, who rose to the challenge of
taking this epic musical and fitting it into the Exchange’s intimate venue.
This is greatly helped by Jenny Tirmani’s jaw-dropping set design, which looks
unassuming to begin with, but soon you feel you are sitting between towering
trees and being chased by monstrous giants.</div>
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If you are looking for a magical experience this festive
season there’s no reason to get lost in the thicket, just go into the woods, …or
the Royal Exchange.</div>
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Into The Woods runs until 16 Jan 2016 </div>
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<br /></div>
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<o:p></o:p></div>
<br />
<div class="MsoNormal">
Words: John Mulholland </div>
<div class="MsoNormal">
<br />Image: Courtesy of The Royal Exchange </div>
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-22101885115218478002015-11-26T17:05:00.000+00:002015-11-28T23:16:43.022+00:00This Last Tempest preview @ Contact 26-27.10.15<span style="font-family: inherit;"></span><br />
<span style="line-height: 17.04px;">Contact Theatre is one of the most innovative theatres in the North West, consistently presenting creative works that are thought provoking, outspoken and daring. Productions presented at Contact often cross art forms, creating wonderful and wacky hybrids. This summer I experienced </span><b style="line-height: 17.04px;">Sensored</b><span style="line-height: 17.04px;">, a day of creative events that merged sound, smell, texture, music, dance and theatre; this multi-art-form approach allowed something really powerful to come through and was a fantastic insight to Contact's creative amplitude. So it's safe to say that Contact is the perfect venue to host the upcoming collaborative project </span><b style="line-height: 17.04px;">This Last Tempest. </b><span style="font-family: inherit;"><b style="line-height: 17.04px;"><br /></b></span>
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<span style="font-family: inherit;"><span style="background: white; line-height: 17.04px;">On hearing the title, some readers may have immediately thought of Shakespeare’s <span style="line-height: 17.04px;"><b>The Tempest</b></span>, which they would be correct to do so. However <span style="line-height: 17.04px;">This Last Tempest</span> is a sequel and radical taken on the Shakespearean classic, that is equally accessible to audiences familiar and new to Shakespeare. Created by producing organisation Fuel and internationally acclaimed theatre company Uninvited Guests, this show fits perfectly with Contact’s innovative programming, promising an experience which is part theatre part gig. </span><span style="background-color: white; line-height: 17.04px;"><br style="line-height: 17.04px;" /></span></span><span style="font-family: inherit;"><br /></span>
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<span style="font-family: inherit;"><span style="background: white; line-height: 17.04px;">Beginning where Shakespeare left off, Ariel and Caliban are left alone on an enchanted island as Prospero's ship sails over the horizon and out of sight. In the hours that follow spawns a spectacle of magic where the spirit and creature weave unheard versions of the story, and conjure up what we mortals thought impossible; a world where humans are monsters and inanimate things come to life. </span><span style="background-color: white; line-height: 17.04px;"><br style="line-height: 17.04px;" /><br style="line-height: 17.04px;" /><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; line-height: 17.04px;">With a an already stunningly visual play as its inspiration, this immersive experience is set to be like no other with an atmospheric soundscape by composer and musician Neil Johnson creating a strange but familiar world for both characters and audience. The concept of the piece is refreshingly simple, but one which removes limitations and enables the creative team to demonstrate their overwhelming creative ability.</span></span></span><br />
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<span style="color: black; line-height: 17.04px;"><span style="font-family: inherit;">The play has a strong key theme of freedom and questions the notion of utopia. We have all done it, where we hope for a better tomorrow or have the belief that a different time and place would bring us happiness; This Last Tempest explores what happens when one finally gets what they have been yearning for and maybe the grass isn't always greener. Although it would be easy for the audience to draw political parallels the company aim to empower their audiences to create their own meaning. </span></span></div>
<span style="font-family: inherit;"><span style="background-color: white; line-height: 17.04px;">Uninvited Guests are a company of national and international acclaim, melding the lines of theatre and social festivities to provoke and stimulate their audiences to think about the world around them and the times we live in.</span><span style="background-color: white; line-height: 17.04px;"> </span><span style="background-color: white; line-height: 17.04px;">This Last Tempest</span><i style="background-color: white; line-height: 17.04px;"> </i><span style="background-color: white; line-height: 17.04px;">is a brilliant example of these aims, which I urge you to take in while you have the chance.</span></span></div>
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<b>This Last Tempest </b></div>
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Thursday 26 November 8pm<br />
Friday 27 November 8pm<br />
<a href="https://contactmcr.com/whats-on/40293-uninvited-guests-and-fuel-this-last-tempest/booking/" style="font-weight: bold;" target="_blank">contactmcr.com</a></div>
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Words: Kate Morris<br />
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Images:<span style="font-family: inherit;"> <span style="background-color: white; font-family: Calibri, sans-serif; font-size: 16px; line-height: 22.72px; text-indent: -24px;">Aerial 3 is by Tom Medwell; This Last Tempest and Ariel in Flight by Ben Pacey</span></span></div>
Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-14662278740919600992015-11-16T14:23:00.000+00:002015-11-18T14:25:40.353+00:00Ladyfest MCR @ Islington Mill 14.11.15<div class="Body" style="tab-stops: 35.45pt 70.85pt 106.3pt 5.0cm 177.15pt 212.6pt 248.05pt 283.45pt 318.9pt 354.35pt 389.75pt 425.2pt 460.65pt;">
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<span lang="EN-US">Last weekend saw this year’s big Ladyfest
event take place at Islington Mill. Ladyfest has been on my radar for
several months and, from what I gleaned from social media, would be a
bold, informative and creative event.<o:p></o:p></span></div>
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<span lang="EN-US">Ladyfest isn’t unique to Manchester; similar
festivals take place in other UK cities, and a quick Google shows festivals
happening across the pond. The common ideology is to showcase work by
women and others who might experience barriers to sharing their work, from
trans, non-binary and intersex artists or mothers juggling childcare, offering
a supportive environment away from the generally competitive nature of the
creative industries, where money and contacts can be everything. However,
