The show is steered by Rachel O’Mahoney – a learning-disabled woman with an equal adoration for both theatre and her sister’s boyfriend. Tearing from scene to scene before a panel of 40 buttons (Rachel insists two), the audience can only cling on for the ride as performers bend over backwards to her beck and call. Amid a whirlwind of tangled limbs and slapstick shenanigans, even Rachel’s family – sister Flo and mum Wendy – are given no shortcuts as all rules of theatre are hurled out the window – sometimes along with members of the cast, too.

Beginning with greetings from the team, audience members are introduced to Rachel, who we are warned has only a moderate risk of leaving the show halfway through to go to McDonald’s. The exceptional cast members are already stretching in preparation for their first orders from the captain, currently grinning in an armchair before a specially built tech desk. Angled walls beckon towards a fantasy version of Rachel’s living room (designed by Stella Backman), covered in splattered paint, glitter, and graffiti.

And then suddenly, hand meets button – and what follows is a display of artfully curated chaos.

After over a decade of work between Rachel and Flo – who is also the artistic director – Perfect Show for Rachel is a masterclass in disabled inclusivity done well. The show demands audiences and venues adapt to where disabled performers are at, rather than the other way around. With the cast featuring a mix of deaf and hearing performers, particular effort was made to make everyone feel understood – and for Rachel to be truly in charge. All performances come relaxed as standard, and BSL and live captioning are available even while improvising. Within a churning climate of welfare cuts and continued stigma, Perfect Show for Rachel spotlights what the world has to gain when disabled people are made welcome in the theatre world.

Under Rachel’s direction, the initial mayhem quickly falls through to a well-crafted theatrical carousel. More than wit, it’s the earnestness of her decisions that compel. From throwing her mother into the air Dirty Dancing style to firing the sole musician halfway through, decisions aren’t made to entertain – they’re made because to Rachel, they’re simply right. To her taste – though perhaps not to some others’ – scenes restart, repeat, or are cut through entirely on a whim, and every show is guaranteed to be unique.

The show may best be avoided if you’re not a fan of potential audience participation. A special congratulations is in order for Jackson, Flo’s endlessly-patient, real-life boyfriend, who became a highlight of the show despite not being officially part of it. Having endured flirtation, being ‘put to bed’, and being commanded to get onstage, fall over, and loudly moan for an entire act, this particular performance set a high bar for what looks to be a spectacular tour.

In that same breath, the improvisation skills of the cast are to be commended, with bouts of razor-sharp unscripted wit sending funny moments into the stratosphere. It’s clear the production was driven as much by a genuine delight in Rachel’s ideas as it was by a love for the stage. Perfect Show for Rachel is as close as you can get into the raw imagination of a stranger, and is a real tombola of a performance – “Well done, Rachel!”

Perfect Show for Rachel is at Contact from 19-22 of November 2025.

The post Perfect Show for Rachel: Review appeared first on Quays Life.

How would you describe your drag act?

“I would describe my drag act as ‘Bollywood meets Vicky Pollard. I’m a British Asian stand-up comedian who does drag therefore bringing my unique perspective to the stage”

What does drag mean to you?

“To me drag means freedom of expression. Drag is political and it can be thought provoking. We are the story tellers of society, reminding everybody, including myself, to not take life too seriously”.

What is the inspiration for your look?

“My drag aesthetic is inspired by the South Asian subcontinent. My drag is a love letter to South Asian and women who inspire me the world over”.

Why is facial hair an important part of your character? Do you see your political at all?

“Having facial hair is important to my character as it helps me to state my political point of view. Growing up I was often told to ‘be a man’ to the point where I began questioning what it even meant to be one. I’m happy identifying as a man, wearing makeup does not make you less of a man and I’m certainly not evading my masculine self by doing drag. My beard is a subtle reminder to those who need to see it. That said, if a certain role required me to shave it off, and the money was good, then I’d get rid of it in a heartbeat.”

You were an internet sensation during lockdown. How important is a digital audience to what you are doing now?

“I believe as a new starter it’s vital to begin creating an online presence, particularly as a person of colour. These days social media gets a bad rap however remnants of it existed even decades ago. You have the power to reach a wider audience through digital means, such as rural parts of the world and you can also gain better access to those that you want to attract, for example, brands and entertainment organisations. As humans, we are social beings therefore in person interactions shall always trump virtual. This is why I always aim to convert my digital audience into a physical one.”

