“A person is either with this court or he must be counted against it.” Selladoor production’s echoing adaptation of Arthur Miller’s The Crucible rings through the theatre. With no music and a minimalist set, the growing hysteria running through Salem highlights the recurring impact of religion, politics and capitalism. Written in 1953, The Crucible (based on the Salem Witch trials) is comparable to the paranoia surrounding 1950s McCarthyism. The selective enforcement that targeted political enemies saw the prosecution of supposed communist. In an attempt to stamp out this social ill, many accusations were based on falsified evidence and intimidation. Anyone unwilling to cooperate with the government and admit guilt were often imprisoned or exiled. The recycled paranoia pervading America showed that even “honourable” men were susceptible to mass hysteria, using their power to sustain it. The Crucible’s impressive cast, centres around Abigail Williams (Lucy Keirl), Reverend Parris (Cornelius Clarke) and John Proctor (Eoin Slattery). After Parris discovers his niece Abigail, daughter Betty and friends practising witchcraft, the girls admit guilt and accuse other women in Salem for the same crime. The biblical passage, “thou shalt not suffer a witch to live” was used by the courts to oversee Gods work by hanging any women accused of consorting with the Devil. Artistic director, Douglas Rintoul keeps attention on Miller's words rather than the environment. The few props on stage are moved by the cast as the play is based in only four locations. The beginning of the production is set within the church, its wooden walls are solid with little light piercing through. By the second half of the play, the walls are dismantling around the characters as the light illuminates their failings. The growing conspiracy becomes a pursuit of property and vengeance. The collusion quickly fuels intolerance and weakens societal structures that impact the most vulnerable. The Crucible is a fine production and remains relevant today. In a climate that has seen the rise of fake news, post truths and alternative facts, it is essential that we are reminded of the repercussions that reverberate from ignorance. If theatre is made to “inform, illuminate, entertain [and] raise awareness” (Michael Billington) then Arthur Miller’s writing certainly does that. TheCrucible TheOperaHouse #Manchester

The touring festival celebrating hip-hop’s international and local talent has hit the Lowry for a two-day event. Breakin’ Convention is a cacophony of music, poetry and comedy. The Neapolitan show presents three commanding crews from South Africa, South Korea and Canada, sprinkled with inspiring local acts. Revelling in its fourteenth year as part of the UK’s major dance calendar, the event was hosted by the show's curator, Jonzi D and poet Martin Visceral. Both a compère are spoken word artists, breaking up the flow of dancers with freestyled lyrics and poetry. Here, hip-hop is viewed as a piece of performance theatre, a platform to engage a younger audience with politics and social matters that have been twisted through a contemporary course. It is wonderful to see new, innovative performers in conjunction with the showcasing of talented local choreographers. The Lowry’s Lyric Theatre can be imposing, yet young acts are showcased, supported and moulded because of this festival. Nevertheless, the conventions star acts are from out of town. International artists, Soweto Skeleton Movers fifteen-minute performance based on Pantsula dance was a charming, exuberant and magical set. Playing to a Kwaito beat, (a genre that emerged during the 1990s and focused on the liberation of Nelson Mandela) the group contort their Bucket hats and bodies to parallel the freedom of expression that the music provides. The Canadian group, Tentacle Tribe have a signature torsion in an experimental piece that breaks the rhythm of the music. The conceptual dance turns their movements into picturesque, still shots that sculpt their bodies together in an intricate form. The final group of the evening were Just Dance from South Korea. Their intense twenty-minute finale included a live drummer, poppers and B-Boys. Dressed in Shamanistic masks, their performance was reminiscent of the ABDC group, Jabbawockeez as their collective vision forces the audiences to focus on the intricate tricks and watch the group as a whole. The visual styling and high energy performances make Breakin’ Convention a signature celebration of UK talent and irresistible fun. BreakinConvention TheLowry #Manchester

