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First Tuesday current affairs discussion - Tuesday 5 December 7:00pm start

Tuesday 5th Dec: First Tuesday Current Affairs discussion

We'll discuss two topical subjects

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Manchester reviewed
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Manchester theatre reviews

Saturday Night and Sunday Morning

Saturday Night and Sunday Morning, Royal Exchange

Adapted for the stage and directed by Matthew Dunster, from the novel by Alan Sillitoe.

Reviewed by Jane Turner March 2012

 

“I’m me and nobody else; and whatever people think I am or say I am, that’s what I’m not, because they don’t know a bloody thing about me” so says Arthur Seaton, Alan Sillitoe’s hard-talking, hard-drinking and womanizing “angry young man”.

 

Sillitoe’s first-published and best-selling novel, written in 1958, has been adapted for the stage and brought back to ass-kicking life at one of my favourite venues, the remarkable Royal Exchange Theatre in Manchester, and by the award-winning Director Matthew Dunster, whose previous work includes Mogadishu and 1984 (both reviewed here on The Manchester Salon). With a high-profile cast that includes actors from Coronation Street, This is England and Downton Abbey, the lead role of Arthur Seaton is filled by Perry Fitzpatrick and the setting, as depicted so vividly by Sillitoe in the novel, remains true to 1950’s working class Nottingham.

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Manchester theatre reviews

The Daughter-in-Law by DH Lawrence

The Daughter-in-Law by DH Lawrence

Performed at The Lowry, directed by Chris Honer

Reviewed by Charlotte Starkey February 2012

 

D. H. Lawrence completed his play The Daughter-in-Law in 1913, the same year in which he published Sons and Lovers, and one year after the miners’ strike which had split the mining workforce in the Nottinghamshire coalfields, particularly in the Eastwood Colliery (Lawrence was born in Eastwood).

 

The play was never performed whilst he was alive, only opening in 1967 at The Royal Court. Before then he had written A Collier’s Friday Night (1906), containing some of the ingredients of Lawrence’s continuing concerns as a writer: a struggling mining family whose main wage-earner drinks, is despised, and against whom the rest of the family struggle to find some sense of identity and purpose.

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Manchester theatre reviews

Lion King Press Launch. Photo by Sara Porter.

The Lion King Musical UK Tour Press Launch

at The Comedy Store, Deansgate

Reviewed by Sara Porter February 2012


There can be few people who have not at least come across the story of Simba who is driven into exile after the death of his father and his epic journey to then become the King of the Pridelands. Originally an animated Disney cartoon, the multi-award winning musical first opened at Broadway’s New Amsterdam Theatre in 1997, reaching London in 1999 where it has played to packed audiences ever since. In September 2012, The Lion King begins it’s first ever UK tour, making it’s way to Manchester for an 18 week run at The Palace Theatre from December 6th.

 

As Manchester will be the home of the tour for it’s longest run, it was also chosen to be the location for its press launch. The Comedy Store at Deansgate Locks provided an ideal, intimate setting for the launch. A simple set was all that was needed with the now iconic, The Lion King logo projected onto a screen central to the stage and either side of the stage sat the masks for Mufasa and Scar.

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Manchester theatre reviews

A Streetcar Named Desire

A Streetcar Named Desire

A Liverpool Everyman and Playhouse Production

Reviewed by Jane Turner February 2012

Kicking off its 2012 season with the Tennessee Williams’ classic A Streetcar Named Desire, the Liverpool Playhouse brilliantly re-create the hustle, bustle, whirl and wonder of New Orleans City. The street sounds and soul are brought to mesmerizing life in this historic and intimate Liverpool theatre by a superb Peter Coyte arrangement.

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Manchester theatre reviews

Oliver! Photos by Alastair Muir

Oliver! Palace Theatre, Manchester

Book, music and lyrics by Lionel Bart: Freely adapted from Charles Dickens’ Oliver Twist

Reviewed by Helen Nugent February 2012


In a year when the world is awash with adaptations and celebrations of Charles Dickens’ work, a revival of Lionel Bart’s musical version of Oliver Twist could be considered Dickensian overkill. Does the public need another depiction of the great writer’s Victorian underworld during the 200th anniversary of his birth?

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Manchester theatre reviews

An Inspector Calls at The Lowry

An Inspector Calls by J. B. Priestley

Performed at The Lowry, directed by Stephen Daldry

Reviewed by Charlotte Starkey February 2012

 

An Inspector Calls has been a perennial favourite of the English syllabus in schools and still remains so. Comments by groups of school parties after the performance at The Lowry ranged from ‘Wow!’ and ‘Brill!’ to the more controlled ‘An amazing evening!’ and ‘Really enjoyable’.