Ladyfest Manchester aims to give visibility to Manchester-based creatives in
particular, evidenced in the line-up of musicians and comedy performers sourced
from an open call-out.</span></div>
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<span lang="EN-US">Workshops on offer included Sex Workers’
Rights, Bike Maintenance and Screen Printing. I attended a workshop
entitled The Art Of Consent, billed as ‘exploring body language, verbal
communication, gender stereotyping, 'grey areas' and barriers, laws, and the
value of challenging our sexual assumptions in an interactive, creative
setting’ - which seemed a huge task for an hour long session. I went on
my own, feeling a little vulnerable and awkward sitting alone at a table,
whilst the other table was occupied by a group of friends. Thankfully, I
was soon joined by others who had rejected the remaining empty table - unlike
most other everyday situations - with another solo woman joining us minutes
later. And this was indicative of the whole workshop: friendly and open
in an atmosphere where it felt ok to share. There was no pressure, no
expectation. The workshop’s leader Chelsea Murphy - a local consent and
sexual violence researcher - and her facilitators were clear that we need only
talk about things with which we we felt comfortable. We discussed and we
got our thoughts and feelings down creatively through working together on a
collage.<span style="mso-spacerun: yes;"> </span>I left feeling positive, not
because we’d changed the world or come up with definitive solutions - how can
you with such a difficult, provocative subject? - but because I’d been in a
room with people who wanted to address the subject of consent and those who
wanted to support that discussion.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #10131a;">Of course, that particular workshop isn’t
going to be everyone’s cup of tea, but the sense I got was that it was
indicative of the whole day.<span style="mso-spacerun: yes;"> </span>Speaking to
Carly Lyes, one of the event’s organisers, it’s clear how central the idea of
community and being supportive is to Ladyfest.<span style="mso-spacerun: yes;">
</span>Everyone there, whether organising, running a workshop, running a stall
or performing, was a volunteer.<span style="mso-spacerun: yes;"> </span>Ladyfest
Manchester is self-funded and self-organised, the only money coming in from
ticket sales.<span style="mso-spacerun: yes;"> </span>People are involved
because they want to be, because there is a need for this kind of event and
community and because the inclusivity it aims to create seems to be successful
- the event sold out well in advance.<span style="mso-spacerun: yes;">
</span>When asked about future events, Lyes is ready with the plans: a larger
festival next year spread over a longer period of time and different venues,
more participatory workshops and the possibility of branching out and having
their own stage at the big festivals.<span style="mso-spacerun: yes;">
</span>From my time there on Saturday, the Ladyfest Manchester clearly has a
relevance, a community willing to put in the time and effort to make it happen
and an audience who want to participate.</span></div>
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<span lang="EN-US" style="color: #10131a;">Words: Julie Burrow</span></div>
Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-20028604590978439752015-11-12T15:30:00.001+00:002015-11-12T15:35:00.841+00:00JB Shorts 14 @ Joshua Brooks, 5th November 2015<div class="MsoNormal" style="text-align: left;">
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Although it’s not quite Christmas yet, I’m sure you have all seen the sudden mountain of milk tray so temptingly on offer, or so many chocolate oranges they surely can’t all belong to Terry. Tis the season of indulgence, (well almost) and were there are those that like to start their Christmas shopping early, I rather get a head start on my festive feasting and in this instance it’s on the theatrical buffet of JB Shorts 14. Best get my fat pants!<br />
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Andrew Lynch’s <b>Emily</b> is an interesting story that starts in the toilets of a horseracing event. Janice (Alexandra Jay Jones) is a rich social butterfly who belittles toilet attendant Lena (Emily Fleeshman) for “not knowing her place”. But Janice soon discovers she has more in common with Lena as she thinks. A nice piece with some good twists but slightly dampened with messy blackouts to mark the three scene changes.<o:p></o:p><span style="color: #444444; font-family: Calibri, sans-serif; font-size: 15px; line-height: 21.3px;"></span></div>
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<b>All Items of Value Have Been Removed</b> is set in the future where the world’s countries have been bought up, leaving Britain the last standing and holding back from being sold. More frightful Tony Blair is having a second round of fame! The piece evidently carries a political message and one I’m sure is rather weighty, and certainly for now too big for 15 minute window. This satirical comedy could do with a second chance to reach it’s potential if performed in a different format.</div>
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<b>The Outing</b> is a lovely piece of writing and one I really enjoyed. Widower Frank (Josh Moran) meets social recluse Nellie (Jeni Howarth Williams) during a coach trip. The façade of this romantic comic piece is shattered with an unexpected twist, revealing how the ill doings and reputation of someone can unjustly be transferred to another.<o:p></o:p><span style="color: #444444; font-family: Calibri, sans-serif; font-size: 15px; line-height: 21.3px;"></span></div>
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Another favourite is found with <b>Sugared Armour</b>, a classic paradigm of estranged characters brought together through unfortunate circumstances. Gemma (Jo Dakin), Annie <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: 'Helvetica Neue'; font-size: 10.5pt; line-height: 14.98px;">(Victoria Scowcroft</span>) and Andy <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-family: 'Helvetica Neue'; font-size: 10.5pt; line-height: 14.98px;">(Derek Hicks)</span><span style="font-family: Times; font-size: 10pt; line-height: 14.2667px;"> </span>all eagerly wait in a hospital waiting room for the fast approaching death of their mother. Memories are recalled, and wounds are opened - some of which run deeper than others, but the answers aren’t at the bottom of a pack of sausage rolls.<span style="font-family: Times; font-size: 10pt; line-height: 14.2667px;"><o:p></o:p></span><span style="color: #444444; font-family: Calibri, sans-serif; font-size: 15px; line-height: 21.3px;"></span></div>
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<b>Heroine</b> is the most poignant piece of the evening, bringing together two monologues performed simultaneously. Though living in two eras the female characters have the same objective; to prevent their daughter/sister from running away to fight in war. 1930s Ursula (Kerry Willison-Parry) discovers her daughter in the middle of the night about to leave to fight the Fascists in Spain, whereas in 2015 Aalia <span style="color: #333333; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 21px;">(Shila Iqbal) </span>discovers her sister packing to fight for ISIS. By far the most thought provoking piece but I did find to be too ‘wordy’ which meant as an audience we didn’t respond as well as we should. Particularly the contemporary side of the script was in parts repetitive, but overall a piece that will be something special with a little bit of a tidy up.<o:p></o:p><span style="color: #444444; font-family: Calibri, sans-serif; font-size: 15px; line-height: 21.3px;"></span></div>