Persuasion (1817) is the last completed novel written by Jane Austin, six months after her death. Reverberating the themes of self-discovery and self-reflection that run throughout her novels, the story follows the struggles of 27-year-old Anne Elliot after a broken engagement to a penniless Fredrick Wentworth. Seven years have passed since Anne’s engagement and Wentworth has returned a successful and single Captain, whereas Anne remains a loveless spinster. Anne is forced to confront her past when her sister, Elizabeth and father Sir Walter let out their family home and move to Bath to lower their living expenses. Under the direction of Jeff James, the audience is served up a hip-hop remixing of Austin’s aristocratic society. Pulsating moves, slow-motion dance sequences and a soundtrack that includes an uncensored Azealia Banks, keeps focus on status and wealth with a modernised expression of bad behaviour. Alongside the switching of the piano for Nicki Minaj, designer, Alex Lowde has created a transformative stage within The Exchange. By using a tall, rectangular platform that is intensely lit for the characters, audiences from every angle are engulfed in Anne’s world. Anne (Lara Rossi) physically pushes characters off stage and covers their mouths showing her complete discontent. It is not until Anne and Wentworth’s paths cross that the stage twists in the middle, spreading out into a criss-cross that encompasses the space of The Round. With upper crust parties wonderfully rewritten into raves and a trip to Lyme culminating in foam flowing from the ceiling, the production's costumes were also perfectly updated for the times. The bonnets and bowties are exchanged for dainty slips over white tees, except for Anne’s slighted sister, Mary Musgrove (Helen Cripps) and her husband Charles (Dorian Simpson) whose council estate attire comprised of a tracksuit and scraped back scrunchie hairdo, shows a woman eager to climb the social ladder. This domestic comedy includes a fantastic cast, where all but Samuel Edward-Cook (Captain Wentworth) and Rossi, play characters that are basically doubles of themselves. Cassie Layton (Elizabeth and Louisa) and Caroline Moroney (Mrs. Clay/ Henrietta) take a moment to playfully rate the beauty of their dulling counterparts and Simpson’s Lady Russell is simply hilarious. This is an endlessly entertaining production and a fitting tribute to Austin that upholds her impressions of love and independence for a new generation of heroines. Persuasion #Manchester #TheRoyalExchange

“Have you seen a dog?” Even before taking their seats, audience members found themselves participating with frantic cast members searching for a loose dog and rescuing an already crumbling set. The Cornley Polytechnic Drama Society are putting on a production of The Murder at Haversham Manor, a recognisable spin on a typical 1920’s murder mystery. The storyline, similar to a Murder on the Orient Express or The Mousetrap is retold by archetypal characters; including the wife, the brother, the detective and the butler. In fact, the story is so familiar it allows the audience to completely ignore the plot and focus on the shenanigans happenings around them. It’s difficult to decipher why comedies of this calibre are so rare on stage as the production follows a straightforward story and simple theme, alongside its acrobatic, dramatic and interactive cast. Nevertheless, the flawless timing, inflated characters and quality, old-school slapstick make The Play That Goes Wrong a thrill to watch. With an amazingly fragile set falling apart around the cast, I was genuinely amazed that no one was actually hurt. I also couldn’t imagine the experience would be as delightful or charming from a distance, yet its low brow humour was clearly able to carry through all tiers of the Lowry Lyric theatre. The Play That Goes Wrong is not a show of nuance but rather a collection of trips, slips, double takes and visual gags that are relentlessly timed and easy to follow. Despite the Lowry audience ranging from children to seniors, this comedy easily translated through the ages, creating more waves of laughter than I have ever heard in a theatre. Allowing for a natural laugh track from the audience with its easy-going British humour. The show runs in the same lane as the Pink Panther and Mrs. Browns Boys, as its simplistic comedy shaping offers impeccably entertaining slapstick with an emphasis on chaos. In a production that constantly had the audience laughing and gasping, it was difficult to see where the plot and comedy could progress in the second half. It was soon established that it wouldn't and instead, things really fell apart. With such a repetitive formula, the second act became as satisfying to watch as an episode of You've Been Framed. You are guaranteed to laugh, but you won’t necessarily remember why. Prat fall comedy is not to everyone's taste but this light-hearted and finely overacted homage to the murder mystery classic is a collection of old-school, slapstick masterpieces that should always be in fashion. ThePlayThatGoesWrong #MischiefTheatre #Manchester TheLowry

