The Russian State Ballet of Siberia retells the tragic tale of Prince Siegfried, a magician and Princess Odette, with the Bridgewater Hall playing host to this stripped back production directed by Sergei Brobov. In a tale that is ultimately about innocence, passion and plotting, the cast spotlight a romance that has captured the attention of hard-core ballet fans since 1877. Accompanied by the Orchestra of the Russian State Ballet, the show embraces a limited number of props and special effects. Whittling the production down to focus on the dancer’s connections, hypnotic movements and detailed choreography by Marius Petipa, Lev Ivanov and Alexander Gorsky. The twelve-piece orchestra pushes the narratives intensity and energy, with familiar classics such as Dance of the Little Swans impactfully performed alongside its prima ballerina. Based on a German fairy-tale, we follow Prince Siegfried as he falls in love with Princess Odette. Odette explains that she is under the spell of Von Rothbart, spending her days as a swan and her evenings in human form. The next day during a celebration for Siegfried in which he is presented with potential princess’s he is spellbound by Von Rothbart’s daughter, Odile, who appears to him as Odette. While he proposes to the imposter, Odette watches from the window but is spotted as she runs away. After Siegfried chases after her and fights for his true love, the Prince is defeated by Rothbart and engulfed by the lake, leaving his love cursed forever. The Russian State Ballet of Siberia has hardened this classic and deliver an elegant but unusual ending to the tale. The Bridgewater Halls false proscenium houses a production that switches between three projected images that appear to have been lifted from the British game show Knightmare (1987). The set has limited movement as it maintains focus on the story, and apart from the lake sequences, in which the river moves alongside the herd of swans, it is stilted in its framing. The show builds from the traditional costumes and its powerful orchestra, however, after setting the scene in Act 1, it takes a minute to become absorbed in the dreamlike world that inhabits the story. Fancy footwork aside, the production only offers three projected landscapes and the first of which is dramatically inept. The presence of the prima ballerina is haunting but to build to her sequences takes a lot of patience. The dual role of Odette / Odile is clearly challenging, and its ensemble swans are technically gifted and thrilling to watch. Tchaikovsky’s will always resonate with its audience so if you have never seen a production of Swan Lake, its fantastic score is enough to move you through. The Russian State Ballet of Siberia brings a strong company that focuses on the craft. But based on its entirety, two of the acts take far too long to find the right tone and reach their dramatic peak. Technicality alone was not always enough to carry a scene that lasted over 20 minutes, but this was mostly due to the lack of theatrics. TheRussianStateBallet #SwanLake #Manchester BridgewaterHall

Don’t call it a comeback. After a decade-long wait, Chris Rock has hit refresh and returned to the U.K. with his latest stand up tour, Total Blackout. Rock’s return to form has apparently been made possible by his divorce as he brings the personal and the pain of his life on show. It is a late starting performance, but you are recommended to arrive early due to the Manchester terror attack (May 22, 2017) that has seen a boost in the arena's security that now runs three layers deep. After checking tickets and going through metal detectors, an added Yondr pouch is provided to ensure the concert is a mobile free zone. Fortunately, there was no need to keep track of the time or entertain yourself before the show starts. Instead, compere Jeff Ross kept the audience focused on the funny, introducing two American warm-up acts, starting with The Daily Show contributor, Michelle Wolf. Anthony Jeselnik’s slow delivery brought an easy listening arrogance before the Roast Master General, Ross (known mainly from the Comedy Central series) brought up a handful of brave/drunk volunteers to be insulted directly onstage. Then it was time for the main act. With a sign behind him stating Comfort Is The Poison, Rock brought a familiar feel to his new circumstances. With topics switching from religion, politics, family and dating, the show felt like a fleeting moment. Rock apparently even had the time to Google Moss Side (or Mose Side according to him), comparing its troubling streets to the startling deprived corners of Jamaica. You shouldn’t review jokes and comedy is very much a personal preference, but anyone familiar with Chris Rock's work will not be disappointed with his latest show. His tone of voice hasn’t changed, and you can sense where he is taking you when he tackles topics like relationships. Specifically, how to keep a relationship going, which is in line with his observational humour. Rock’s comedy shows have never been highly political and here his focus on entertainment in line with his ethical issues (bullying, porn and Trump) are segues that swiftly circle back to himself. Regardless of the reasons for his new specials, I’m thrilled he’s back. Chris Rock is made for the stage. It has fashioned some of his most personal and memorable work. Total Blackout is old-school comedy at its best, with no projectors, props or facade needed. ChrisRockTotalBlackout #Manchester #ManchesterArena