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<b>Equal Shares</b> is a play most fitting it the comic expectations of JB Shorts. Two wrong women Joanne (Rachel Logan) and Claire (Eve Burley) mutual agree on a vengeance for Richard (Marlon Solomon) after discovering he has married both of them. A vengeance of which the women get to share Richard, but not in the way he expects, a silly light-hearted piece to end another successful collection of JB Shorts.<o:p></o:p><span style="color: #444444; font-family: Calibri, sans-serif; font-size: 15px; line-height: 21.3px;"></span></div>
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Words: Kate Morris</div>
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Images: Courtesy of <span style="color: #202020; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 14px; line-height: 22.4px;">Brainne Edge</span></div>
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-11793493994966944082015-10-27T23:20:00.002+00:002015-10-30T10:39:10.620+00:00Video exclusive: Gideon Conn's 'I Just Don't Know You Very Well'Manchester's twee-hop wordsmith Gideon Conn has followed up his announcement of a new album, <b>Hip Hop Originals</b>, via the London-based label Wah Wah 45s, with a new video to accompany its first single. 'I Just Don't Know You Very Well' is an ode to the tribulations of attempted romance at the whim of fast-paced and impersonal city living and sees the multi-instrumentalist weaving his colourful lyrical tapestries once more.<br />
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Wheeled in front of the camera and taken through a series of costume changes, Gideon spins the threads of his offbeat wordplay to complement Bunty's choral refrain, keeping things sparse and simple yet effective, similar to the tune itself. He could be the third Conchord, teaming seamlessly with Bret and Jemaine's whimsical musings and social commentary.<br />
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Infectious in both smile and style, there's a lingering temptation to hit repeat, so for plenty more of the same head to Wonder Inn on 21 November to get to know the full album at his <a href="https://www.facebook.com/events/944240662315945/">Hip Hop Originals launch show</a>.<br />
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Words: Ian Pennington<br />
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<i>Hip Hop Originals is released via Wah Wah 45s on 27 November.</i>Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com1tag:blogger.com,1999:blog-1351301958058864945.post-20830921601673759632015-10-25T14:45:00.002+00:002015-10-25T14:52:17.467+00:00Preview: HEALTH @ Gorilla, 27.10.15<a href="http://www.youwillloveeachother.com/">HEALTH</a> blur the lines between art, virtual reality and the tangible world. Producing a sound that blasts itself past pigeonholes and genres, they instead create a new movement, floating in a realm where the unreal becomes real and the darkest depths of the human mind are projected onto the whitest canvases.<br />
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Their return to the UK with Death Magic should bring a whole new experience for HEALTH fans attending the Manchester show/exhibition/performance. The mystery surrounding their three-day residency at the Echo in LA only creates more velocity and hype, pushing HEALTH further out there into the unknown realms of music and arts. I imagine the residency will be a progression both musically and visually, given that each album has remained true to the ethos of transgression, sounds, contorted reality and the deliverance of their art.<br />
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I am intrigued to find out where exactly HEALTH are going on this ride with Death Magic, the residency, the mini tour, then the closing ceremony when they hit Pitchfork in Paris.</div>
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<i>HEALTH headline Gorilla on Tuesday 27 October.</i></div>
Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-80364862805459932962015-09-18T00:39:00.002+01:002015-09-18T00:39:41.094+01:00Interview: Ian Kershaw, writer of By Far The Greatest Team<div class="separator" style="clear: both;">
"We're all trainspotters," writer Ian Kershaw tells me during our interview about his contribution to Monkeywood Theatre's most recent production, <b>By Far The Greatest Team. </b>"We may laugh at the old bloke at the end of the platform, with his notepad and corduroys, but we are all passionate about something. All watching something and waiting for the next time. We're all trainspotters in our own way."</div>
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Four Mancunian writers explore what it is to be a football fan with four brand new plays. Told in a game of two halves, we hear stories of both Manchester City and Manchester United, identity, community, belonging and the passion that drives it all. Now Then spoke with one of the MVPs, Ian Kershaw, to tell us more about the beautiful game he and his fellow writers have created.</div>
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<b style="font-family: inherit;">Hi Ian, can you tell us briefly about the production and how much football can we expect? </b></div>
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<span lang="EN-US" style="font-family: inherit;">It’s on at the Lowry between 18 September and 20 September, and it's made up of four plays written by four writers about football - two of them by Manchester City fans and the other two by Manchester United fans. The four plays have an overall running time of 90 minutes and the performance space has been decked out to look like a football stadium. We’ve asked the audience to come dressed in their footy </span><span style="font-family: inherit;">colours,</span><span lang="EN-US" style="font-family: inherit;"> so it might kick off a bit - people might be fighting in the car park.</span></div>
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<span lang="EN-US">What we are wishing for is that there will be football fans who have never been to theatre before who come along, and equally, so that theatre fans are so caught up in the stories that they want to go to a match, we want the two worlds to inspire each other. I guess really we are trying to create an understanding from two sides, especially between the two teams, and just show that we are all in the same thing. We are all passionate and we both live and die for Saturday.<o:p></o:p></span></div>
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<b>How were the stories for the production created?</b></div>