Alexandra Burke knows how to dance in heels and fill some rather large shoes. The former X-Factor winner has hit the Palace Theatre for the second year running to take over as one of Whoopi Goldberg’s most recognisable characters. Burke, who plays Deloris Van Cartier, brings the star power and striking vocals to this entertaining reimagining of everyone’s favourite faux nun. After witnessing her mobster boyfriend murder an informant, lounge singer Deloris is placed in witness protection under the guise of Sister Mary Clarence. Bringing the sparkle of her disco days to the rundown routines of the church choir, Deloris liberates the women through music and brings a new audience to the tired convent. This cast is multifaceted and engaging despite working with some slightly dated material. Alongside their stellar singing, many of the sisters played an instrument while performing. With a jaw-dropping performance from Mother Superior (Karen Mann) who stopped her heavenly singing part way through ‘Spread The Love Around’ only to begin playing the trumpet. Directed and choreographed by long-running Strictly Come Dancing judge, Craig Revel Horwood, the shows use of disco balls and a conveyor belt of sparkly outfits amplify the world in which Horwood comes from. It’s an impressive set that switches between the nunnery, detective’s office and club scenes to keep the party atmosphere ongoing. Do not expect to hear any of the original music featured in either of the Sister Act films. This is a new concoction that includes lyrics from Tony-nominated writer, Glenn Slater. Slater, who has written music for the Broadway versions of The Little Mermaid and School of Rock, rustles up a few comic gems including ‘When I Find My Baby’ and ‘Lady In The Long Black Dress’ that help capture the spirit of Sister Act. Despite its lovable cast, by the end of the production I felt a little disappointed and I wondered if it was the nunnery that remained outdated or if my love for the original Act was too strong. The charmingly character-driven original was an unexpected feel-good hit, showing its characters overcoming prejudice and unifying over their love of the parishioners. But the sisterly bond in this stage adaptation has been weakened by its amped-up revival that loses its relatable qualities in a quest to be cool. Rapping grannies, negro puns and the line ‘You’re still a negro right?’ had me question who the joke was on. Where race was never a punchline in the films, this show includes some uncomfortable moments where the forced humour centres its comedy around Deloris' blackness with a different vibe than its light-hearted original. SisterAct #Manchester #PalaceTheatre

I must put my hands up and admit that I thought I had tickets to see Disney’s Aladdin, the glitzy, glamorous musical with areal stunts and chart topping tracks. When I discovered that I was in fact going to be watching First Family Entertainment’s pantomime production; starring Ex-Loose Women and Benidorm favourite Sherrie Hewson as the Genie of the Ring, I couldn’t hide my disappointment. Nevertheless, #DefinitelyNotDisneysAladdin also stars Manchester actor John Thomson (Cold Feet) as Abanazar and Ben Adams from the band A1 as Aladdin. Unsurprisingly, only one of the cast members chose to sing and dance throughout the show, but none of the three decided to act. This production is of course better suited for a younger audience but writer, director and star, Eric Potts (Widow Twankey) clearly puts a lot of effort into the visual designs of the set. Regardless of where you are seated, The Opera House staging offers a revolving door of impressively lively sets and costumes to dazzle the crowd. Regrettably, little money was left to amend the writing, with jokes left from Aladdin’s first cobweb covered script written 100 years ago. Whilst visiting Old Peking I couldn’t help but notice that there were no jokes I hadn’t heard read from a Christmas cracker, no scenes that I hadn’t witnessed in previous pantomimes. E.g. Let us throw a little person into a washing machine and pull out a tiny doll. Poor Princess Jasmine may as well have been replaced with a cardboard cut-out as her scenes were rarer than the randomly inserted constable character. The ensemble cast are given fleeting moments to play with their roles or interact with the audience. Instead, Potts is the nucleus that demands the majority of the story and jokes. To make up for the lack of interaction with kids, a tacked on ten minute solo show where magician, Wishee Washee forced us to sing and read out audience member birthdays should have been an optional ending to the production. The ticket pricing was dumbfounding as the whole production felt laughably cheap. Honestly, cheap and cheery is what you want from an easy-going Christmas pantomime but full disclosure…I didn’t want to watch a pantomime and especial not one for Disney ticket prices. That being said, Ben Adam singing Take On Me whilst riding a suspicious mechanical looking magical carpet, was the most enjoyable scene to watch. Aladdin is a cheesy, entertaining pantomime that kids will love. The young audience were energised throughout the performance and I assume the adults riding solo were there for nostalgic reasons. Although, the jokes were far from new, kids will find this experience thoroughly enjoyable. #Aladdin #Manchester TheOperaHouse