"Get thee to a nunnery." The Royal Shakespeare Company (RSC) have uprooted the Bards longest running play to deliver a contemporary take on the tragedy. In a rich tapestry that combines African, Caribbean and British culture, Simon Godwin successfully reshapes Hamlet in a bright and unexpected direction. Hamlet returns home from studying abroad to discover his father has died, his mother has remarried his uncle, and his girlfriend is ghosting him. His father’s ghost then appears, revealing that his treacherous uncle Claudius has, in fact, murdered him. Despite seeking vengeance, the young Hamlet struggles with his decisive and divided mind that eventually leads him down a destructive path. Paul Willis has designed a stylish set that mirrors Hamlet’s tumultuous attitude. With a looming Tetris labyrinth as the shows main background, props are lowered, walls removed, and hidden depths are revealed. The Lowry’s Lyric Theatre shapeshifts from solid black backdrops and deep red spotlights to sherbet splattered graffiti walls. But as Hamlet hovers between truth and illusion, the wooden, natural props and live African percussion keeps the audience firmly grounded. Embarking on a spiritual journey, the script has been streamlined to focus on the characters motivations, leaving Claudius’ military regime on the back burner. The show flows better for it. Paapa Essiedu achieves a relatable and likable Hamlet whose performance exposes more to the audience through each passing soliloquy. The impressive cast also includes Clarence Smith (Claudius), Buom Tihngang (Laertes) and Mimi Ndiweni (Ophelia) who each carry physically demanding and emotionally draining roles. The shows modern twists keep tensions high and the comedy fresh. From its paint-splattered framing to its boombox carrying prince of Denmark. The RSC takes bold choices that are richly rewarding to watch and keep the audience engrossed throughout its 180-minute production. Hamlet is available to watch on Prime Video with MarqueeTV Hamlet #Manchester TheLowry RoyalShakespeareCompany

Gecko’s latest production is a disturbing and eccentric piece of physical performance art that focuses on issues surrounding men’s health. Institute confronts the breakdown of relationships, career pressures and death with an intense and almost unspoken production. In our increasingly disconnected and fractured lives, the rate of male suicides have increased and statistically moved men to become three times more likely than a women to take their own lives. Women are seen to have better support systems in place, whilst also being more open and honest about their problems. Anxiety and depression remain largely ignored and contained by men despite their overwhelming effects. Institute confronts and challenges these stereotypes by showing a community of men who are each other’s carers, colleagues and friends. The four performers Lahav, Chris Evans, Ryen Perkins-Gangnes and François Testory draw the audience into a fantastically enigmatic world of sky-high cabinets. While visually daunting, the men use them to compartmentalise their memories, fears and traumas in a controlled manner. A lack of communication, the use of multiple languages and expressive dance recognises the men’s ability to connect on various levels. In contrast, the lacking of any meaningful conversation highlights a progressively noticeable barrier surrounding the men’s lives. Safe spaces and counsellors may not ring as macho terms but the lack of opportunities for these men to find spaces for open and honest conversations leads them to a physical break down. The obstructions created by sky high cabinets that housed everything from work stations to dinner tables, captured a surreal world that darkened the themes of the play. The physical performances were gripping with the dances often used to accelerate the pace and energy for the audience alongside the productions difficult topic. Institute manages to be both moving and entertaining through its use of poignant repetition. It certainly deserves praise for being a brave and ambitious production that serves to provoke a new conversation through movement. Institute #Manchester #HOMEmcr GeckoTheatre