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<span lang="EN-US">Martin Gibbons (one third of the Artistic Directors of Monkeywood) sent a call out for writers some time ago, and I thought it sounded great and wanted to get involved. He then assembled the final four - luckily we all know each other through different Manchester connections - and he asked use all to meet up at the National Football Museum. Martin gave us an open brief and said we could write about anything we wanted, within a football scenario. Once we delivered our first drafts, we started thinking of the play as a whole, and how we could bring these four stories together where it wouldn’t be a case of one play, lights out, next play, lights out. So we tried to create a production that resembled football as an entity, but also had a journey.<o:p></o:p></span></div>
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<b>Manchester celebrated the second Football Writing Festival last week. Was By Far The Greatest Team a part of that?</b></div>
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<span lang="EN-US">No, I think that was a happy accident. By Far the Greatest Team has been a long time in the making and in Martin’s head for a number of years. Martin is actually a Middlesbrough fan and he was at a home game against a much lesser team. Middlesbrough were losing, so the fans all began singing, “We’re by far the greatest team the world has ever seen". It was evidently not true. They weren’t even the greatest team on the field. But it was that passion and love of the game, and that has parallels to theatre which then inspired the project.<o:p></o:p></span></div>
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<span lang="EN-US"><b><span style="font-family: inherit;">How has it been working in </span>collaboration<span style="font-family: inherit;"> with other writers?</span></b></span></div>
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<span lang="EN-US">It’s been the best of both worlds. Being a writer, it’s a very solitary profession, so I’ve had the flip side of that which allowed me to have meetings and good times with other people. The other writers are all brilliant, and what’s been refreshing is that usually it can be quite competitive being in a team and you want to be the best. There's been nothing like that. Instead I've just wanted to be as good. It’s great.<o:p></o:p></span></div>
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<span style="font-family: inherit;">I think what I’ve most enjoyed is that we are all mates and there’s been a lot of winding up going on - little bits of gentle needling and a lot of banter. David Judge is a United fan and is the main actor in my play. He plays a die-hard City fan, so it’s been a lot of fun winding him up. The closer we get to opening night, I tell him, </span><span style="font-family: inherit;">“I cant wait to see you wear that City shirt and kiss that badge".</span></div>
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Words by Kate Morris<br />
Images courtesy of Monkeywood Theatre<br />
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<span style="font-family: inherit;">By Far The Greatest Team is on at The Lowry from 18-20 September, kicking off at 7.30pm each night.</span><br />
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-29121765123278927112015-09-10T12:45:00.001+01:002015-09-10T15:53:48.780+01:00The Shrine of Everyday Things @ Contact, 25.07.15<div class="MsoNormal">
<span style="mso-ansi-language: EN-GB;"><span style="font-family: inherit;">I've always found it
interesting the things we get attached to and what we choose to hold on to. It
may be a particular blanket or cuddly toy we had as a child which has survived
into our adulthood; although that existence may inhabit the attic, still we
valued it enough to never let it go. But what of the little things we never
knew we would miss until it’s gone; the smell of an old book, the porcelain
figurine that sat on your Nan’s mantelpiece; or the wallpaper from your first
home? <b>The Shrine of Everyday Things</b>
is an immersive, interactive journey that gives you a new perspective to how
big the little things can be.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span style="mso-ansi-language: EN-GB;">The talented Contact
Young Company devised the site-specific piece in four properties in a Brunswick
estate facing demolition and refurbishment, peeking behind their net curtains
to explore the stories of the residents gone by. With that in mind the piece is
extremely ghostly with a buzzing feeling of apprehension; which is no surprise
given the location remains secret until it’s too late to turn back. </span><span style="background-color: white; line-height: 21.3px;"></span><span style="mso-ansi-language: EN-GB;"><br />
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The audience is asked to meet at the Contact Theatre before they are guided to
the housing estate. On the walk we are asked to wear headphones playing slow,
moody music and (unbeknownst to us) voices of former residents talking of their
favourite rooms and memories of the estate.</span><span style="background-color: white; line-height: 21.3px;"></span><span style="mso-ansi-language: EN-GB;"><br /> </span><span style="mso-ansi-language: EN-GB;"><br /></span><span style="mso-ansi-language: EN-GB;">
As we approach the estate we see a long balloon drifting through the sky, which
isn’t an odd occurrence until we see another floating from one of the windows.
It’s strangely surreal; but more so across the road to welcome us are the “picture
perfect” suburbanites, smiling creepily and waving, oh so slowly.</span></span><br />
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<span style="font-family: inherit;"><span style="mso-ansi-language: EN-GB;">The audience are then split
up into smaller groups and guided to different rooms. Each experience is
strange and eerie in its own way, equally as strange are the residents.
Visiting the rooms we meet three women listening to the whispers of their neighbours.
Sit in on an awkward dinner while sugar spills out from the ceiling. Then on to
a lonely son in a kitchen filled with empty water bottles.</span><span style="background-color: white; line-height: 21.3px;"></span></span></div>
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<span style="font-family: inherit;"><br />A strange calm is cast
in the final room however, as we are invited to remember our dreams. This was a
clever twist to the piece’s proceedings; one that was thought provoking and emotive
as it made me personally connect with the content but reminded me I was stood
in someone’s home. We were asked to write on the walls the best dream we have
ever had, and it was lovely to read the dreams of strangers. As I read, I
remembered that this was a real person’s bedroom; they had reflected, dreamt
and looked to the future as we were now.</span><span style="font-family: inherit;"> </span><o:p style="font-family: inherit;"></o:p><span style="background-color: white; font-family: inherit; line-height: 21.3px;"></span></div>
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<span style="font-family: inherit;">That shared experience
between a stranger and me; was the core of the piece for me. The power of an
everyday occurrence, and exhibition of these little moments which make up our
lives. The Shrine of Everyday Things is in our dreams.<o:p></o:p><span style="background-color: white; line-height: 21.3px;"></span></span></div>
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<span style="font-family: inherit;">Words: Kate Morris</span></div>
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<span style="font-family: inherit;">Images: Courtesy of Contact </span></div>