The fantastical 1964 novel Chitty Chitty Bang Bang came to the big screen in 1968 to questionable reviews, yet its memorable Child Catcher and shoddy special effects has preserved it as a staple British children’s classic. This year the Lowry has adapted the iconic car for the stage, bringing a high-energy, feel-good classic to a new generation. Jason Manford plays the peculiar Caracatus Potts whose comedy roots support the delivery of sharp dialogue and awkward dance numbers. It is fair to point out that the Morris dancing sequence that displayed Dick Van Dyke’s fast footwork With The Old Bamboo, was not at all replicated by Manford. As Manford continues his transition to theatre, having completed a successful stint as Leo Bloom in the musical The Producers. The Potts children played by Henry Kent and Darcey Snare, round off Manchester’s local talent. Countering the likable Potts is Manford’s Producers partner and fellow comedian, Phill Jupitus together with the cartoonish Vulgarian spies. This is a children’s comedy but the Vulgarian’s appearances were the only scenes that felt dated and erroneous. Jokes playing with mispronunciation and old school campy gestures were tacked on scenes, often interlinked with costume or set changes. Despite the disjointed comedy, there were countless moments to appreciate during the show. I eagerly awaited the appearance of Jos Vantyler who did not disappoint as the Child Catcher, playfully taunting the children of Vulgaria in the second half of the production. The show has boundless energy but the second half is where the set up truly pays off. Performances with Jupitus’s singing Chu-Chi Face and Claire Sweeney’s Doll On A Music Box were brilliantly directed and performed. Although the production ended rather abruptly, the show packed all thirteen songs, with remarkable dance numbers and extravagant sets. This spirited production was compelling to watch as the star of the show amazed the audience with its transformation. The use of hydraulics for Chitty, the flying car was impressive along with a cleaver use of projectors to aid illusion of flying. ChittyChittyBangBang #Manchester #TheLowry

The Royal Exchange’s Christmas production sees the relentlessly cheery Charity Hope Valentine pursuit for true love. Sweet Charity takes its audience back to the 1960s with its fast-paced shape shifting dance numbers, its free love themes and its terrific live band on display. We first see the dance hall hostess Charity on stage sporting her latest lovers name on her shoulder. This is the same lover who pushes Charity into a lake within the first three minutes of the show. Unlike the film of the same name, which takes great enjoyment in Charity’s continued failings, David Bond considers the feminist unfriendly themes of the original and weeds out enough of the victim filled role that Charity is known for. Bonds direction allows Charity to be at the very least, in on the joke as she searches for love in all the wrong places. Charity, played by Kaisa Hammarlund brings a charming naivety to the performance that is compelling to watch. Unsurprisingly, Hammarlund has also played Elle Wood in the Legally Blonde stage musical adaptation, which is not a far stretch from Charity Hope Valentine. The Royal Exchange generally limits set changes as the theatres shape requires three levels of audience members to recognise the changing visuals of its round stage. However, Sweet Charity sweeps through unique scenes effortlessly, maximises the space in the round and recreates everything from the dance hall and broken lifts to a hot air balloon ride. Hits like Rhythm of Life, If They Could See Me Now and Big Spender are wrapped up in falling mirrors and areal lights which help to re-establish Charity’s bright, frenzied lifestyle. Fortunately, the theme of a woman’s self-worth is tacked onto this production, which boasts a strong cast of incredible singers and charismatic performers. Rather than have the audience continually watch the women dance on the floor of the club, audiences mainly view the female dancers in their dressing room through clear mirrors which stare out directly to the audience. It may sound voyeuristic but in this uncomplicated story of a dancer looking for love, its original messaging from 1966 cannot be completely removed. Nevertheless, the Rhythm of Life cult leader, which is habitually a male role, is now played by the powerful Josie Benson. The live brass band led by Mark Aspinall is terrific and the seamlessly inventive sets are a thrill to discover. With such an effortlessly great cast, the stories mixed messaging to women will easily be forgotten as Sweet Charity brings a joy that is inescapable. SweetCharity #Manchester #TheRoyalExchange