Selladoor Theatre Company have revived the 1986 cult classic, Little Shop of Horrors in a faithful rendition of the Motown-flavoured musical. The original low-budget B-movie plays on peoples’ paranoia and fear of the unknown. Themes that remain relevant in 2016; a year defined by Brexit and Donald Trump’s eerie focus on immigration. The Palace theatre houses the sci-fi/comedy, portraying the down and out New York street, Skid Row. The story sees shy shop assistant Seymour Kreloyne modernise the failing Muskin’s florist after discovering a mysterious man-eating plant. While tending to his new plant, Audrey 2 (named after his co-working crush) Seymour sees his popularity rise alongside his ever-growing carnivorous plant. Selladoor Theatre Company is the troupe behind Avenue Q; an adult Sesame Street-like show with a precedent for eye-catching props, strong vocal performers and catchy crowd pleasing tracks. Similarly, the cast of Horrors fly through high-pitched, fast-paced songs with ease. There are fantastic vocal performances by Stephinie Clift, who consumes the goofy and humble Audrey character comfortably. Sam Lupton as Seymour is a multitasker of puppetry and vocals, with a performance that appears to be as difficult as patting your head and rubbing your stomach. While Rhydian as Orin et al was the standout performer whose comical costumes and personas put the production in traditional B-movie mode. With the Audrey 2 puppet controlled by Josh Wilmott and voiced by Neil Nicholas, the expectations of another runaway success of Avenue Q should be on Sell a Doors steps. Unfortunately, while an ever-growing man-eating, alien plant is visually impressive and exciting to watch, the music arrangement was often muddled and difficult to decipher. For a musical containing twenty-one songs, it was disappointing that any performance covered by more than one person was indecipherable and saved only by its likable cast and striking visuals. SelladoorProductions #LittleShopofHorrors #Manchester PalaceTheatre

This triple Tony Award-winning, feel-good comedy is aimed at the failing generation or anyone who has struggled to find their purpose in life. After completing his BA in English, Princeton is ready to discover what life has in store for him. His first move is a new apartment on Avenue Q, an outer-outer borough of New York City. We follow Princeton’s blossoming relationships with the Sesame Street-esque puppets Rod and Nicky (resembling Bert and Ernie) and Trekkie Monster, a distant relative of Oscar the Grouch. Alongside a range of actors and puppets who play archetypal characters. This is an inspirational musical that deals with racism, anxiety and love in a way that Sesame Street never could. These streetwise puppets are voiced by an extremely talented cast who act alongside their character and play multiple roles. Notable multitasking cast members, Sarah Harlington, Richard Lowe and Stephen Arden voiced numerous characters on stage at the same time. Considering the wider spacing of the Palace Theatre, the production was simple but smart, allowing actors to walk on and assist as a secondary puppeteer or run behind closed doors to get from different corners and levels of the stage. There are plenty of laugh-out-loud moments in this show, which is rated 18+ so be prepared for hits like “The Internet Is for Porn” and “Everyone’s a Little Bit Racist”. Avenue Q features a diverse ethnic cast who are all in on the joke and keep the audience at ease. The shows stereotypical Asian American character, sexism and racist jokes are unlike 2 Broke Girls and Two and a Half Men as it is clear from the start that it is not attempting to be as offensive as possible. Yet, its deliberately kitsch quips and old school comedy can feel a little dated at times. The show has been running since 2003 and one of the main cast of characters on Avenue Q is Gary Coleman (the Different Strokes actor who died in 2010). It makes sense as he is the epitome of the plays essence. A broken adulthood that was abetted by an over stylised, cosy childhood. More importantly you cannot liable the dead. Nevertheless, the bountifully entertaining production is completely inclusive in its running theme that everybody’s life sucks sometimes. AvenueQ #SelladoorProductions #Manchester PalaceTheatre