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Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-35033793812092662372015-08-02T19:27:00.000+01:002015-08-24T18:22:35.805+01:0024:7 Theatre Festival, We are the Multitude @ John Thaw Theatre, 26.07.15<span style="font-family: inherit;"><span style="background-color: white; line-height: 21.9999904632568px;">We have become all too familiar with paradigm of opposites in the films we see, the books we read and the plays we watch. The star-crossed lovers from opposing families, the feuding gangs fighting for their turf or, as a more contemporary take, a social divide coming together and rising up as an unstoppable dance duo. And that’s exactly what makes up <b>We Are The Multitude</b>.</span><span style="background-color: white; line-height: 21.9999904632568px;"><br /></span>
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 21.9999904632568px;"></span><span style="background-color: white; line-height: 21.9999904632568px;"></span><br /></span>
<span style="font-family: inherit;"><span style="background-color: white; line-height: 21.9999904632568px;">Lisa and Simon are colleagues who share an office pod and we needn’t even meet them to have an idea of their differences. Lisa tarts up her table with fluffy tinsel and flowers, while house of Simon sports the understated, minimal look. As history and countless TV sitcoms have told us, we know we can expect the pair to cause each other some headache, but eventually put their difference aside to work together.</span><span style="line-height: 21.9999904632568px;"></span><span style="line-height: 21.9999904632568px;"></span></span><br />
<span style="font-family: inherit;"><span style="line-height: 21.9999904632568px;"><br /></span>
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<span style="font-family: inherit;">Predictable as it sounds, we are surprised when we discover what does force these two together. No, it’s not being stuck in an elevator or an ATM vestibule (classic Chandler). It's more interesting. The two are trapped in their office due to their university building being targeted by the protest group We Are The Multitude. However, the narrative isn’t a political one. In fact, the politics are an effective conduit to put two lonely and unpopular people together.</span><br />
<span style="font-family: inherit; line-height: 21.9999904632568px;"><br /></span>
<span style="font-family: inherit; line-height: 21.9999904632568px;">The piece is heavily comedic and the actors do an incredible job of getting the script off the page. Amy Drake, who plays Lisa, is a clear comic talent and has received recognition for similar roles. Drake does well to bring her movements and vocal technique to utilise a script’s humour. Andy Blake equally gives his character dimension as the condescending and self-righteous Simon, who hides behind an intellectual superiority to conceal his feelings of personal failure and fulfilment.</span><br />
<span style="font-family: inherit; line-height: 21.9999904632568px;"><br /></span>
<span style="font-family: inherit; line-height: 21.9999904632568px;">I did think it possible that Simon served a purpose to personify the touched-upon politics of We Are The Multitude, but did we lose ourselves in laughing so much that we missed something more? The protest group targets the several university buildings to urge the Prime Minister to acknowledge that education should be for everyone and not for the privileged. If we are not given the right chances, do we run the risk of a world of Simons, not realising or fulfilling their potential? I don’t know whether this was intended by writer Laura Harper or something constructed from my viewing – either way I would take it as a win.</span><br />
<span style="font-family: inherit; line-height: 21.9999904632568px;"><br /></span>
<span style="font-family: inherit; line-height: 21.9999904632568px;">I can’t deny that I enjoyed this piece. Who doesn’t enjoy a witty script? However, some of the confessions did seem a tad predictable and contrived, but that may be due to the familiar framework. Nonetheless, the piece clearly found success across all levels </span><span style="line-height: 21.9999904632568px;">–</span><span style="font-family: inherit; line-height: 21.9999904632568px;"> a well-written script, directed effectively by Liz Stephenson, performed by talented and focused actors. So you can forgive a bit of predictability – they are classics for a reason, after all.</span><br />
<span style="font-family: inherit; line-height: 21.9999904632568px;"><br /></span>
<span style="font-family: inherit; line-height: 21.9999904632568px;">Words: Kate Morris</span><br />
<span style="font-family: inherit; line-height: 21.9999904632568px;">Image: Courtesy of 24:7 Theatre Festival</span></div>
Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-85114768575842696982015-08-01T19:04:00.000+01:002015-08-24T18:23:16.070+01:0024:7 Theatre Festival, Madness Sweet Madness @ Cosmo Concert Hall 27.7.15<span style="font-family: inherit;">Hi, I’m Kate and I like theatre. I like
stories and when a group of creative individuals come together to breathe life
into a script. What I like most about theatre, is that it can reflect issues to
society and fly the flag for change. I confess in the past I have been
disappointed to find the piece didn’t carry a contemporary relevance or stand for something –
and that is admittedly snobbish. There is nothing wrong with just enjoying a
play because it is a story. Chocolate doesn’t do much for you, but you enjoy it
all the same. Be that as it may, I was happy to see the title </span><b style="font-family: inherit;">Madness Sweet Madness </b><span style="font-family: inherit;">on the 24:7
programme; yes, we are getting some stigmas of mental health on
the table.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcdjIcY1UBFk1IlWcEeT1guPLI4J-D3qQFgM1h71j7m4SHNpdtjhDV5FZojxDlCDRXLMcp3AK6Z3PNIfEUcsegXZJNEbpQSKfI4X-l5Cl7xMo0QJbr9VvteG5u8fXrI2_ugWgfG48zs0Cd/s1600/Madness-Sweet-Madness-620x330.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcdjIcY1UBFk1IlWcEeT1guPLI4J-D3qQFgM1h71j7m4SHNpdtjhDV5FZojxDlCDRXLMcp3AK6Z3PNIfEUcsegXZJNEbpQSKfI4X-l5Cl7xMo0QJbr9VvteG5u8fXrI2_ugWgfG48zs0Cd/s400/Madness-Sweet-Madness-620x330.jpg" width="400" /></span></a></div>
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<span lang="EN-US" style="font-family: inherit;">Madness Sweet Madness has a strange
ambience, seemingly somewhere in the realm of a dream, on the brink of wake. The
piece is presented in real time, but there is something oh so…off. Like a
watercolour reverie, bleeding into something more real.</span><br />
<span style="font-family: inherit;"><span lang="EN-US"><br /></span>
<span lang="EN-US">Grace (Sophie Harrison) is unable to work
and is lodging with her brother in law, Vesuvius (</span><span style="background: white; color: #333333; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Matt Aistrup</span><span lang="EN-US">),
after her husband Charlie and the passengers of a missing plane are lost. Grace
and Vesuvius’s relationship had me guessing almost instantly. We learn Grace has been prescribed some pills
to help her cope and, equally suspicious, Vesuvius is sleep-deprived due to Grace's unpredictability
and asks if he could “knock her out” so he can get some shut eye. </span><span lang="EN-US">Just as we try to keep up, two
unconventional cops arrive, hopefully to shed some light on this murkiness.