 

As I arrived coaches were departing for, and arriving from, different parts of the North West and beyond. What seemed like an army of young GCSE students was leaving the earlier matinée performance, pouring down the stairs like the hordes of Hannibal’s army over the Alps, but thankfully more triumphant and peaceful, milling around in excited chatter, lingering in the foyer or leaving; and then another invading army of young theatre-goers approached, sweeping up the stairs like a surging wave to pack the theatre for the evening performance.

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Manchester theatre reviews

Two by Jim Cartwright

Two by Jim Cartwright

Performed at Royal Exchange, directed by Greg Hersov, designed by Amanda Stoodley

Reviewed by Emma Short January 2012

 

With an emphasis on the tentative balance of self and other within a relationship, Jim Cartwright's Two takes us on a journey through the most intimate insights and fluctuations within couple dynamics. The secrets shared at the bar over a pint are captured in all their innocence, arrogance and transparency evoking a sublime pathos that grips the breath.

 

Justin Moorhouse and Victoria Elliott play all 14 of Cartwright's characters with tremendous versatility, flair and imagination. The range is astounding, from small boy, to bullying boyfriend, chipper landlord and wistful old man to mirror the portrayal of the scorned other woman, ground down elderly carer, brow beaten girlfriend to over excitable Maudie.

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Manchester theatre reviews

Sarah Ridgeway as Alice and Christopher Benjamin as Martin Vanderhof. Photo by Jonathan Keenan

You Can't Take It With You

by George S Kaufman and Moss Hart, performed at Royal Exchange Theatre, with Told by an Idiot, directed by Paul Hunter, and designed by Laura Hopkins

Reviewed by Helen Nugent December 2011


You know you’re in for something a little bit different when the only character on stage at the beginning of a play is a tortoise. In a spotlight. A tortoise in a spotlight. Yes this, as Mancunians would have it, was going to be proper different.


The omens were good from the start. The largest theatre in the round in Britain housed in what was once the largest room for commerce in the world; the Royal Exchange’s Christmas show, rarely, if ever, a let-down; and a collaboration with Told by an Idiot, a company renowned for fusing comedy with tragedy, theatricality with nuance.

 

And the choice of show? A production written by the celebrated comedy writing double act, George S. Kaufman and Moss Hart who, when they created YOU CAN’T TAKE IT WITH YOU, engendered a Broadway hit, a Pulitzer Prize-winning play and an Oscar-laden film. And, more than 70 years after its first season, it was still drawing the crowds on a windswept winter evening in Manchester.

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Manchester theatre reviews

Wind in the Willows

The Wind in the Willows by Kenneth Grahame

Adapted for the stage by Alan Bennett

Presented by Library Theatre, performed at The Lowry, directed by Chris Honer

Reviewed by Charlotte Starkey December 2011

 

Some people, who find animals endlessly fascinating, tend to be outward looking, always seem glad that they are still alive to enjoy the world, just like Mole; others, who do not have the same connection with animals, seem to believe the world should feel privileged that they are alive, just like Toad. This is a generalisation, of course; but I realised the limitation of imagination, when an English teacher whom I had admired, declared that ‘animal stories’ are ‘not sufficiently substantial’.

 

I never did grasp the meaning of that and promptly threw him into my trash bin, having just read Gulliver’s Travels and Animal Farm as well as having been brought up in the company of animals, wild and domesticated. After all, I had read The Wind in the Willows by the tender age of six months, or so it seems from this distance, and my love of the tale has never waned. This production is no place for the self-lover, the introvert, the angst-ridden career seeker or anyone on a mission. It is for those who find something quite mad, amusing and mysterious about creation and understand that the unpredictability of animals comes largely from their having to share a planet with a rather weird race of beings - us.

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Manchester theatre reviews

Celluloid

Celluloid by Lloyd Eyre-Morgan

Performed at Three Minute Theatre, by Dream Avenue Productions

Reviewed by Emma Short November 2011

 

Having been officially open for two months Manchester's Three Minute Theatre has emerged and stamped its mark on the ground floor of Afflecks on Oldham Street. With its intimate performance space and in house bar this comfortable venue recently hosted Dream Avenue Productions' Celluloid by Lloyd Eyre-Morgan.

 

Lloyd takes us straight into the heart of dysfunctional family life. Mum Dawn's (Janet Banford) struggle with her past is played out not only upon the counsellors couch during regression therapy but also within the family home. With the help of Josh's (played by Daniel Booth) method of escapism; a penchant for viewing life through a lens, we learn from his footage the extent and impact this situation has had over the years.

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