“Many a true word hath been spoken in jest.” When it comes to tales of tragedy, any novice watching King Lear should be aware that Shakespeare favours no character. In a world where being sincere and pursuing true love will also see you kicking rocks; King Lear has a relatable premise. A powerful yet unstable man, fearful of losing the love of his daughters is concerned with who will care for him in his old age. The Royal Exchange was created for Shakespeare; its round theatre is entirely immersive, but its productions vary from your typical portrayals. Last year the use of cross-gender casting saw Melanie Peake play Hamlet in a representation of the character that helped attract a young audience back into the theatre. This year celebrates Shakespeare’s 400th anniversary and what separates this continued, and common retelling of King Lear is its phenomenal performances. The Exchange can boast a largely black cast in which Don Warrington’s interpretation of Lear is unpretentious and empathetic. Warrington embodies Lear’s consumed nature due to his deteriorating state and allows the King to shine as a naive man unwilling to accept painful truths as opposed to a brash and tyrannical leaders fall from grace. The daughters Goneril (Rakie Ayola), Regan (Debbie Korley) and Cordelia (Pepter Lunkuse) are strong, charismatic performers. For a three-hour production to feel effortless and brisk is a testament to its absorbing ensemble cast. Although the universal story of King Lear and its portrayal transcend race, it is always striking when a production can highlight that fact within its casting. The director, Michael Buffong, transformed the Exchange stage to move with the ever-changing conditions put upon Lear. From the dirt, fire and rain, this heart-breaking and personal rendition of a families decay are worth the retelling. KingLear TheRoyalExchange #Manchester

Into The Hoods is an explosive reworking of the already rejigged fairy-tale classics from the Stephen Sondheim musical Into The Woods. Following the freshly familiar characters Lil Red, Jaxx, Spinderella, Rap-On-Zel, Prince and The Wolf; this urban rendition of the Hans classic is an entirely dance focused production. The award winning show set in the Ruff Endz Estate, follows two lost children who have been forced to find an iPhone as white as milk, trainers as pure as gold, a hoodie as red as blood and a weave as yellow as corn in exchange for a bus ticket home. The deceptively large stage at HOME can bring a community atmosphere with its three two floored theatre and tiered stage. The space is kept intimate with a blacked-out stage and an ensemble cast of seventeen who capture the attention of the entire room without saying a word. The show features almost exclusively hip-hop dancing where the audience were asked to whoop, cheer and engage with the medley of music on offer that had children and adults on their feet by the end of the performance. Audience participation often fills me with dread but during the production the Prince jumped off stage to serenade me. It was both painful and hilarious. Thankfully, I was not asked to join them on stage but the atmosphere was upbeat from beginning to end. Despite the story following a strong cast of known characters with ensemble routines throughout, the show allowed every dancer on stage to have their spotlight in which to highlight their specific skills. The two-hour production included a smooth soundtrack too abundant to list, ranging from Cameo’s Candy and Jill Scott’s Golden to Missy Elliott and Kanye West. Into The Hoods is as pure as gold with a tremendously talented cast who clearly love what they do and can capture the audience with their infectious joy. IntotheHoods ZooNation #Manchester HOMEmcr

