At the time, Elaine, born in Bolton, was simply a single mum trying to navigate the overwhelming early days of motherhood while breastfeeding her baby daughter, Jessica. But from those difficult beginnings came something extraordinary.

Determined that no mother should ever feel as isolated as she once had, Elaine set out to create a safe and supportive space for women struggling with feeding, confidence and the emotional realities of becoming a parent. What began as one mother wanting to help others soon grew into something far bigger than she could ever have imagined.

Driven by compassion, grit and an unstoppable belief in the power of community, Elaine secured funding to launch a breastfeeding support project in Blackburn with Darwen, offering mums practical help, emotional reassurance and evidence-based advice at a time when many felt they had nowhere to turn.

That small grassroots initiative would later become Families and Babies (FAB) — a life-changing organisation now supporting thousands of families across the country.

After leaving behind her career as a mortgage adviser, Elaine retrained as a La Leche League Trainer and began building a network of peer supporters, many of whom had experienced similar struggles themselves. Together, they created a service rooted in empathy: home visits, late-night phone calls, hospital ward support and a listening ear whenever it was needed most.

FAB grew into a nationwide charity with 120 of staff and more than 150 volunteers, supporting over 8,500 families every year across some of the UK’s most disadvantaged communities. To date FAB has supported 250,00 families.

But while the organisation has thrived, Elaine’s mission has remained beautifully simple — making mothers feel seen, supported and never alone.

Elaine’s story is Chapter Nine in ‘The Empowerment Effect’ Volume Two written by Sarah Hulme & Co. Sarah is founder of the women-only networking community COVEM and the book amplifies the stories of 24 remarkable women “where adversity became fuel and resilience shaped leadership.” Launched on this year’s International Women’s Day – which happens to be Elaine’s birthday; it sped straight to number one in the ‘Amazon’ book charts.

Elaine has since become part of the COVEM community and holds her COVEM meeting in Parbold Lancs.

Elaine tells me that she received a letter announcing that she had been chosen to become a ‘Member of the British Empire’ in November last year “The Christmas post was in full swing, and the letter had been delayed. I had only 24 hours to respond to say I wished to accept the honour!”

So how was the day at Windsor Castle.?“I was very nervous especially when it came to recipients leaving their families to be briefed in how the ceremony would unfold and what we required to do,” says Elaine. “I needn’t have worried, we were taken through the whole process, in a welcoming and warm way. Once we had been taken through every step we were escorted into the beautiful banqueting room. Our families had already been seated behind us, and we recipients were called by name one by one to receive our insignia from HRH Prince William Prince of Wales. Being told by His Royal Highness that his wife Catherine was very interested to hear of my work was one of my proudest moments ever. Joining my husband, son and fiancé following my Investiture was an emotional moment for us all. I rang my daughter Jessica who was at home with our first grandchild, Noah, to tell her all about it!”

Elaine’s passion for helping families extends far beyond breastfeeding support. Elaine has championed inclusive infant care, encouraging fathers, grandparents and partners to feel connected and confident in those precious early weeks of a baby’s life.

And despite receiving national recognition, including the Prime Minister’s Points of Light Award, even winning eBay Business of the Year and now an MBE, Elaine remains deeply connected to her community roots.

This year Elaine will become the President of the Turton Rotary Club 2026. She will be their first female president in their history.
Elaine Edwards has become far more than a charity founder. She is proof that one person’s difficult experience can become the spark that changes thousands of lives.

Through kindness, determination and an unwavering belief in the strength of women supporting women, Elaine hasn’t just helped transform services for families across the UK — she has helped transform the experience of motherhood itself.

Elaine joins the increasing number of people who have received recognition for transforming other people’s lives and communities for the better. There are however many unsung heroes and unless they are nominated for an honour, they have no chance whatsoever of being chosen.

So how can we nominate that special person? I asked Melanie Bryan OBE DL, Chair of the Reward and Recognition Committee at the Greater Manchester Lieutenancy for her advice.

“The great thing,” Melanie says, “is that anyone can nominate anyone for an honour and I really do mean anyone. The youngest recipient so far was just nine years old, and the oldest was over a hundred.

“The process is simpler than you might think. You can do it online at gov.uk/honours, or download a form if that’s easier.

“One thing to remember is that the Honours Committee probably won’t know your person. So it’s important that you help them to understand why your person is so special. The Committee wants to know about the difference they make in people’s lives and all the reasons why they are so outstanding at what they do.

“The key thing is to draw out why they stand out from anyone else. Facts and figures really help with this. You could talk about how many people they have helped. Or how many years they have volunteered for. Or how far their impact reaches. This type of evidence makes your nomination stronger.

“You’ll also need two letters of support from people who can speak about your person’s achievements in their own words. So do have a think about who’d be best placed to do this.

“Oh, and one very important golden rule, you must keep it a secret! The process is completely confidential, and your nominee can’t know they’re being put forward. Apart from anything else, you really wouldn’t want to spoil that amazing moment when they open that letter!

So if you’re reading this and thinking about somebody you think is worthy, perhaps that quietly dedicated volunteer who just gets on with it, the one your community simply couldn’t do without, then please do them the honour of making a nomination.”

The post Bolton mum’s MBE journey: how Families and Babies grew from one woman’s struggle into a national charity appeared first on Quays Life.

In 2022 I wrote in Quays Life about the amazing story of the Gorton Monastery, and the equally amazing fact that in 1863 a handful of Belgian Franciscan monks, managed to commission one of the leading architects of the day to design and build the imposing church and friary on Gorton Lane Manchester. The architect was Edward Pugin, whose father Augustus was the architect for the Houses of Parliament.

I wrote about the wish of The Trust custodians working hard to reinstate an organ after the original one, installed in 1888, was stripped out and sold for scrap when the Monastery was sold to developers. Then the certain serendipitous set of events of 2020 when Elaine Griffiths OBE, CEO of the Monastery Manchester, received a letter from David Emery, the treasurer and organist at Patricroft Methodist Church in Eccles, Salford. The church had closed, and the Monastery was being offered their organ at no cost other than paying for the removal and installation in the Monastery’s organ loft. Remarkably the Patricroft church organ was made by Wadsworth, the same firm who made the Monastery’s, it was only a few years older and similar to the one the building had lost.