But they heighten the unsettling surrealism. They have intimate details
they inexplicably acquired and oddly help themselves to cook eggs for their
breakfast. The madness has spread here.</span><span style="background-color: white; line-height: 21.2999992370605px;"></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The script was very intriguing, but
unfortunately some comic material was skated over and I suspect this is down to the pacing of the piece overall. The aforementioned
dreamy oddity was a theme across the dialogue and its delivery, which came at the expense
of the jokes planted by writer Georgina Tremayne.</span><span style="background-color: white; line-height: 21.2999992370605px;"></span></span><br />
<span style="background-color: white; font-family: inherit; line-height: 21.2999992370605px;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Another motif that had me quizzical was the
luminous house at the back of the stage. What purpose did this serve? Was it yet another attempt at a moving Salvador Dali painting, a representation of the
nature of mental illness or </span></span>simply <span style="font-family: inherit;">because there are references to houses (none
of which glow in the dark) in the script?</span><br />
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<span style="font-family: inherit;"><span lang="EN-US">All of the actors did a good job to animate the vision of both writer and director, but I think it would benefit having
characters of an older age. I hate to sound fickle, but I think Grace’s grief would
in turn be more relatable and gain greater empathy.</span><span style="background-color: white; line-height: 21.2999992370605px;"></span></span><br />
<span style="background-color: white; font-family: inherit; line-height: 21.2999992370605px;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">This play would serve a second attempt as I
think we haven’t yet scratched the surface of its potential.<br /><span style="background-color: white; line-height: 21.2999992370605px;"></span></span><br />
<span lang="EN-US" style="font-family: inherit;"><br /></span>
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<div style="background-color: white; line-height: 21.2999992370605px;">
<span style="font-family: inherit;">Words: Kate Morris</span><br />
<span style="color: black; font-family: inherit; font-size: small; line-height: normal;"></span></div>
<span style="background-color: white; font-family: inherit; line-height: 21.2999992370605px;">Images: Courtesy of 24:7 Theatre Festival</span></div>
Anonymoushttp://www.blogger.com/profile/12303901464200507349noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-74129505678031198042015-07-28T09:58:00.000+01:002015-07-28T10:05:33.858+01:00Competition: Manchester Jazz Festival<div class="MsoNormal">
<span style="font-family: inherit;">The 20th annual edition of <a href="http://www.manchesterjazz.com/">Manchester Jazz Festival</a> launches
this week with its ever-impressive array of time signatures and styles,
continuing from Friday 31 July through to Sunday 9 August.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG7zcbFdtfFxIL_uF3O_tZ7tCmSRCuktrrOzO-rvgIYJeiPwHU0ee_3VEQV3GDEgA7Aw5dqnDmZRNwUHkqZPuraLks9lBx3IOBRhetSQnNhNUAaPwKzfKixr2QMfxu7i6_TuPm4xdQvVW2/s1600/Riot-Jazz-Pic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="172" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG7zcbFdtfFxIL_uF3O_tZ7tCmSRCuktrrOzO-rvgIYJeiPwHU0ee_3VEQV3GDEgA7Aw5dqnDmZRNwUHkqZPuraLks9lBx3IOBRhetSQnNhNUAaPwKzfKixr2QMfxu7i6_TuPm4xdQvVW2/s320/Riot-Jazz-Pic.jpg" width="320" /></a></div>
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<span style="font-family: inherit;">While limelight stealers include the <a href="http://www.manchesterjazz.com/artist/robert-glasper-trio/">Robert Glasper
Trio</a> and the Mercury Prize nominees <a href="http://www.manchesterjazz.com/artist/gogo-penguin/">Gogo Penguin</a> (whose
Festival Pavilion show is now reportedly sold out), there’s also a keen eye on
ensuring plenty of events remain accessible and free to attend. <a href="http://www.manchesterjazz.com/programme/?dates=mon-3">Jazz North’s
northern line</a> showcase extends across Monday 3 August at a few of the
partner venues – Matt & Phred’s, Central Library and St Ann’s Church among
them – and other newcomers remain free under the ‘introduces’ banner.</span></div>
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<span style="font-family: inherit;">Elsewhere, there’s a strong local presence, both old and
new, with the likes of <a href="http://www.manchesterjazz.com/artist/charlie-cooper-the-ccs/">Charlie
Cooper & The CCs</a>, <a href="http://www.manchesterjazz.com/artist/hans-prya/">Hans Prya</a> (who
formed after meeting as participants of Snarky Puppy’s Brighter Sound residency
at Band on the Wall in 2013), Cinematic Orchestra guitarist <a href="http://www.manchesterjazz.com/artist/stuart-mccallum-alice-zawadzki/">Stuart
McCallum</a> and Lamb double bassist <a href="http://www.manchesterjazz.com/artist/jon-thornes-sunshine-brothers/">Jon
Thorne</a>.</span></div>
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<span style="font-family: inherit;">Look out for reviews of some of the festival’s events in our
September issue, which will <a href="http://nowthenmagazine.com/manchester/">appear
here</a>.</span></div>
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<span style="font-family: inherit;">We’ve teamed up with Manchester Jazz Festival to give away a
pair of tickets to the <a href="http://www.manchesterjazz.com/artist/riot-jazz-brass-band-baked-a-la-ska/">Riot
Jazz Brass Band / Baked A La Ska</a> double bill at the Festival Pavilion on
Saturday 8 August. All you need to do to enter is like and share the image <a href="https://www.facebook.com/nowthenmanchester/photos/pb.157512217647875.-2207520000.1438074213./893451054053984/?type=1&theater">at the other end of this link</a> (making sure it’s set to ‘public’ so we can see
that you’ve entered).</span></div>
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<span style="font-family: inherit;">We’ll announce the winner on Thursday 6 August.</span></div>
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<span style="font-family: inherit;">Good luck!</span></div>
Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-35284048064594847482015-07-16T10:28:00.002+01:002015-07-16T10:28:33.977+01:00Back Seat Betty @ Joshua Brooks, 02.07.15Recently I heard a great piece of advice whilst chatting about producing work and starting ideas: be a cat. The reasoning is that because cats are only where they choose to be, they are the masters of their own fate. If their curiosity kills them, then so be it – they went down swinging (space permitting). When watching Back Seat Betty I projected this thought onto the team behind the piece, and I’m confident they are always going to be somewhere wonderful.
