For Jack, Queer Contact is about far more than a programme of events. He describes it as a coming together of “different genres, different sexualities, different ethnicities and different people in general.” At its heart, he says, “It’s really celebratory and fun. It’s a safe space for queer people, and it’s a vital part of pride in Manchester.”

Running for more than 16 years, the festival has become a long-standing fixture in the city’s cultural calendar, and Jack believes it remains a vital platform for queer creatives in Manchester. The programme has been desiged to ensuer there is something for everyone, spanning theatre, cabaret, film, live art and even line dancing, alongside bustling market stalls showcasing work from local queer makers.

And Jack promises this year’s festival is the best yet. “This year we’re running over two weeks, and we’ve got a real range of shows,” he says. From solo shows to cabarets and the returning live-art shows, Jack knows that the Queer Contact festival is worth as much of a visit now as ever. “We’re trying to represent as many different people as we can within the festival and get everyone together to have a really good time”.

The festival has grown into a cornerstone of the city’s cultural calendar. For Jack, its continued presence is more important than ever. “It’s the political culture and how we as a country are feeling less welcoming and less inclusive. I think there’s been a lot of really negative, damaging things happening to the queer community,” he says. “Although it’s not an activist space, specifically this festival, it’s about having that opportunity to come together and to celebrate and to be joyful.”

Although the festival has been going for years, there’s no plans for it to slow down, as Jack and the team constantly evolve and adapt the festival. “It’s definitely ever changing. It doesn’t feel stale, it feels current,” he says.

When it was revealed last year that Manchester Pride had entered liquidation, the state of queer recognition and celebration in Manchester felt uncertain. But Queer Contact has always distinguished itself as an entirely different space to celebrate the LGBTQ community, the festival remaining firmly arts focused. “Queer Contact’s specifically an arts festival… it’s very art specific based. It’s a very inclusive space. It’s very representative of the wider community,” Jack explains. “We’re trying to get as many things within the festival as we can so that everyone could feel seen.”

Accessibility remains central to the festival’s ethos, says Jack. With tickets starting from £3, and some events free, the aim is for festival-goers to celebrate queer talent without financial barriers, during a time where the cost of living continues to bite. “We really want people to be able to feel like they can come and see work and come and enjoy it and come and celebrate with each other,” Jack says. “We also offer Pinch tickets, these are our lowest priced tickets available and people can get them with no questions asked. It’s really about recognising who we’re here for.”

As a queer man himself, Jack recognises the importance of working on Queer Contact, and what it means for him personally to be able to showcase this exceptional talent over these two weeks. “This was the first arts festival I ever went to when I moved to Manchester,” he recalls. “It was the first time I ever saw such a wide range of what different queer art can be.”

There is an amazing display of talent within the queer Manchester community, and it’s important institutions, like Contact, have spaces for these talents to be recognised and upheld. “It’s important that everyone can feel seen,’ says Jack, “There’s work on display that speaks about my life.”

Jack recognises the cultural context of queer people in Manchester, and shares how he hopes Contact can offer more opportunities and events for the community that steers away from nightlife and partying. “Partly what drew me to Manchester was the queer community. Queer culture is often focused around the gay village, drinking and partying, and that kind of hedonistic lifestyle. Manchester definitely offers that. But I also think the city offers so much more than that for queer people,” he says.

There is a sense of belonging and familiarity for queer people in Manchester, something the festival hopes to also achieve. “We provide that space where anyone can come and feel like they’re safe”. Over two weeks, the showcase includes a solo show, an ‘anti Valentine’s cabaret night, an art market supplied by queer art makers, and queer-run western and country dancing. It’s jam-packed with something for absolutely everyone, so every single person attending can feel heard. “If we don’t put on artists that are representative of the entire community, then that community doesn’t feel seen.”

Queer Contact runs from 12–21 February 2026.

The post Queer Contact returns with a line-up showcasing the diversity of queer creativity appeared first on Quays Life.

The Big Tiny’s unique approach to pantomime is guided by co-director Ben Richards’ ongoing PhD research, which looks at how contemporary British pantomime responds to evolving ideas of identity. His work explores how the traditional form can move beyond outdated Victorian conventions to better reflect local communities, foster inclusion, and celebrate diversity. Rumpelstiltskin is a practical realisation of these principles — combining glittering spectacle and classic panto fun with a deeper question at its heart: who do we see as “us,” and what makes us different from “them”?

Thomas Corner meets Ben to find out why this year’s family panto will appeal to new audiences and panto fans alike.

What can we expect from this year’s production of Rumpelstiltskin?

Ben: “So, it’s obviously not a traditional title, in pantomime we call them the big 6 titles and it’s not one of those. It’s the third time we’ve mounted a Rumpelstiltskin production and we have specifically tailored this to the audience to make it very local to Manchester. But at the same time we’re going to interrogate these ideas of who gets to be us, who gets to be in the ‘in’ group who gets to be in the ‘out’ group, and ideas of otherisation.