The Monastery of St Francis and Gorton Trust had set up the Wadsworth Organ Appeal to raise £100,000 to cover the cost of dismantling, repairing, reconfiguring, and rebuilding the Victorian instrument which has almost 1,000 pipes. The team at Quays Life were delighted to receive news recently that thanks to generous sponsorship and donations the organ is back where it belongs! It has been lovingly restored, repaired, re-configured, rebuilt and updated to its full glory for future generations to enjoy.

The Monastery Trust marked it’s 30 years of restoration and community impact with a special anniversary celebration recently.
Held in the striking surroundings of the Great Nave, the evening will bring together music, dancing, food and community, celebrating three decades of transformation from a derelict Franciscan friary into one of Manchester’s most distinctive heritage and events venues.

Since 1996, The Monastery’s charitable trust has led the restoration of the Grade II* listed building, creating a space that now hosts a wide range of cultural, wellbeing and community-focused activities throughout the year.

The anniversary event featured live music, dancing, a licensed bar and a traditional hot pot supper, which offered guests the opportunity to experience the building in a relaxed and celebratory setting.

CEO Elaine Griffiths told us about this milestone celebration: “It was a celebration of the people who have supported the Monastery over the past 30 years. What was once a building at risk has become a place of welcome, connection, peace and purpose for so many. We’re proud to have marked this moment with our community and looking ahead to the future.”

So what does Elaine envisage for the next 30 years? “The next 30 years – a fascinating thought! We are currently working on our 30th Anniversary projects and events that are supported by a grant from the National Lottery Heritage Fund. One of the very important things we need to do to future proof the Monastery heritage buildings is to replace the 20-year-old boilers and heating system with something much more efficient. We’re also exploring ways of making the building more environmentally sustainable and have carried out a comprehensive carbon management plan to inform all these major decisions.

“In the immediate future we are creating a new Wellness Wing in the first-floor suite of rooms of the former Friary that will be launched over the summer. This means that we will have qualified holistic therapists and wellbeing practitioners running their clinics and being based here all the time. There will also be therapy rooms, workshop spaces, meeting and training rooms available for hire.

“In terms of the wider vision the Trust wants to ensure that the Monastery thrives and continues to be loved, cared for and well used by the local community. This can only be achieved if we continue to generate a successful income through commercial venue hire for special events, conferences, concerts and weddings.

“We currently share our building with Manchester Camerata Orchestra who are driving forward the music and health agenda through their innovative dementia work with the Music Café, Music in Mind and Music Champions as well as delivering world class Monastery concerts and performances on a regular basis.

“The team from Mentell, the men’s mental health support charity moved in with us in June. They deliver our weekly Wednesday Men’s Group, and we will be doing so much more together in the future too with our daily Hour of Silence, Healing Garden and sacred spaces around our heritage site we are increasingly creating a sanctuary atmosphere and hopefully a long-term place of peace and purpose that is very much aligned with the original Franciscan values”.

I thanked Elaine for this snapshot of the future; I am sure the Belgian Franciscan monks would too. As is with all the finest CEOs I am sure Elaine and her team have many more plans in the making, but those plans are for another day and the decades to follow.

The post The Monastery’s Victorian organ sings again as Manchester venue marks 30th anniversary appeared first on Quays Life.

Deciding which airport to use proved difficult, and one I believe travellers intending to visit the museum should think carefully about. Belfast City Airport is less than half an hour from Belfast itself, while Belfast International Airport is much further away. The beautiful marina in the Titanic Quarter provides a quieter and more leisurely atmosphere than the busy city, just a mile or so away, but a world apart.

With just 24 hours available for our visit, we chose the Titanic Quarter because, after all, we were travelling there to visit the world-class visitor attraction, which now boasts four exciting new galleries within the Titanic Experience. Titanic Belfast is located on the very spot where the famous ship was designed and launched.

I wondered what the difference would be post-2023 compared with the previous 10 or more years since Titanic Belfast first opened its doors.

From initial research, it was evident that much had been added, enhanced, researched and showcased.

The refreshed experience introduces ‘The Pursuit of Dreams’ as a new theme and combines immersive new technology with an original maritime heritage collection and the authentic Titanic story to deliver an enriched and emotive experience. Other new experiences include ‘Never Again, Ballard’s Quest’, and ‘The Lasting Legacy’.

Judith Owens MBE, Chief Executive of Titanic Belfast, said: “After years of planning, we are delighted to have launched what I believe is Titanic Belfast’s most emotive visitor experience to date. Three galleries have been reimagined and we reopened with four new themed spaces showcasing never-before-heard stories of the hopes and dreams of passengers, a collection of artefacts being displayed in Northern Ireland for the first time, and an original music score which beautifully encapsulates the stories and emotions throughout.”

So, on a sunny morning in April, we entered the iconic six-floor building, showed our pre-booked tickets to a team member at the door, picked up our ‘ Tour Headphones’ and began the self-guided “Titanic Experience”.

The story begins with a much older story, showing how Belfast became a shipbuilding champion, known as ‘Boomtown Belfast.’

We learned that the Titanic was built by the Harland and Wolff shipbuilding company in Belfast, Northern Ireland. Commissioned by the White Star Line, construction took place between 1909 and 1912, employing over 15,000 workers to create the largest and most luxurious ocean liner of its time. The ship was built in response to competition from the rival Cunard Line and was considered the most technologically advanced ship in the world.

The immersive experience enables visitors to be at the epicentre of the amazing sights and sounds surrounding the building of the Titanic.

A previously unknown series of five very rare photographs of Titanic’s launch in Belfast on 31 May 1911 are now on display. These images were taken by a local businessman and capture the hull moving down the slipways, the great gantry, and the launch platform. Later in the day, my husband Bob and I were to stand on the very same slipway.