“Everyone is different. It’s a natural thing.” The multi Tony and Olivier award-winning production, based on the inspirational film has hit the Palace Theatre for its first UK and Ireland tour after an eleven-year West End run. Based on a northern mining town during the 1984/85 miners’ strike, the community has suffered under the Thatcher leadership. The harsh realities of unemployment and social discontent, have futures looking bleak for a community reliant on its pit. Despite expectations and reputations that proceed a boy that enjoys ballet, Billy has ignited a passion for dance in which he can find his escape and new opportunities. Directed by Stephen Daldry and composed by Sir Elton John. The uplifting musical is one that stages scenes of the unapologetic, thirteen-year-old Lewis Smallman (Billy Elliot) against riot police. In the face of this misfortune is an underlying comedy, successfully running alongside the drama. Annette McLaighlin as the jaded ballet teacher, Mrs. Wilkinson and Andrea Miller as Billy’s spirited grandma are representations of strong, struggling and resourceful women. They shape Billy and their community in a story that centres largely on the impact of a dying coal industry on men. The creative team behind the successful film have lovingly converted it for the stage. The large sets are frantically turned around, seamlessly revealing dramatic scenes in Billy's two floored home, to Mrs. Wilkinson's dance studio. It remains a fast-paced, honest musical with multi-layered sweeping sets. There are no romanticised images of coal workers as manly and independent but Peter Darling’s imposing choreography transforms Billy into a powerhouse. With a direction that is far from an all grey pallet, The Palace Theatre ricochets with joy as Billy duets with Samuel Tropey (playing Michael) dressing in women’s clothes. Billy Elliot is a heart-warming production that is true to the film and despite its long run still resonates with audiences. The shows dark humour, catchy music and gritty realism makes it one of Britain’s most successful musicals as Billy’s passion helps restore his audiences’ faith during difficult times. You can watch Billy Elliot The Musical Live on Amazon BillyElliot #Manchester #PalaceTheatre

"Fashion Never Sleeps, So Neither Do We" MCR Fashion Industry (MFI) is known for bringing Manchester’s community to its edgiest hangouts, for slick and contemporary fashion events. News of MCR’s AW15 Gothic Romance secret fashion show spread quickly, and the highly anticipated event was sold-out a week in advance. MFI’s 29 Nov Gothic Romance show took place at Fumo on Oxford Road; where its clean white and golden walls complimented the blacks and reds that emblazoned the catwalk. The show combined elements of Victorian and classic Haute Couture, taking inspiration from the skintight silhouettes and luxurious fabrics. Sarvin’s current online collection names its pieces after celebrities such as Beyoncé, Mariah and Kaley. The fashion offers a mythical and opulent display of unique style, available in a multitude of colours and sizes (www.sarvin.eu). The men’s fashion range consisted of bow ties, sharp suits and unexpected hoodies for a smart-casual style. Sarvin’s latest pieces featured on Sunday, focused on dresses and skirts with a Persian elegance. The catwalk was awash with delicate fabrics and bold colours that highlighted a subtle nod to the trends that inspired them. Pleated silks, low-cut drapes and figure flattering shapes offered an essence of easy to wear, luxurious fashion. Despite the wet weather, The Milton Club had fashionistas eagerly awaiting the famously entertaining after party, hosted by Muhammad Jalal and Domaine Esdale. Darkness descended the red carpet as guests updated their LBD’s with chiffon fabrics, romantic pops of red lipstick and black leather jackets, denoting the dark romance of the themed event. I spoke to one of the hosts of the evening, Muhammad Jalal who said; 'I’m always a little apprehensive before the fashion show starts, but it’s a nice feeling [after it’s finished] where everyone can relax. We have a lot more entertainment.' The Milton Club’s exclusive atmosphere of cocktails, goody bags, and a fire eater was mixed with a contemporary hip-hop soundtrack that resulted in Manchester’s most sensational event of the season. 29 November 2015 This review was originally written for The Nubian Times #TheNubianTimes #ManchesterFashionIndustry