“So, that’s what the pantomime is going to do as well as being a traditional pantomime with lots of people falling over and slightly rude jokes, and songs from this year’s pop charts. It’s going to have an engaging and dramatic theme at the same time”.

It’s clear you enjoy making pantomimes with a local focus and including diversity and inclusivity in your productions, how important is that for you?

Ben: “It’s super important. As well as making pantomime, I’m an academic studying contemporary British pantomime. Rumpelstiltskin is the first part of looking at pantomime through a hyperlocal lens that I’m using as part of my PhD at the moment.

“As part of our engagement we’ve been keen to engage local communities from the global majority, so we’ve been out to the Melanin markets for instance speaking to people. We’ve also cast for ethnic diversity, rather than colour blind casting. Specifically trying to vanguard people from communities who would otherwise find it difficult to access careers in the arts.

“We’ve moulded the script around where the actors come from and the influences they are bringing with them. So not only is it responding to the multicultural melange around the theatre itself, which is in a cosmopolitan area, it’s also responding to the actors and what the actors bring to the table”.

Speaking of the story, how have you adapted it from the original tale?

Ben: “We are going to turn the story on its head in some very unexpected ways. Modern pantomime comes from a Victorian era where people had a very fixed idea of morality – good vs evil. In real life everyone is the protagonist of their own story and this production of Rumpelstiltskin zooms in on that and says who is the villain and how are villains made? The pantomime zooms in on that question but in a completely light-hearted way.

“At least half the people who go to the theatre don’t go to see a pantomime. One of the reasons is pantomime is often wafer thin when it comes to story and characters. Well this isn’t. We have managed to change that and retain the comedy, so hopefully we’re going to entice an entirely new strand of people back into the form of pantomime.”

“We have a 35-feet wide spider with huge glowing eyes that can come out and terrify the audience!”

What is the inspiration behind the design of the set and costumes?

Ben: “So two thoughts came to me – love and otherisation. How do we get people and bring them in and how do we move together as a community with all the differences that human beings have? So that theme of love is reflected in every part of the set – if you look at the trees the branches curve to make hearts, the throne is a heart and there’s over 200 hearts represented in the set across the different scenes.

“With the costumes, I don’t want to give everything away but, the theme of colour as a proxy for diversity is used and you’ll see that in people’s characters, their costumes change along that theme. We have also thought about the theme of weaving from the original tale, and we thought about all these people who are being duplicitous in some way. So, what kind of creature would you want to represent the final evil if it’s weaving?

“Well, of course it’s a spider. So, we have a 35-feet wide spider with huge glowing eyes that can come out and terrify the audience!”

Rumpelstiltskin is set in the Bavarian town of Lieblingsberg. What German influences have you included in the production?

Ben: “Well, everybody has some German name, and I have a German song in there and the audience have to sing. It’s like the Birdie Song – it’s the song that your auntie puts on when she’s a bit drunk at party. The song means everything has an end, only the sausage has two, and so we sing that in German, and we have a string of 360 sausages. There’s lederhosen as well, which everybody loves in Bavaria.

“My father comes from Baden-Baden, so I’ve got a lot of German friends and they all love pantomime when they come over. So, there’s a lot of German in it and hopefully people will come and see themselves reflected in it and feel it’s great fun.

“I think in that way pantomime is a brilliant art form because it’s easily digestible. It’s not just a man in a dress, it’s like your dad in a dress with balloons up his jumper at Christmas – you know, that is hilarious, no matter where you come from, everybody would find that hilarious, and that’s what the pantomime gives people, it’s an easy in”.

Rumpelstiltskin is at Contact, Manchester from 11-31 December 2025.

The post How PhD research is influencing Contact’s festive panto appeared first on Quays Life.

What can people expect from Cinderella at Contact this year?

Lady Bushra: “Cinderella will of course think she’s belle of the ball, whereas we all know this honour should be bestowed upon the two true beauties that are Veruca and Hernia. I’m raging at the thought of her!”

How are you feeling about stepping into the shoes of Ugly Sister Veruca?

Lady Bushra: “I’m super excited to be stepping into the role of Veruca, my drag persona in general is a little dramatic and over the top so this role fits me like a glove.”

Have you performed in a professional pantomime before? 

Lady Bushra: “Although I’m no stranger to the stage, this will be my debut in panto and I’m very much looking forward to it”.

What was your first experience of pantomime?

Lady Bushra: My first experience, including first time ever performing was in primary school. Funnily enough I played the role of the step-sister in Cinderella too. It went down an absolute storm!

How much of Lady Bushra will you bring to the role?

Lady Bushra: “I will definitely be bringing a bit of the Bush to panto – how can I not? The audience will definitely be expecting Bushra to make the stage her stomping ground”.