Soon, with more understanding of why Titanic came to be, we stepped into the real magic as the Titanic Experience began to bring the story of RMS Titanic to life using immersive technology combined with original maritime heritage.

Titanic was launched from Belfast on 31^st May 1912, left Belfast on 2^nd April. On Wednesday 10 April 1912, shortly after noon, RMS Titanic set sail from Southampton’s White Star Dock on her maiden voyage to New York.

Her commander was Edward J. Smith, RD, RNR, who had arrived early that morning in preparation for the Board of Trade muster at 8am. As Commodore, or Senior Captain, of White Star, he often commanded the newest vessel in the company and was the highest-paid ship’s captain in the world in 1912.

While Titanic was making her way from Southampton to Cherbourg, her tender ships SS Nomadic and SS Traffic were already at the harbour, ready to ferry passengers out to the luxury liner. Nomadic transported first- and second-class passengers, while Traffic ferried third-class passengers. Nomadic is still docked outside the Titanic building, the only White Star ship in existence and as a doyenne of the sea, has her own amazing stories to tell.

The Titanic Experience continued to surprise as we turned the corner to be invited into  electric cars which took us a thrilling and immersive journey through the shipyard and bows of the ship.

Soon we reached ‘The Sinking’. We saw a backlit double-height wall listing the names of all the passengers onboard Titanic on that fateful night, detailing whether they were lost or saved. Positioned prominently in front of those names was a Titanic life jacket, the first of the new artefacts now on display: an original Fosbery lifejacket recovered from an unknown Titanic victim. Only twelve lifejackets remain in the world out of a total of more than 3,500 that were onboard the ship. No records exist of the original wearer of this lifejacket.

The Ship of Dreams gallery allows visitors to embark on a reflective journey exploring the hopes and dreams of those impacted by the famous ship. We saw floor-to-ceiling projections depicting the dreams of the people who built her, those who sailed on her, and those who were heading to New York to start a new life.

Next were the large tumbling dominoes, showing the chain reaction of events which caused Titanic to sink and the measures later put in place to prevent such a tragedy from happening again. RMS Titanic sank with loss of more than 1,000 lives at 2.20am on the 15 April 1912.

One of the stories visitors hear concerns the missing binocular-box keys, which limited the vision of the lookout in the crow’s nest. The original keys for the binocular box on RMS Titanic are now on display. These keys belonged to Second Officer David Blair, who was reassigned just before Titanic’s maiden voyage. Due to his hasty departure, he inadvertently kept the keys in his pocket, including the one belonging to the binocular box. Lookout Fred Fleet, who survived, later told the official inquiry that if they had had binoculars, they would have seen the iceberg sooner. When asked how much sooner, Fleet replied: “Enough to get out of the way.”

Having the opportunity to delve into witness testimonies from the British and American inquiries and hear first-hand accounts of what happened onboard Titanic on that tragic night provides incredible insight into the sinking of the vessel and the ships endeavouring to reach her as quickly as possible.

For decades, Titanic lay on the seabed, surrounded by mystery, until we passed through “The Void” — the period of years when the ship was missing — before following Dr Robert Ballard’s quest to fulfil his lifelong dream of discovering the wreck of Titanic.

We were able to learn where his inspiration came from, hear about the top-secret US Navy mission that led him to search for Titanic, understand the challenges of covering such a vast area in a short space of time, and witness the moment the team shouted: “It’s a boiler!”

The entire setting is fully immersive, with projections programmed in sync with a fully lit centrepiece scale model of the ship that transforms with each sequence. A bespoke musical score further elevates the visitor experience in this stunning space.

We then descended the staircase to a stunning collection of original Titanic artefacts on display, including the sheepskin coat worn by Titanic stewardess Mabel Bennett and the black-enamelled walking cane, complete with an electric light installed in the handle, which belonged to first-class passenger Ella White.

The artefacts are all of great historical significance and certainly evoke powerful imagery. They help visitors make emotional and human connections to the stories of Titanic’s passengers and crew, and this certainly happened for us when we saw the world-famous violin belonging to the ship’s heroic musician, Wallace Hartley.

We found this a particularly poignant moment, as my husband’s late father was a celebrated violinist, and we were grateful that fate never took him onboard Titanic, whereas fate did take Wallace Hartley there. His story remains one of bravery and honour.

A gift from his fiancée, Maria Robinson, the violin is German, circa 1880, with a tail plate bearing a silver hallmark from Chester, 1910, engraved with the words: “For Wallace on the occasion of our engagement from Maria.” As one of the rarest and most iconic objects of the twentieth century, this violin bears testimony to the courage and spirit of the bandsmen who brought hope and comfort until the very end. Their actions inspired the popular expression “And the band played on”, used to describe bravery in the face of adversity.

Also on display is a two-page letter from Wallace Hartley’s friend and fellow musician, who wrote: “Jolly good luck, old chap. Would give more than a trifle to be with you. Don’t forget to drop me a line at 61 Lea Road. Bon Voyage and Bon Santé, Bill.” The letter and other personal belongings, along with a letter from Hartley’s father, were recovered with Hartley’s body by Mackay-Bennett.

It is an emotional experience exploring the different themes surrounding the designing and building of the ship, the dreams and optimism of people journeying towards a new life in America, the tragedy and stories of those who were lost, and the long journey towards discovering the wreck many decades later.

This world-leading visitor attraction definitely needs to be experienced in person, but hopefully this article gives readers a flavour of what is truly an incredible experience.

As we departed ‘The Ship of Dreams’ and entered modern times, we could immediately see how the significance of the Titanic story has impacted Belfast and captured the world’s imagination through film, theatre and literature. One opportunity as we left the exhibition was to strike a pose and capture our very own ‘Jack and Rose’ photo moment on the bow of the ship. For us, however, that felt impossible after such an evocative visit.