“If you take a woman by her word you deserve what you get.” Intended as three separate plays, Ben Powers’ melding of D.H Lawrence’s A Collier’s Friday Night, The Daughter-in-Law and The Widowing of Mrs. Holroyd, forms the 1911 soap opera Husbands and Sons. The Royal Exchange production allows its round stage to play out the stories of three disloyal households in one room. The community is made up of the Lamberts family, where the mother's fondness for her accomplished son, over her undereducated mining husband unlocks has the audience question the impact of education on a working class family. Another section contains Mrs. Holroyd, a woman wavering between her marital burdens and her new love. The third family includes a wealthy wife and her desire to liberate her husband from his controlling mother. The thread connecting the women by suffering and indifference feels somewhat disjointed. The production is unable to delve into the character’s backstories, and there is no time for anything more than basic details. With three separate plays interwoven, the deeper connections and questions you may have for a character are simply unexplored. The theatre is broken into three rooms to represent the households, but while one is in action, the other is dead. In one instance the child of a wife is left eating invisible food for five minutes as the tales of others unravels around him. It can be just as distracting having the unused families carry out mundane activities as it is to overlap actions of their female counterparts. Although the performances were solid, with snippets of humour and entertaining dialect throughout, similarly to the women in the play, I had a deep regret. I wished for a richer understanding of their personal struggles, but it was immediately eroded by the merging of these three intimate D.H Lawrence texts. HusbandsAndSons #TheRoyalExchange #Manchester

“[Incoherent babble] …Cheerios.” How do you make Shakespeare relevant to a younger audience? I have watched performances of Twelfth Night where the costumes and language of the 1600’s remain faithful to the history of the playwright. Faithful maybe, but student’s eyes tend to wander during an old-school romcom in which a woman disguises herself as a man in order to be hired by a Duke. I have seen a production of Romeo and Juliet set in space. A modern idea that was not well thought through. The newest rendition of Twelfth Night, directed by Sean Holmes, has turned the love story into an interactive performance that focuses more on the festivities in-between the search for true love. Filter Theatre presents an exciting and engaging interpretation of Twelfth Night, but it is a story you had better know before going in. It could’ve easily been mistaken for Twelfth Night the rock musical with the number of instruments on its closed off and dishevelled stage. As much of the action appears off stage as it does on it; forcing the audience to turn their head for characters’ entrances, exits, off stage rants and audience participation. From the very beginning of this production you are kept on your toes. Starting with Orsino (Harry Jardine) audience sing-a-long, to Viola (Amy Marchant) grabbing clothing from audience members to disguise herself as a boy. The story plays through an interesting delivery of technology, music and audience interaction to bring Shakespeare to a broader audience. Dan Poole as Sir Toby Belch and Fergus O’Donnell as Malvolio threw caution to the wind, giving performances that stole the show. Despite calling audience members on stage to take shots of tequila and start a conga line; the cast of seven manage to keep their Shakespearian dialect throughout the 90-minute production. The rhetoric is countered with an energy so infectious; it is impossible not to be absorbed into this modern day Shakespearian production. It is a story that indulges in the dramas greatest themes. Essentially, the madness of love. #Manchester HOMEmcr #TwelfthNight