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On Corporation Street @ Home, 15.06.16

Where were you 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 On Corporation Street.

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. 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.

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.

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.

Director Louise Lowe and 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.

Runs until 25th June

Words: Kate Morris

Photos: Graeme Cooper

Quippodrome @ Gullivers, 09.5.16

One doesn't really know what to expect from a night labelled Quippodrome. 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.

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. 

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.

After a short interval, we're welcomed back for the main event, The Quippodrome. 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|). 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 Vic Reeves Big Night Out. 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.

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.

"It's ok, the perspective may be skewed, but she has breasts, so…"

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!).

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 ‘pube art’ 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.

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.

Words: Colm Feeley

Murder She Writes @ Kings Arms, 5.5.16

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.

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.

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.

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.

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.

It's a fun romp though and Vertigo always come up with something different which is to their credit.  

Lord knows what they would have made of Midsommer!

Words: Drew Tosh

Photos: Courtesy of Craig Hepworth 

Avenue Q @ The Palace, 3.5.16

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 not 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 Seasame Street? What if you could feel like that again?

At the Palace theatre, sitting in front of fresh faced musical theatre students the lights went down and two screens flicked into life, depicting a sickeningly happy cartoon sunshine as the company flourished into the opening number of Avenue Q.

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 Seaseme Street 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. 

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). 

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 Seasame Street 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?  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.

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  

Words: Kate Morris 

Photos: Matt Martin Photography 

JB Shorts 15 @ Josuha Brooks, 7.4.16

 

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.

The Intruder (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. 

Two women meet for a reunion with their 'wild child' school friend in A Different Time 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. 

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 Humble 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. 

If the scene from the Last Supper had happened up North; False Prophet 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. 

Build A Bonfire 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. 

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 Party Animals 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. 

A thoroughly enjoyable evening of theatre in a wonderfully intimate venue. 

Words: Drew Tosh 

Photos: Courtesy of JB Shorts
 

Preview: Extra Love Album Launch gig @ Band on the Wall, 26.02.16

Building on the success of their EP, Big Man, Extra Love serve up more helpings of feelgood, conscious music with their debut album, Out Of The Dark.

With their signature brand high on energy and positivity, they bring their unique flavour to create a fresh style of reggae.


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.


The deep tones of singer Angelos, coupled with the rhythmic chants of Kuntriranks is the perfect vehicle to express the band's message.


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.

Words: Anna Tuck

JB Shorts 14 @ Joshua Brooks, 5th November 2015

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!

Andrew Lynch’s Emily 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.

All Items of Value Have Been Removed 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.

The Outing 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.

Another favourite is found with Sugared Armour, a classic paradigm of estranged characters brought together through unfortunate circumstances. Gemma (Jo Dakin), Annie (Victoria Scowcroft) and Andy (Derek Hicks) 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.

Heroine 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 (Shila Iqbal) 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.

Equal Shares 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.

Words: Kate Morris

Images: Courtesy of Brainne Edge

Video 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, Hip Hop Originals, 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.



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.

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 Hip Hop Originals launch show.

Words: Ian Pennington

Hip Hop Originals is released via Wah Wah 45s on 27 November.

Preview: HEALTH @ Gorilla, 27.10.15

HEALTH 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.

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.

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.

Words: Cameron Broadhurst

HEALTH headline Gorilla on Tuesday 27 October.

Competition: Manchester Jazz Festival

The 20th annual edition of Manchester Jazz Festival launches this week with its ever-impressive array of time signatures and styles, continuing from Friday 31 July through to Sunday 9 August.

While limelight stealers include the Robert Glasper Trio and the Mercury Prize nominees Gogo Penguin (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. Jazz North’s northern line 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.

Elsewhere, there’s a strong local presence, both old and new, with the likes of Charlie Cooper & The CCs, Hans Prya (who formed after meeting as participants of Snarky Puppy’s Brighter Sound residency at Band on the Wall in 2013), Cinematic Orchestra guitarist Stuart McCallum and Lamb double bassist Jon Thorne.

Look out for reviews of some of the festival’s events in our September issue, which will appear here.

We’ve teamed up with Manchester Jazz Festival to give away a pair of tickets to the Riot Jazz Brass Band / Baked A La Ska double bill at the Festival Pavilion on Saturday 8 August. All you need to do to enter is like and share the image at the other end of this link (making sure it’s set to ‘public’ so we can see that you’ve entered).

We’ll announce the winner on Thursday 6 August.

Good luck!

Review: I’ll Be Your Mirror by Una Baines & Keith McDougall

The pat response to hearing about a new graphic novel about The Fall frontman Mark E Smith would be to say that it shouldn't be too hard to do – he's already a cartoon. Decades of self-mythologising, abetted by journalists happy to colour the outline in familiar shades: a face squiggled with lines and a fag hanging out of the gob, gnomic pronouncements and scathing put-downs, drink and drugs and rows.

It's gratifying, then, that the new graphic memoir I'll Be Your Mirror, drawn by Keith McDougall and co-written with Una Baines, a founding member of The Fall, presents a young, relatively fresh-faced Smith, one not yet hemmed in by his own mythology.

Baines also played in Manchester bands Blue Orchids and Poppycock, as well as touring with Nico, but the first issue of the memoir focuses on how she met Smith as a teenager. It's 1973, but the book avoids grim-up-north clichés as adroitly as it dodges the typical narrative about The Fall. McDougall's illustrations reflect the overall tone, which is teenager-bubbly – Bowie, T. Rex, feminist marches and psychedelia.

Smith puts Baines onto the Velvets as she outgrows glam rock, she puts him onto women's rights, they drop LSD and, finally, they start a band. Or rather, Mark does. In signature style, by hijacking her neighbour's covers group and launching into an impromptu performance of ‘Sweet Jane’. The final image shows him centre stage, lips curled, flanked by two bewildered musicians, person and persona already beginning to merge.

Hopefully there'll be some more about Baines herself in later editions, which will tell the story of her relationship with Mark, but there's more than enough here to pique the interest, and not only for fans of The Fall. Manchester looks set to be a major supporting character throughout, hopefully avoiding its usual thankless role of moody backdrop.

The launch is taking place at Islington Mill on 29 May, featuring Una's band Poppycock with support from ILL and Rose & The Diamond Hand.

Words: Fearghus Roulston