The £4.5 million investment has been fully funded through the Titanic Belfast Gallery Refreshment Fund, which was established when the building opened as part of the commercial operator agreement and is held by the charity owner, Maritime Belfast Trust.

For further information on the new Titanic Experience, visit Titanic Belfast

The post An emotional journey aboard the Titanic Experience Belfast appeared first on Quays Life.

Beyond the Main Attractions

Every major city has its list of must-see attractions. While they’re often famous for a reason, they only tell a small part of the story. The real magic of a place is often found in the smaller, less-publicised spots that locals frequent. Instead of spending your entire trip queueing, consider dedicating time to exploring alternatives. A great way to start is by researching less-touristy things to do before you even pack your bags. Local blogs, independent magazines, and even specific social media hashtags can be treasure troves of information.

Think about what you enjoy doing at home. Do you love a good independent bookshop, a quiet park, or a bustling market? Chances are, your destination city has wonderful versions of these that aren’t in the guidebooks. Ask for recommendations from your hotel staff or a friendly barista. Sometimes, the best advice comes from a simple conversation. It can be more rewarding to find a beautiful local church than to fight the crowds at a world-famous cathedral. Many cities have spots that locals consider tourist traps, and they often have much better alternatives just around the corner.

Discover Hidden Neighbourhoods

To get a feel for a city’s authentic character, you have to step outside the central tourist zone. Every city is a collection of unique neighbourhoods, each with its own distinct personality, history, and vibe. Exploring these areas is like visiting several different towns within one trip. You’ll discover architecture, shops, and cafes you would never find in the city centre, helping you discover the soul of a city.

Before you go, pull up a map of the city and look beyond the immediate centre. Look for green spaces, interesting street patterns, or areas along a river or canal. These are often residential areas with a strong sense of community. Once you’ve identified a few promising spots, do a little online digging. Search for “neighbourhood guide to” wherever you want to go or look for blog posts about the hidden gems of whichever city you’re visiting.

When you arrive, the best thing you can do is simply walk. Wander down side streets, pop into small shops, and grab a coffee at a local cafe. Pay attention to the details: the style of the houses, the plants in the gardens, the notices on community boards. This is where you’ll find the true spirit of the city. You’ll not only see a different side of your destination but also support small, local businesses in the process.

Where to Stay for True Immersion

Your choice of accommodation greatly impacts your travel experience. While a hotel in the heart of the tourist district offers convenience, it can also isolate you from the city’s everyday life. To truly immerse yourself, consider staying in a residential neighbourhood. This doesn’t mean you have to sacrifice comfort or style. Many of the most interesting and vibrant areas are now home to fantastic boutique hotels that offer the best of both worlds.

Staying in a neighbourhood like Williamsburg in New York, for example, gives you a completely different perspective on the city than staying in Times Square. You can start your day with a coffee from a local roaster, browse independent shops, and end your evening at a neighbourhood bar filled with residents. Imagine swapping a crowded tourist hub for a trendy area where finding a chic Brooklyn hotel with a pool puts you right in the heart of local life, not just next to it. This approach allows you to establish a temporary ‘home base’ and see the city through the eyes of a local. You’ll find yourself falling into the rhythm of the neighbourhood, whether it’s the morning bakery run or the quiet buzz of the evening.

Engage with Local Arts

A city’s culture isn’t just housed in its grand national museums and opera houses. The artistic soul of a place is often most vibrant on a smaller, more accessible scale. Engaging with the local arts scene is a fantastic way to connect with the creative pulse of your destination. This means looking beyond the major institutions to find the grassroots culture that thrives in every city.

Start by looking for independent art galleries, which often showcase emerging local artists. These spaces are typically free to enter and provide a much more intimate viewing experience than a sprawling museum. Street art is another powerful expression of local culture. Many cities have incredible murals and installations hidden in plain sight. You can often find self-guided walking tours online or simply keep your eyes peeled as you explore different neighbourhoods.

For evening entertainment, skip the stadium tour and seek out a local music venue. You might discover your new favourite band playing to a small, enthusiastic crowd. Community theatres, poetry slams, and open mic nights are also brilliant opportunities to see local talent and meet people. Check local event listings websites, university notice boards, or the flyers posted in cafes and pubs to see what’s on during your stay.

Mastering Public Transport

Navigating a city using its public transport system is one of the most effective ways to feel like a local. It’s more than just a cost-effective way to get from A to B; it’s an experience in itself. You share a space with residents going about their daily lives, you see parts of the city you’d miss in a taxi, and you quickly get a sense of the city’s scale and layout.

Before your trip, do a bit of research. What is the main transport system? Is there a travel card you can buy, like London’s Oyster card or the Navigo Découverte in Paris? Understanding the basics of the ticketing system will save you time and stress. Most cities now have excellent transport apps that provide real-time information on schedules and routes, which are invaluable for planning your journeys on the go.

Don’t be afraid to try different modes of transport. The underground or metro is often the fastest, but buses, trams, and even city ferries can offer a much more scenic route. A bus journey through residential neighbourhoods can be a fascinating, informal tour. Pay attention to the unwritten rules and local etiquette. Watch how people queue, where they stand on escalators, and how they interact with drivers. Adapting to these small social cues is a key part of blending in and travelling with confidence.

Experiencing a city like a local is about shifting your mindset from that of a consumer of sights to that of a curious observer. It’s about finding joy in the small, everyday moments and creating a personal connection with a place that goes far deeper than a photograph.

The post How to experience a city like a local appeared first on Quays Life.

More Than Just Destinations

Before you even glance at a map, the first thing to do is figure out the vibe of the trip. Is this going to be a chill beach escape, an action-packed adventure, a deep dive into culture, or a big party weekend? Getting everyone on the same page about the trip’s main goal helps avoid any mismatched expectations, especially if you want to create an unforgettable trip. Talking about different group trip options early on really helps set the pace and style. A quick poll in your group chat can be an easy way to see what everyone’s thinking. Questions like “What’s one thing you absolutely want to do?” or “How much downtime do we want?” can show you what truly matters to each person.