<br><br>
Written by Joshua Val Martin, the 40-minute monologue is from the perspective of a working-from-home prostitute, and is part of this year’s Greater Manchester Fringe.
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZtiiWxUdL3m_ReiXJ557brENd-qquTIu_-hYdCVXIwbZBRtlDeBMvy6Usg-lPguDNoKrsU1s0ha_Or3aU3cXo2ikf7BMdyfbDfJSq2MUha5xt7EeXi4fbMeL8kWdkt9X5L6lFSsmQ8qoO/s1600/blogger-image-507611061.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZtiiWxUdL3m_ReiXJ557brENd-qquTIu_-hYdCVXIwbZBRtlDeBMvy6Usg-lPguDNoKrsU1s0ha_Or3aU3cXo2ikf7BMdyfbDfJSq2MUha5xt7EeXi4fbMeL8kWdkt9X5L6lFSsmQ8qoO/s320/blogger-image-507611061.jpg" /></a></div>
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Monologues can be a minefield for actors. On viewing the challenge in front of you, one can be fooled into thinking it is quite straightforward, ignorant of the lurking danger. Confidently you venture on stage, too far to turn back and then BOOM: you trip on some tricky poetry, narrowly missing a joke, leaving you detached and disengaged from the piece. You sound like you are remembering words rather than talking, and although you’re alone you have forgotten to use the audience.
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Luckily, this isn’t a trap Jo Dakin fell into. Instead, she dominates the piece, breezing through the lines and ticking all the boxes. She is terrifying and menacingly dark, yet likeable enough to stay with on the journey.
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This versatility is a cornerstone for a Val Martin piece; the writing style is a hybrid of comedy, politics and a David Bowie album. He is one of the most promising emerging writers around.
<br><br>
Despite reassurance that “it’s not real” when I’ve refused to watch horror films, my response has always been that the film may not be real, but the ideas are; and no cheesy special effects can stop me from feeling terrified. The same can be said for Val Martin. He creates characters and stories so vivid they become a living and breathing reality.
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Director Esther Dix has done an excellent job of controlling the parameters of the narrative; she has allowed the realism to come through and be believable, with neither the writing nor the acting rule over the other.
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Looking back on my review, it may seem that I haven’t really commented on the piece and the truth is I haven’t even began to touch the surface. To comment on any part of the story would be telling too much. Instead, all I can advise is next time you have the chance to see a Val Martin piece do so: you will not be disappointed.
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Words: Kate Morris
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Image: Courtesy of Cobbled Haze ClubAnonymoushttp://www.blogger.com/profile/12350176968622807940noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-72640005606537228812015-07-13T21:41:00.000+01:002015-07-13T21:41:19.316+01:00MIF: Arvo Pärt @ Bridgewater Hall, 12.07.15<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="color: #222222;"><span style="font-family: inherit;">Arvo Pärt’s compositions are the most performed of any
living composer in the world, but his music grows seemingly from the very birth
of music itself. Drawing on deeply spiritual and contemplative themes, his Gregorian
chant-inspired vocal and string repertoire transcends the present tense and has
not only won him the highest of accolades from the most educated of music
listeners, it has also touched a vast, perhaps less-discerning audience
searching for serenity and purity, found in his accessible musical vocabulary.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5EdDFsatqmiY-OeXbFgDYgeisad9S04TmF2I7D-a1b_BHlpXbImMWYfhHYZtlTM76MW5YGbPtSKCDItgWzPgYWPYTVNes0tYJcdrZn8Sq4NEQPn4_zMQSNXz3HiQHsQ6KpyDxae_-ShFo/s1600/Arvo_small1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5EdDFsatqmiY-OeXbFgDYgeisad9S04TmF2I7D-a1b_BHlpXbImMWYfhHYZtlTM76MW5YGbPtSKCDItgWzPgYWPYTVNes0tYJcdrZn8Sq4NEQPn4_zMQSNXz3HiQHsQ6KpyDxae_-ShFo/s320/Arvo_small1.jpg" width="239" /></a></div>
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<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span style="color: #222222;"><span style="font-family: inherit;">Performed<span class="apple-converted-space"> <span data-term="goog_1258264351" style="z-index: 0;" tabindex="0"></span><span class="aqj"><span style="z-index: -1;">tonight</span></span></span><span class="apple-converted-space"> </span>by the Manchester Camerata under the
direction of Gábor Takács-Nagy, alongside long-time Pärt collaborators Vox
Clamantis, an Estonian choir, the eloquently selected programme is allowed to
resonate and shine in the presence of Pärt himself.<span class="apple-converted-space"> ‘</span>Drei Hirtenkinder aus Fátima’<span class="apple-converted-space"> </span>is
a new composition dedicated to MIF collaborator Gerhard Richter. This short
vocal piece is inspired by a visit to Fatima in Portugal, the site of a Marian
apparition of the Virgin Mary in 1917, in which she is said to have appeared to
three shepherd children and prophesied the Second World War. However, Pärt
focuses on the light and joy of the children, relayed by the eloquent, bouncing
“hallelujahs”.<o:p></o:p></span></span></div>
<div style="background: white; margin-bottom: .0001pt; margin: 0cm;">
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<div style="background: white; margin: 0cm 0cm 0.0001pt;">
<span style="font-family: inherit;"><span style="color: #222222;">‘Fratres’,<span class="apple-converted-space"> </span></span><span style="color: #222222;">translated
as ‘brothers’, follows a repeated six-bar string theme with an unerring flow,
countered by a striking percussive interlude on claves and bass drum, both
directly cutting and billowing at once. Opening with a sublime stillness and a
grounded bass drone, the piece hesitantly repeats, growing into itself,
reaching grandeur of strings in full flow before retreating back into its
subdued self.<o:p></o:p></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit;">Pärt’s<span class="apple-converted-space"> ‘</span>Stabat Mater’,<span class="apple-converted-space"> </span>a<span class="apple-converted-space"> </span>medieval
poem based on the sufferings of Mary, Jesus’ mother, during his crucifixion,
seems only too perfect a subject for his music. The serene start develops into
an almost conversational interplay between the strings and choir before bursts
of frantic and expansive energy portraying her intense pain disappear as soon
as they’ve developed. This, along with most of this evening’s events, are
seemingly relentlessly disrupted by sporadic coughing from the audience as if
the plague has fallen upon Manchester, perhaps nervous interruptions from an