Known as the father of the modern computer, Alan Turing’s passion for mathematics and eccentric personality has been portrayed on the big screen numerous times and most recently by Benedict Cumberbatch in The Imitation Game (2014). The former University of Manchester professor fixated on the power of a computer to rival human thought and cracked Nazi ciphers with his Bombe machine. While artificial life shaped many of the screen adaptations, the Royal Exchange has taken a personal route. Directed by Rob Hastie, the set holds Turing (Daniel Rigby) in a square light installation made of suspended rods. The clean and simple design draws you into a few fundamental characters in Turing’s life, while the lights spark to present each new scene. The play begins with Turing entering a police station to report a robbery by a young man he had previously had an affair with. Despite perceptions of Turing as a multifaceted, hyperconscious being he was unable to decipher the limits of others around him. Turing’s relentless honesty is shown to be his downfall as his confession eventually sees him convicted for gross indecency. Homosexual acts were considered a criminal offense in the 1950s and Turing suffered horrendous treatment under the U.K government for which he once served, later dying of cyanide poisoning at the age of 41 in 1954. The play chooses to focus on Turing’s earlier relationships, where his power of reason is revealed as the component that ignites his passion for mathematics and computer science. His friendship with mathematician, Joan Clarke developed into a proposal in 1941 despite immediately telling her of his “homosexual tendencies”. The interlinking of equations and love also starts with the death of his childhood friend, Christopher Morcom, who emerges as the foundations for Turing’s links between the mind living on after death. Hastie's personal take on Turing’s life is subtle but tragic. His utopic ideals that the mind can live forever allow us to dream beyond the limitation of the human body. It is only fitting that this production does not label Turing a victim but offers audiences a sense of the witty, talented and optimistic man whose abstract reasoning helped break the Enigma code. BreakingtheCode #Manchester TheRoyalExchange

Balancing flights of fantasy in celebratory settings, Moscow City Ballet’s strong storytelling will boost audience’s appreciation of one of ballets most popular classics. Suspended disbelief and enter a world in which an evil magician has cast a spell condemning the young Odette to be a swan by day and human by night. With the only cure being the love of a young man who has never loved before, the four acts switch between the bank of Odette’s lake and Prince Siegfried’s castle. This reprised mix of tragedy, romance and magic has kept audiences under a spell since it premiered in 1877. At the Palace Theatre, Moscow City Ballet has kept the tradition going, absorbing audiences with an emotive take on the bewitching tale. The long-established settings to this Tchaikovsky classic keeps the focused fixed on the music, performed by The Rakhmaninov Symphony Orchestra and the technical ability of its principal dancers. The Ballet company of primarily young dancers are given the freedom to tell the story through the use of mime acting and clever choreography by Natalia Ryshenko and Victor Smirnov-Golovanov. Companies that overemphasise the moves and downplay the story can make Swan Lake feel somewhat mechanical. If you are unfamiliar with the story (or ballet in general) an overly technical performance can deprive audiences of fully appreciating the challenge of repetitive moves and it can become quite monotonous to watch scenes without Odette/Odile. Moscow City Ballet includes simple but effective features to explain the story and add a sense of drama. Costume designer, Natalia Povago creates a block outfit for Odile in act 3 who enters in a half black, half white dress and matching tiered tutu. The use of comedy and casting through the roles of the jester and the evil magician (Baddie Kozhabayev Talgat) enrich the storyline but also bring stunning solo performances that often steals the scene. Lilia Orekhova is also assured and powerful as the fearless double, Odile but offers an impassioned act as Odette. The shadowy and romantic scenes are wrapped in precision and emotion, flurrying on stage with a serene posse of swans, Orekhova daintily crafts her faultless moves centre stage. On pointe for over five minutes, she delivers an expressive performance deeper than her poise. Orekhova Evokes the spirit of the seductive story, connecting with the audience and conveying the character in alluring routines. The shadowy, sombre surroundings formed by Victor Smirnov-Golovanov are eclipsed by the crisp white tutus of the swans, made to float by the beautiful creatures lining the stage in masterful formations. With a haunting finale tied down in tradition, Odette is rescued by her true love after an epic battle between the magician and Prince Siegfried. The use of mood lighting and mist brings an added touch of mystery and magic to the final act, but Swan Lake’s fantastical moments are a surprise to no one. There is a reason these familiar oldies still carry their weight with audiences, it is their mixture of treasures and tradition that holds a special emotional resonance. If you have never taken the opportunity to watch Swan Lake, I recommend that you do because we can all appreciate a classic. MoscowCityBallet #SwanLake #Manchester PalaceTheatre