Setting the Right Mood for Travelers

Once you’ve got that vision sorted, managing group dynamics is important for keeping a positive atmosphere. Even the closest friends can have totally different travel styles. Picking a relaxed go-to person for logistics can smooth out decisions without anyone feeling like they’re stuck to a strict schedule. A great complete guide to group travel will always put communication first. It’s also smart to build some wiggle room into your plans. Schedule a bit of independent time so introverts can recharge and extroverts can go exploring. This balance makes sure that being together feels like a choice, not a chore, which in turn makes the moments you do share even more special.

Planning Memorable Group Celebrations

Often, group trips revolve around a special occasion, like a big birthday, a promotion, or a stag or hen party. For these kinds of trips, it’s a must to plan at least one standout event that really celebrates the moment. This becomes the main highlight of the trip, the thing everyone will be talking about for years. For example, if you’re celebrating in a lively city, someone in the group might even look for the “best nightclub near me San Diego Gaslamp” to find just the right spot. Booking reservations or tickets for this main event ahead of time takes away stress and builds excitement.

Why Entertainment Elevates Group Journeys

Beyond just one big celebration, adding unique entertainment throughout the trip really makes the whole experience better. These activities create those inside jokes and shared stories that just sightseeing often can’t. Instead of simply visiting a market, why not sign up for a local cooking class? Instead of just lounging on the beach, book a catamaran cruise for the afternoon. These interactive experiences get people laughing and engaging with each other in fresh ways. It breaks up the usual sightseeing routine and gives the group a common goal, helping to build teamwork and friendship.

Budgeting for Unforgettable Moments

Money is often a tricky subject on group trips. To avoid any friction, create a clear budget that covers more than just the basic travel and accommodation costs. Make a separate category for “group fun” – this could include show tickets, a special dinner, or a guided tour. Agreeing on this amount beforehand means no one feels pressured to overspend in the moment. Using apps like Splitwise or Tab makes tracking shared expenses easy, without the awkwardness of constantly asking for money. When you budget for the fun stuff, everyone can relax and truly enjoy those special moments without financial stress.

Ultimately, the perfect group trip isn’t so much about where you go, but more about how you experience it together. By focusing on the mood, the moments, and the memories, you’ll craft a journey that strengthens bonds long after you’ve unpacked.

The post Crafting the Perfect Group Trip: Beyond the Itinerary appeared first on Quays Life.

Did you know for example that ‘Scotland’ was in Manchester? That the area of Angel Meadow – tucked quietly away behind Shudehill – was the place where Irish immigrants settled in the city after fleeing the potato famine?  Or that on a Saturday night you could win a bounty if your dog killed the most rats in the ‘rat pit’ of the local tavern?

Such nuggets of information form the backdrop to Dean’s tours which tell the story of Manchester’s rise as the first industrial city and the particular role Irish immigrants played in it. He is not the first to retell the story of ‘Cottonopolis’ but what sets apart Dean’s casting of events off from others is the way he weaves personal stories – including his own family’s – into the rich tapestry of a well-known history.

Engels described Manchester during the industrial revolution as ‘hell on earth’, meticulously detailing the wretched living conditions of workers living in slums such as Angel Meadow. The name Angel Meadow derives from its once pleasant vista looking out over verdant fields, a grimly ironic twist given the industrial hellhole it later became.  Dean relates how swine herders in the city would drive their pigs up into north Manchester to forage before returning to the city at dusk, and how the well-to-do chose the area as a salubrious neighbourhood before it was engulfed by industry. The former large houses of the rich were quickly turned into dosshouses for the downtrodden by rapacious landlords cashing in on the need by large Irish immigrant families for housing of any kind.

Angel Meadow is now represented by the park and the area known as St Michael’s Flags. Gravestones can still be seen to this today of families and a startling reminder of the times is witnessed in the tender ages of the children – as many as 9 in some graves –  buried before their time by parents, such was the infant mortality rate. They were the lucky ones, Dean tells us, with the majority of people being buried in unmarked mass graves, corpses literally piled up on top of the other. Dean relates that the skeletons of such forgotten bodies  would often rise to the surface of the park and young children would play football with the skulls. Not sure what they used for goalposts…

Angel Meadow park was also the venue for often-fatal bare knuckle fights on Sunday morning, started the night before in one of the local hostelries and continued the day after. At one particular fight between two toughs (both one-armed for some reason), it was reported that one assailant ‘bit’ off the hand of the other. Different times, as they say.

Hunger and random violence sums up what life was like for residents of Angel Meadow. Dean recounts a story of one poor soul who died from burns after he was engulfed in flames, pursued as he was by a neighbour with a lamplight who set him alight following a drunken altercation with his sister. The guilty party received just five months for manslaughter, but was later sent to jail for five years for stealing lead pipes. As Dean reminds participants on the tour, the Victorians prized property above human life.

The tour ends with a reminder of the prominent role that the Co-op (Cooperative Wholesale Services or CWS as it was known) played during this and later eras. The area around Angel Meadow is stacked with former CWS buildings, such as the tobacco factory, many of which have been repurposed for flats and residential living. Also noteworthy are the various ‘ragged schools’ which adorn the neighbourhood for children of the poor.

Dean’s tour of Angel Meadow is full of rich detail about the city’s industrial heritage and he is a natural raconteur, warm and witty and an illuminating guide. His latest book about Manchester’s Victorian gangs, The Scuttlers (think the city’s answer to Peaky Blinders), will no doubt cement his reputation as a keen observer of municipal history.

And if you want to know why Scotland is in Manchester, you’ll just have to take the tour yourself.

The post Angel Meadow walking tour: Manchester’s forgotten slum where kids played football with skulls appeared first on Quays Life.

Le Navet Bete is back with another larger-than-life comedy, this time taking on the wildly dysfunctional world of Greek mythology.