audience not used to such extensive stillness and reflection. The death of this
drawn-out sorrowful suffering (Mary, not the coughing) is preceded by what
could be considered two last gasps for breath, for which the audience can only
withhold theirs, before the final chord slips away into silence.</span></span></div>
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<br /></div>
<div style="background: white; margin: 0cm 0cm 0.0001pt;">
<span style="font-family: inherit;"><span style="color: #222222;">‘Da Pacem Domine’,<span class="apple-converted-space"> </span></span><span style="color: #222222;">written
in memory of the 2004 Madrid bombing victims, is a prayer for peace and is now
performed annually in Spain. Setting text from a sixth century hymn, its almost
plea-like nature is accentuated through the withheld melodic progression.<o:p></o:p></span></span></div>
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<span style="color: #222222;"><span style="font-family: inherit;">To close,<span class="apple-converted-space"> ‘</span>Como Cierva Sedienta’,<span class="apple-converted-space"> </span>featuring soprano soloist
Polina Pasztircsák and a full orchestra, offers a setting of Psalms 42 and 43
in Spanish. Its exploratory nature is in great contrast to much of tonight’s
programme, flitting between frantic woodwind flurries, brass fanfare and
Stravinsky-esque modernist dissonance. But it does retain some of the serene
moments that we are used to hearing from Pärt, and like each of his pieces,
without doubt, every note matters. Each has been carefully considered by Pärt
and the performers have no choice but to follow suit. Don’t be fooled by the
apparent simplicity of his music, the concentration and detailed execution
required from each performer in creating such tonal, textural and sonorous
eloquence cannot be underestimated. Perhaps it’s this which aids the seemingly
infinite power of his music. His ability to create such seemingly simple
soundscapes through complex fundamental historic compositional techniques,
often foregoing generations of music history, allows Pärt to transport the
listener to a place of deep spiritual contemplation and that much closer to
purity.</span></span></div>
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<span style="background-color: transparent; font-family: inherit;">Words & photos: Simon Bray </span>(<a href="https://twitter.com/simonbray">@simonbray</a><span style="background-color: transparent; font-family: inherit;">
/ </span><a href="http://simonbray.co.uk/" style="background-color: transparent; font-family: inherit;">simonbray.co.uk</a><span style="background-color: transparent; font-family: inherit;">)</span></div>
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Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0tag:blogger.com,1999:blog-1351301958058864945.post-64955668595712028832015-07-13T15:04:00.001+01:002015-07-13T15:04:36.580+01:00MIF: Neck of the Woods @ HOME, 10.07.15<div class="MsoNormal">
<span style="font-family: inherit;">Who’s afraid of the big bad wolf? Certainly not me in
the MIF production of <b>Neck of the Woods</b>.
There were far worse things to fear. If you go down to the woods today, you
will be leaving underwhelmed.<o:p></o:p></span></div>
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<span style="font-family: inherit;">On paper, this ‘collaboration’ ticks all the boxes and
garners expectations of something special. An acclaimed casting choice
(Charlotte Rampling), check. A concert pianist (Hélène Grimaud) playing a phenomenal
repertoire, check. An eclectic and culturally diverse choir using their voices
to create the soundscape, check. A new multi-million pound venue to host the
event, check. And all under the reign of a Turner Prize-winning visual artist
(Douglas Gordon) – big check. But, heartbreakingly, no. In fact, there was
barely any collaboration, and these components struggled to come together resulting
in something fractured and unconnected, which is a real shame.<br />
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<span style="font-family: inherit;">Neck of the Woods is a vague retelling of <b>Little Red Riding Hood</b>, while drawing
on the many different takes of wolf mythology in literature and a very loose
metaphor of the animal of man. “<span style="background: white;">Mostly
wolves represent a bad man […] I think men are worse than wolves,” says Gordon.</span><o:p></o:p></span></div>
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<span style="font-family: inherit;">The play opens in complete darkness with the sound of
a tree being chopped down with an inevitable crash. This is probably the most
impressive part of the production and, with the almighty sound, the audience is
immediately immersed. The HOME acoustics are so good that it was truly
terrifying.<o:p></o:p></span></div>
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The production is hugely self-indulgent, with Gordon listed in the programme
for concept, direction, design and performance. None of which met par. That’s
not completely fair, the concept is very interesting and I think there is
something there. As for everything else, I felt it was very safe and riddled
with clichés. There’s talk about blood, wolves and snow, so you can bet there
was red lighting, fake snow and a fluffy shag pile with a wolf head.<o:p></o:p></span></div>
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<span style="font-family: inherit;">This project clearly hosted a lot of talent. Grimaud’s
playing is a beautiful silver lining to this piece. The Sacred Sounds Women’s
Choir, first formed at MIF 2013, is abundantly talented, but drastically
underused in this production. Rampling did have a few fluffs, but overall I
felt she didn’t have much to work with, which I imagine is quite restrictive.<br />
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Regrettably this piece hasn’t met the standard set by other MIF productions,
the responsibility for which falls on Douglas as he struggles to harness the
hot ball of talent he had at his disposal and utilise it effectively. Instead,
he rides on the coattails of other people’s talent and uses it for his own
gratification. Douglas is indeed the wolf, and a house of straw or sticks has
more solidity than this piece.<a href="https://www.blogger.com/null" name="_GoBack"></a><o:p></o:p></span></div>
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<span style="font-family: inherit;">Words: Kate Morris</span></div>
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<span style="font-family: inherit;">Neck of the Woods continues until Saturday 18 July.
For tickets and more info, click </span><a href="http://www.mif.co.uk/event/neck-of-the-woods" style="font-family: inherit;">here</a><span style="font-family: inherit;">.</span></div>
Now Then Manchesterhttp://www.blogger.com/profile/05766829879827030427noreply@blogger.com0