Henrik Ibsen’s Ghosts follows the divisive themes of marital affairs, addiction, incest and euthanasia by weaving them into the fabric of everyday family life. The story follows widow, Helen Alving (Niamh Cusack) efforts to step out from her cheating, alcoholic husbands shadow. Helen has spent her married life painting the perfect picture of marital bliss, presenting to outsiders a husband who appears to be successful, charming and worldly. Now, years after the death of her husband, Helen upholds the myth for the sake of her family, remaining trapped in her own illusions and burdened by her husband’s true crimes. Ghosts focuses on a family’s inheritance and the emotional remains of the people left behind. Helen feels a need to protect her husband’s reputation despite being the central victim of his violations. The production explores a woman’s identity in a male dominated world, covering the ethical role that religion and marriage play in a modern society. Many of the themes are as controversial today as they were when the play was first performed in 1882. This forceful adaptation presented at HOME is directed by the Olivier Award winning Polly Findlay, whose seemingly natural set exhibits Helen’s skewed world to the audience. Helen’s intensely compact and dishevelled, opened planned house unravels in front of the audience’s eyes. Rooms dismantle, walls are removed and hidden spaces are revealed for characters to pry behind or detach themselves completely. When Helen’s son, Oswald returns home from his bohemian lifestyle as a painting abroad, something is amiss. He shows signs of a rare life-threatening illness his father also carried. Oswald, played by Ken Nwosu is forced to inherit the sins of his father without being made aware of the reason for his faulty gene. The persistent presence of her husband’s past indiscretions ensures that Helen’s life remains looped in a space she can no longer break free from. Ghosts cast are captivating and diverse, Jamie Ballard as Pastor Mander and William Travis as Jakob Engstrand bring a comic relief and levity to the societal pressures that have been intensely set in Helen’s world. The poignant performance of Ken Nwosu alongside Niamh Cusack demonstrate that circumstance can fate people to doom, despite social class, gender or age. This poetic revival of Ghost is a wonderful reminder of what can be accomplished in the HOME theatre space as it showcases a compelling cast and authentic story. Ghosts #Manchester HOMEmcr

Helping you insert some Christmas spirit into your wardrobe is the Vlogger Christmas Edit at Manchester Arndale’s Exchange Court. This weekend Manchester Arndale plays host to eight of your favourite vloggers in a live scoop on the latest fashion, beauty and lifestyles trends. The two-day event features Manchester-based Jess Ratchford (JDR MakeUp) and Lily Kitten. The social media stars were highlighting their top beauty and gadget gifts guaranteed to excite this festive season. Tiny Twisst’s wish list included ten versatile dresses that will carry you through the party season. Meanwhile, fashion and lifestyle blogger, Boy in Breton presented classic fashion favourites for men. The highlight of the day would have to be Chioma Jennifer Jenkins, known as Jennie Jenkins on her YouTube channel BeautyByJJ. The 27-year-old Nigerian fashionista has been boosting the confidence of her darker skin toned viewers and inspiring them for over five years. Despite having a degree in Psychology, the YouTuber has steadily built up a fashionable following of over five-hundred thousand subscribers in the saturated subject of beauty. Jenkins counted down her top ten show-stopping heels for the season, including three sparkling stilettos from Dune, Kurt Geiger and Aldo. When putting the finishing flourishes on her outfit, Jenkins admitted that her last purchase were the red tasselled heels she featured from River Island (£65.00). Jenkins also flaunted a smokey eye which would add a modern polish to any outfit and feature heavily on her make-up channel tutorials. Manchester Arndale’s The Vlogger Christmas Edit will continue on Sunday the 22nd. If you can’t make it be sure to catch the videos on the Manchester Arndale website or check out the Vlogger’s personal channels. 21st and 22nd of November 2015 This review was originally written for The Nubian Times #TheNubianTimes #VloggerChristmasEdit