When the stability of Olympus is threatened by the marriage of Zeus’ daughter Hebe to a mere mortal, the King of the gods hatches a plan to derail the wedding. The result is a fast-paced physical comedy in which three actors play 40 characters in a mythical farce through Ancient Greece, the Underworld and back.

Ahead of the show arriving at Lowry, Salford Quays Life chats to actor and Co-Artistic Director Nick Bunt talks to find out what it takes to bring Le Navet Bete’s unique style of controlled chaos to the stage.

We loved your version of King Arthur last time La Navet Bete toured to Lowry, Salford. What made now the right time to take on the Greek gods, and why did Greek mythology feel like the perfect playground for your unique brand of comedy?

Nick: “After ‘King Arthur’, we wanted to dive into another epic world that was universally known but with a completely fresh comedic angle. We really wanted to drop these legendary Greek gods into a surprisingly normal, relatable setting – which is actually how we came up with the idea of setting the whole thing at a hotel wedding between Zeus’ daughter and a mere mortal. The gods are larger than life, extremely petty and all awful people which makes them perfect for physical comedy and a riotously funny night out for our audiences. They’re one seriously dysfunctional family!”

The three of you play around 40 characters between you. How do you keep track of so many personalities, costumes and quick changes without descending into chaos?

Nick: “To be honest, it does descend into chaos – that’s half the fun of it! But it’s very tightly controlled chaos born from years of working together. Behind the scenes, it’s a military operation of split-second full costume changes. There’s almost more going on backstage than onstage at times! It certainly keeps us on our toes. The costumes for ‘Oh Zeus!’ are fantastically designed by the wonderful Fi Russell and really help us ‘become’ that person (or animal, at times!) and help drive the narrative along for the audience”. 

Do you have a favourite character to play or a favourite scene that always gets the biggest audience reaction?

Nick: “For me, it’s got to be Nestor, Zeus’s servant – he’s a centaur, so the half-man, half-horse costume is just brilliant fun to wear. I also love playing Thanatos, the god of death, but he’s definitely not your typical Grim Reaper. He’s the irritating guy who just hangs around making awful jokes until you want to punch him in the face so I love pushing that as far as I can! Al and Matt have some absolute corkers too that audiences instantly fall in love with. Al’s uber-macho Zeus vs Matt’s Anna Wintour-esque Hera reminds me of a certain US President and First Lady behind closed doors. Juggling all those different personalities helps build the whole mad world and keeps the story flying, and there’s a couple of brilliantly chaotic scenes where everything collides that always get a massive roar from the crowd”.

Physical comedy has become a real trademark of Le Navet Bete. How much planning goes into making the slapstick look effortless, and how physically demanding is performing ‘Oh Zeus!’ night after night?

Nick: “It is immensely demanding. Essentially every show is like a marathon! Making slapstick look effortless takes an enormous amount of rigorous planning, precise choreography, and relentless rehearsal. Every fall, slip, and comedic beat has to be calculated down to the millisecond to ensure we stay safe while making it look completely spontaneous and chaotic. By the end of a run of shows, our bodies definitely know about it, but the sheer electricity of the audience laughing back at us completely fuels the stamina and adrenaline we need to push through”.

Your productions are known for being accessible to audiences who may not usually go to the theatre. How important is it for Le Navet Bete to create comedy that appeals to everyone, whether they’re theatre regulars or complete newcomers?

Nick: “It is the absolute beating heart of everything we do. We firmly believe that theatre shouldn’t feel exclusive or intimidating. Whether you’re a seasoned theatregoer or someone who hasn’t ever stepped foot in a venue, we want you to feel included from the very first minute. When an entire auditorium of different ages and backgrounds is howling at the same silly joke, it creates a wonderful, communal atmosphere that makes for an unforgettable night out”.

The show is recommended for ages 12+, but you’ve also introduced special ‘No Kids Allowed’ performances. What can audiences expect from those versions?

Nick: “The standard show is a riot in itself but the ‘No Kids Allowed’ performances are where we really take the safety off! These ones always sell-out first. While our main shows are brilliantly high-energy and cheeky enough (think Shrek humour) these specific adult versions let us lean a bit heavier into naughtier words and humour, spontaneous audience interaction and the use of a few extra props and costume that we might otherwise rein in. The gloves definitely come off and the audience can completely let their hair down and have a wild night out”. 

The show arrives at Lowry as part of its UK tour. What are you most looking forward to about performing for Salford audiences, and how does touring keep each performance feeling fresh?

Nick: “We absolutely love it up here! I think this is our fifth or sixth time playing the Lowry (in every space). Salford and the Lowry have such a fantastic reputation for loving live comedy, and the audiences here always bring an electric, up-for-it energy. There is nothing quite like playing to a packed house in such an iconic venue and the Quays Theatre is the perfect size for our style of comedy and storytelling. Touring keeps us sharp because no two audiences are ever the same, making us play off the room, improvise, and keep the show alive. It means ‘Oh Zeus!’ is constantly evolving, making every single performance a unique live experience”.

If audiences leave the theatre talking about just one thing after seeing Oh Zeus!, what do you hope that will be?

Nick: “We hope they walk out into the foyer with aching cheeks from laughing so hard, turning to each other and saying, ‘I haven’t had a night out like that in ages.’ If they leave feeling thoroughly entertained, uplifted and buzzing from a brilliant, joyful communal experience (and maybe remembering a few of our ridiculous characters) then we’ll be happy knowing that we’ve done our job!”

Oh Zeus! is at Lowry, Salford from 28 July to 1 August 2026.

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Touring the North West with Best Girl Productions, the play explores the complex relationship between Fay, a woman serving a life sentence for murdering her husband, and her daughter Josie, who visits her after 15 years apart.

Quays Life talks to Christine and Lois to find out what drew them to Munro’s acclaimed play, how their relationship shapes their performances and why the themes of the drama are still so relevant more than two decades on.

Can you tell us a bit about the play and why it appealed to you?