How has been shortlisted for the 2021 BBC New Comedy Awards influenced your career?

“Being shortlisted for a BBC New Comedy Award helped my career immensely, with more people being interested to see what I had to offer. I’m grateful for the opportunities it bought my way, now here’s to actually winning an award sometime!”

Why did you choose to live in Manchester?

“Me and my husband chose to live in Manchester due its cosmopolitan nature as well as its increased visibility and acceptance of the LGBT+ community. It’s important to feel safe where you live however, that’s not to say that there isn’t work to be done! Particularly around racial biases”.

There has been a lot of discussion about a need for more South Asian drag queens on Ru Paul’s Drag Race UK. What do you think about that? Can you see yourself on the show?

“I’m a huge fan of RuPaul for what he has done for our community, he is a beacon for anyone who marches to the beat of their own drum. The prospect of the first British Asian drag queen on RuPaul’s Drag Race excites me and my message to those who want to apply is this: be so incredible that the franchise wants YOU and not the other way round”.

Can you tell us a bit about your show Lady Bushra: Robbed? What can people expect?
“Lady Bushra: Robbed is my very first fully fledged stand-up comedy show that I’m debuting at Contact Theatre Manchester. It’s the tragically hilarious tale of a South Asian starlet. What could she have been? Who could she have been had it not been for everybody else’s fault? Expect a political message steeped in humour with lights, music and a projector screen. Grab your tickets as they’re selling fast!”

What can we expect from you over the next year?

“Over the course of 2023 I also have my Drag Comedy Cabaret that I will be bringing to London, Manchester and Cardiff. All information can be found on my website. Also keep your eyes peeled for a few special shows in Birmingham as well as a Pride performance – or two! Lots more to be announced…but for now come and see Lady Bushra: Robbed!”

Lady Bushra Robbed is at Contact on 17 February as part of Queer Contact 2023. See website for details.

The post Bollywood meets Vicky Pollard – it’s the unique Lady Bushra appeared first on Quays Life.

How are you finding being a new mum?

Amy: “Hard, incredible, overwhelming, life changing. I love being a mum, but my goodness it’s knackering!”

What made you want to write a show about motherhood?

Amy: “During pregnancy I suffered with prenatal anxiety. I never knew it was a thing until I was diagnosed. I started to blog about my experience and was amazed at all the responses from women who’d also suffered but felt alone with it. That’s when I thought – these things need to be talked about more – So, Glowing was born.”

What is Glowing about?

Amy: “Glowing is about the time you cried in the soft play area and another mum offered you a brew, it’s about when someone rolled their eyes at you because you were taking too long to get the pram on the bus, it’s about the overwhelming joy, boredom, anger and delight that comes with being a mum. It’s about maternal mental health”.

Why do you think comedy allows people to discuss taboo topics?

Amy: “Comedy puts people at ease. It creates an environment where you can talk about the hardest subject but in an accessible way. Comedy makes everything feel a bit lighter”.

Are there any out of bounds topics for you?

Amy: “It’s a tough one. I think the topics that are good to keep away from in a show are the ones that maybe haven’t been processed yet. But I am really lucky that I’m surrounded by a great team that make me feel comfortable exploring the really hard stuff. And the hardest stuff is usually the most important to share. I don’t really talk about my relationship with my husband much – unless I have his permission”.

How do you decide which stories to tell about your child and what to keep private?

Amy: “Most of the stories are more about my journey through motherhood than directly about my child. He’s involved in that journey but the show isn’t really about him. I think this’ll change as he gets older, but to be honest, he just does normal generic toddler things at the moment so it feels OK to share them”.

You previously wrote a show about endometriosis. Is it important to you to have a campaigning/awareness raising angle to your comedy?

Amy: “I start the process of a show by writing about something I feel passionate about. Those things so far have been things that need awareness raising around. Advocating for something gives me drive to write the best show possible, to do justice to the subject matter and to use my platform for change. I love that my job allows me to do that. Having said that, I also really enjoy writing silly sketches and jokes that are purely for fun. I think both things are important.”