Have you seen anything of Veruca’s fashion choices yet and what do you think of them?

Lady Bushra: “Stunning, of course!”

How are you preparing for such an intense run of shows?

Lady Bushra: “Plenty of water and positive thoughts!”  

What are your thoughts on having two Drag Queens in the roles of the Ugly Stepsisters this year?

Lady Bushra: “I think it’s a step in the right direction as far as putting on an entertaining show is concerned. Both of us a super excited and really looking forward to sinking our teeth into the roles. Its’ fantastic to see such variety and diversity in the casting”.

Have you worked with Misty Chance before?

Lady Bushra: “This will be my first time…hopefully not the last”.

Will you get a chance to show-off your lip-syncing skills?

Lady Bushra: “Perhaps?…Oh who am I kidding! Of course! I insist upon it!”

What can you tell us about the adult only shows?

Lady Bushra: “It goes without saying…please leave the kids at home”.

Cinderella runs at Contact Manchester from Sat 9 December until Sunday 31 December. Tickets range from £15 – £25. This is the first time eight-freestyle has teamed up with Contact Young Company (CYC) to present a pantomime at Contact. The modern twist also sees the company promoting sustainability through a collaboration with reworked clothing brand, Hart-Work.

The post Lady Bushra battles for belle of the ball appeared first on Quays Life.

You bring a lot of firsts to the role: the UK’s first poet to run a multi-arts venue, the first woman, first Mancunian, the youngest person at age 32 to run Contact, and I guess the only CEO to have come through its programmes as a teenager. What does that feel like for you?

Keisha: “I feel so supported. When we announced the appointment I had the warmest reception. It felt like my city was giving me a hug. Growing up in this city and taking part in so many projects means I’ve had the pleasure of getting to know people from so many different areas. I feel super blessed to have so many people cheering me on in this role”.

What can you remember your first visit to Contact as a teenager?

Keisha: “I remember feeling like it was a leap. I was the theatre for older kids. It was so wholesome. I was singing my little heart out in the foyer as people flocked into Space 1 for the main show. I can’t even remember what show it was. I just remember feeling excited to be there and smiling with eyes as our choir leader instructed us to do, haha”.

If someone had told you then that one day you would be running the venue, what do you think you would say?

Keisha: “I defo would have been surprised. At that age I was dabbling with the idea of being a lawyer, a journalist or an accountant. But to be honest when people asked me what I wanted to do / be, I would say, ‘I don’t think I know what’s called yet’. I knew what I was passionate about but every time I tried to align that with a profession I was aware of, it didn’t feel completely right”.

What would you say to your 15-year-old self now?

Keisha: “Not a damn thing! I’ve read too many books about parallel universes and butterfly effects. I could sneeze and wake up the next day with a third eye. I’m good, thanks”.

How has Contact played a part in your life since then?

Keisha: “Oof. What’s the word count? If I simmer it down, they have supported me as an artist but in doing so they have helped me have a better understanding of myself as a human. I have a great sense of agency. I have come into contact with so many people who have completely different backgrounds to me. It is a beautiful thing. Then I started to work for them as a producer and my career catapulted once again. I’ve always said that they can’t get rid of me now. Whether I’m working there or not – I’m always there.”

How will your experience influence your role as CEO?

Keisha: “I will use my empathy. I have been an artist, an audience member, a core staff member, a participant and a freelance consultant for Contact for years. Those experiences will inform my decisions but that will only take me so far. I need to check in with my team, with my audiences, with the young people, and the list goes on. I know it is a role that will challenge me consistently. There will always be new stuff for me to learn or consider. But that’s what I’m into. Good thing, eh?”

What does it mean to you to create a ‘Castle of Curiosity’?

Keisha: “I want people to know that their curiosity is currency at Contact. If you have a child-like want to learn new things, if you want to investigate or research or interrogate something, if you want to find out about new writing, if you want to find out about identities, politics, society or if you just want to find out what those turrets on top of the building are all about, we’ve got you!”

What have you got planned for the 50th anniversary of Contact?

Keisha: “Lots of juicy things that I can’t talk about just yet. Keep your eyes and ears open”.

What are your hopes for the future of Contact beyond that?

Keisha: “Cultural spaces are powerful places. We have a responsibility to serve a variety of communities. We get to contribute to the arts sector. We have a particular interest in advocating for young people and youth leadership. If I can uphold the wonderful legacy that we already have in doing this, I’ll be a happy lady”.

How can people get involved?

Keisha: “Head over to our website. I’m pretty sure most people will find something to tickle their fancy. We’ve got shows, workshops, food, blog posts, podcasts, playlists. Go on! Be curious”.

The post Contact’s new CEO Keisha Thompson is making curiosity its new currency appeared first on Quays Life.