Chris: “I knew of Rona’s work and was in the Royal Exchange production of Mary Barton that she wrote but I didn’t know IRON. It’s such a fascinating take on a mother and daughter relationship and you learn about them in this contained environment where the guards Sheila and George watch them constantly, as they navigate the past. She writes in a disarmingly straightforward way and yet the text is full of extraordinary images which bring to life what happened before the crime which separated them”.

Rona Munro wrote IRON over 20 years ago and it won the John Whiting Award after transferring to the Royal Court. What do you think still makes this play resonate with audiences today?

Chris: “On a theatrical level a great play is a great play and Rona is a terrific storyteller who creates characters you want to know more about. But it also explores themes which are universally relatable, not just between mother and child, but how women love, how the prison system treats women and how so many of us are looking for closure in some way in order to move on in our lives”.

You’re playing Fay, a woman 15 years into a life sentence for killing her husband. How did you approach building a character who’s been hardened by prison?

Chris: “Fay has never admitted or denied her crime. That’s so interesting to me. She has had a singularly lonely existence not having received visitors in all the years she’s been inside. For me, the piece is not so much a ‘who done it’ but a ‘why’ did
she commit this crime and as the audience discover the truth they also get to know the zest for life, funny, live-wire woman she was”.

IRON is your first time sharing a stage with your daughter Lois, even though you’ve previously written plays for her to perform. What’s different about acting together as opposed to writing for her to perform?

Chris: “Bringing ‘Best Girl’ to the Manchester Fringe, Edinburgh Festival and then on tour was such a fantastic experience. Lois was so good in it and it was a privilege to watch her on stage and amazing to share the experience with her. Lots of laughing!
I suppose the biggest difference is that as IRON is by a very established and proven writer I don’t have to worry, as I did with Best Girl, about the risk she took of being in the first play I’d written! I trust Lois’ ability and instinct completely so this feels more like two actors meeting and building an onstage relationship and that feels freer somehow”.

Lois has said acting opposite you was “always on her bucket list.” Was there a similar moment for you, where you knew you wanted to work alongside her on stage?

Chris: “As far as we know IRON hasn’t been performed with a real mother and daughter playing Fay and Josie. And there have been a few other productions with much better known mothers and daughters shows recently which probably informed our decision. So we got pretty excited by that prospect and who wouldn’t want to work with Lois – she’s ace!”

What have you learned from working together in this way?

Chris: “I think to try and be disciplined about keeping the admin and producing bits for Best Girl Productions and the ‘in the room’ creative parts separate. And to really relish in the contributions made by the rest of the creative company we’re so lucky to have on this journey with us. And we’re both Capricorns which might mean something!”

Best Girl Productions has now had KIN tour successfully and IRON heading out across the North West. What’s your vision for the company as it grows?

Chris: “I really want to build on what we’ve done so far and collaborate with good people. The strength of Manchester’s creative energy is such an inspiration for me and I’ve learnt so much; big thanks especially to Hannah Ellis-Ryan (HER Productions) and Alex Keelan for their encouragement. I have a script in the first Vignettes to be produced outside of Manchester at the Dukes, Lancaster in September and want to make short film of another script. But we’ll see. All I know is Best Girl Productions has kindness and creativity at its core. Now that might sound a mush but without those two qualities all of the things we’ve talked about in this interview wouldn’t have happened”.

Lois, you toured one-woman show BEST GIRL, written by your mother, and were nominated for Best Actor at the Greater Manchester Fringe. What is your secret to keeping both a strong working and personal relationship?

Lois: “Percy Pigs! haha. I think BEST GIRL was a real lesson in communication for us both, we were figuring it out on the job and were very relieved and thrilled to discover it was easy. We are clear with boundaries, respectful of each others schedules and excited to do the work.” 

As Best Girl Productions continues to grow with IRON’s tour, what’s it like seeing the company your mother founded, which started with your performance of her play, now expanding into work like this?

Lois: “I think it is unbelievably exciting to see BGP’s journey over the past few years. Witnessing mum’s confidence grow with each project has been fantastic, I am so proud of her and can’t wait to see what’s next”.

You’ve described this production as “an emotional rollercoaster.” How do you and your mother support each other through that?

Lois: “Everyone involved, both cast and crew are very invested in the piece and so there is an enormous amount of care being poured into the process. We are making sure everyone is feeling safe and supported to explore their characters complex emotions and relationships. Communication is key”. 

What do you think you real life relationship brings to the performance?

Lois: “I think for the audience in particular, knowing the real life relationship is there bubbling underneath, it’s going to add another layer of intensity and substance to the story. Hopefully making for a more impactful performance!”

What do you hope audiences take away from watching Fay and Josie’s story?

Lois: “I think there is something to take away from each of the characters in the play, the two guards included. Each leave you with questions and challenge you throughout. I hope the audience leave feeling that they have gone on a journey and have loved, laughed and grieved with us”.

Looking ahead, after this tour and your film debut in ‘Finding Emily’, what’s next for you?

Lois: “A big holiday! And hopefully some more juicy theatre in the pipeline”.

IRON opens its short North West Tour at HOME, Manchester on Tuesday September 15 to 19 before it heads to Hull Truck 23-24 September and The Dukes in Lancaster 30 September-3 October 2026.

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“You want to get out there and have a laugh with your bandmates. It’s good fun, a hoot, it’s like being in the Boy Scouts again. It’s a massive school trip with nobody in charge.”

Nik Kershaw is no stranger to taking to the stage, his four decades long career and slate of global hit singles including, ‘Wouldn’t it Be Good’, ‘The Riddle’ and biggest hit, ‘I Won’t Let the Sun Go Down on Me’. Has seen him perform around the globe, including an iconic performance at the 1985 Live Aid benefit concert at Wembley Stadium that attracted a global television audience of over 1 billion people.

Truly there have been few artists that have captured the imagination and burrowed in to the hearts of music lovers at the pace Nik did after signing his first record deal in 1983, “We were recording the first album in the summer of ’83 and by mid February of ’84 I couldn’t leave my house without a bodyguard.” He was living the dream, from being in a local professional band for three years, playing at weddings and bar mitzvahs, until the work eventually dried up, to going solo and spending 62 weeks on the UK Singles Chart through 1984 and 1985. Beating every other solo artist in the same period in the process.

Yet he explains how the transition from being a starving artist to a global star in such a small window of time was a jarring one: “Most of the time you’re standing there going this is amazing and the rest of the time you go this is terrifying because you can’t get off. You’re on this ride and it’s going to take you with it.”

Fame often has its caveats, it is probably a tale as old as the music industry itself, Nik was no stranger to them, “I do remember occasionally it all getting to me, and me just sitting in the corner of a hotel room, rocking back and forwards, but that was pretty rare.” Just as quickly as he rose to fame it seemed like his spotlight was dimming, “I kind of got out of the business in ’89 for a bit because the fourth album didn’t go very well and it was kind of like, that was it, that was the only chance I was going to get.” Speaking candidly Nik explains how frustration affected him at the time, “When you spend a huge amount of time, energy, and love making something new, and then it’s overshadowed and obscured by what you’ve done before, you almost think, well, if this was my first album, it would be getting a lot more attention than it is.”

Looking back on this period now, Nik holds no ill feelings, “There’s a very small window of opportunity to show people what you’re made of and what you do, and most people don’t even get that, so I’m very grateful that I got that window.”

There has always been a quiet defiance from Nik, whether that be rebelling against following in his parents musical footsteps as a child, telling me, “When you’re young the last thing you want to do is what your parents did, I just wanted to be a footballer or racing driver until I was 14 or 15 when a mate of mine got himself an electric guitar.” Or dissociating with his hit songs when fans clamoured for them most, explaining that he went through a period of getting bored with playing those songs live and started changing their arrangements to make them sound different. Or returning to music with ’15 Minutes’ his fifth solo studio album a decade after retreating to the shadows to write for artists such as Cliff Richard, the late Bonnie Tyler and Gary Barlow. An album he closed with the title track, an exclamation that if it was to be the end of his time in the spotlight, his mic drop, then it was going to be on his terms. He wasn’t just going to own it, he was going to give it its own anthem, and he would sign off in a soaring crescendo.

Through this defiance, a deep understanding of himself, his artistry and his audience has developed. “Most people will associate me and my name with four or five songs and that’s fine, I’m comfortable with it. I wouldn’t want that 15 minutes again to be honest. I’m not prepared today to pay the price for that kind of fame. I’m very happy being able to walk around Tesco.”

Speaking on his hit songs he smiles “You realise that, mate, they’re not your songs, they don’t belong to you anymore, they’re the fans songs, they belong to them and how dare you change them.”

Of course now we know that this was only the beginning, his unprecedented run in the 80s, his complicated relationship with his work in the 90s and that chapter closure of an album in 1999, has been followed up with four more albums since the turn of the century. But it has been his non stop touring over the same period that really nurtured his longevity.

“I went back to the all the original versions of my hit songs, I love playing them now. They’re lovely moments during a set where there’s a connection with everybody there, where everybody in this room knows this song, it’s fantastic.”

In terms of what you can expect from his latest tour offering ‘Six in 26’, it wont just be the hits in their original glory, “It’s good to get out in front of your own audience and play some of the more obscure stuff. I’ve said to the band, what do you want to play? They’ve all got songs that they want, so there’ll be songs there that people haven’t heard for quite a while.”

“We haven’t got pyrotechnics, we haven’t got performing seals or anything, it’s just us really, having a laugh. So, if that’s what you’re in to, please come along.”

Nik Kershaw and his Band are at Warrington Parr Hall on 11 July and touring throughout July and August.

The post “Am I going to sit at home watching ‘Homes Under the Hammer’?”- Nik Kershaw on his latest Six in 26 tour appeared first on Quays Life.

It’s an apt a metaphor for family dysfunction – for example, how many other children get to hide away in a casket for fun and perform numbers on it as if they were the Jackson 5? Weird surroundings result in weird behaviour.

Adapted from the graphic novel by Alison Bechdel and with superb live musical accompaniment, this is a very shrewd choice of show to stage.

Each family may be unhappy in its way own as Tolstoy says, but the Bechdels are uniquely unhappy. A father who flies into unexplained rages at his wife and children, a mother in denial about her daughter coming out as a lesbian, and a couple unwilling to admit a dark truth in small town Pennsylvania set the stage for a night of high emotion.

If all this sounds wearying, it’s not; the opposite in fact. It is in turns affecting, moving, tragic, funny and wise. To cope with family dynamics, little Alison (Harriet O’Shea) withdraws into television and drawing – her life story growing up is wittily witnessed in captions throughout the show, so that you can almost feel her walking off the pages of a graphic novel.

Her relationship with her father Bruce (brilliantly played by Nigel Harman) is alternately adoring and intensely frustrating. When she goes to college he sends her books, including by Colette. It is only her knowing college girlfriend Joan (Natasha Cottrial) who realises Bruce – himself hiding in plain sight as gay – is trying to tell her something about her sexuality. The adult Alison, played by Alice Audrey O’Hanlon with such winning insouciance that at times she resembles Dougal in Father Ted in her level of innocence about everyday affairs, only belatedly comes to understand her father’s psychological struggles, by which point it is too late.

The musical numbers in the show are sharp and powerful and brim along with zest, scooping up the audience in their enthusiasm. The fine ensemble acting adds to the show’s strong production and while there is a gnawing sense of claustrophobia in the unravelling of events, the dark never quite shades out the light.

Jodie McNee as Alison the graphic novelist is a continuous presence on stage, acting as both chorus and internal monologue for her younger selves, moving around the other actors with wonderment and pity in equal measure. Taking solace from family misfortune in drawing helps Alison process difficult truths in a way everyone will be able relate to.

The Royal Exchange may well have a smash summer hit on its hands.

Fun Home is at The Royal Exchange Theatre, Manchester from 3 July to 1 August 2026.

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