How do you manage to juggle childcare with a stand-up career? What is the hardest part?

Amy: “As I will explain in the show, I have had to completely change the way I work. I actually no longer work on the stand up circuit. I create my own projects, like Glowing, and look for more writing/facilitation work where I can be more in control of when and where I work. I only work part time and I try and set really strong boundaries between days with my child and work days – saying that I am doing this interview during nap time! At first I found the hardest thing just simply trying to do anything on top of the already 24/7 job that is motherhood. And guilt. Either guilty for not being with them or guilty for not working enough. I try work through that, but it’s not easy.”

What would it mean to you to see more comedians who are mums on the circuit?

Amy: “There are already lots of great mums on the circuit. It would be great to feel like the circuit was a viable option for more mums, most of us are really funny and I think the world deserves to experience us”.

Glowing runs at Contact, Manchester from 18- 22 October 2022. There will be a post show discussion with Amy Vreeke on Friday 21 and at the Saturday Matinee on 22 at 2.30pm the venue is offering a free crèche facility for pre school aged children but booking is required at time of purchasing tickets.

The post Comedian Amy Vreeke debunks the myths of glowing new mums appeared first on Quays Life.

For anyone who doesn’t know, what’s the history Black Angel?

Claud: “Paula and I grew up in the 80s. Homophobia was a given and there were no positive images of LBT women of colour which was very isolating. I dreamt of socialising on Manchester’s gay scene greatly anticipating some sort of Utopia. Alas it was not to be. The scene was predominantly white and male-dominated. As a black lesbian I felt invisible. It did not cater for me.

“Paula and I met, by chance, in the village one day. We spotted each other as queer women of colour were few and far between. We shared a common experience. We wanted to hear the music we wanted to dance to, see and meet people who looked like us and provide a space where Black and Asian women could feel safe and express themselves.
Black Angel was born”.

If you could describe a Black Angel event in three words, what would they be?

Claud: “Amazing, diverse, fantastic – words supplied by our incredible clubbers!”

Why was it so important to carve out a space for LBT+ Women of colour in 1997?

Claud: “There was practically no representation for queer people of colour at this time, which was very isolating. It was important because we needed a place where we could be ourselves, have fun, feel safe and meet other people who looked like us. It was great to be out and not be in a minority.”

It’s been 25 years since the inception of Black Angel; what do you perceive as the defining moments of the iconic club night?

Claud: “Premiering the world’s first calendar for LBT women in 2004!”

Why should people come to Black Angel 25?

Claud: “The atmosphere will be amazing. Warm, friendly and welcoming. Great music. Very diverse. All are welcome as long as they respect where they are. Also, funds raised on the night will go towards funding our upcoming documentary, Black Angel: Feel Free to Be”.

What music can audiences expect?

Claud: “The best old school RnB, Hip Hop and soul. The type of music that’s guaranteed to fill the dance floor evoking feelings of euphoria!”

Why is Black Angel still important today?

Claud: “Things have not moved on nearly as much as they need to. We’re still hearing about homophobia on Manchester’s gay scene. We still need a safe space where we can express ourselves. We and our white allies need to vote with our wallets and not attend venues and events that are racist towards us!”

Black Angel: 25 is at Contact Saturday 8th October. To celebrate 25 years since its inception, founders Claud Cunningham and Paula Gannon-Lewis and Paula are making a documentary, Black Angel: Feel Free to Be. The documentary, premiering next year, tells the story of the trailblazing club night and captures the experiences of Black and Asian LBT women at that time. The documentary will be accompanied by a touring exhibition of archive images taken over its 25-year history.

Read our interview with Contact CEO Keisha Thompson.

The post “It was great to be out and not be in a minority” – Claud Cunningham on the return of Black Angel appeared first on Quays Life.

Miray draws on bread as a metaphor but also as a physical representation of the struggles Egypt has faced in the past and still does today. A consistent message throughout is ‘bread is life’ and the audience are able to understand that by the end of the show. Miray goes through the history of bread and its origins in Egypt and tells the story chronologically which allows us to feel like we’re on a journey with her through her culture.

The set is unusual with different shaped patches on the ground in an oval shape. This set soon makes sense as Miray uses it to enhance her movement throughout, creating an authentic feeling of being transported to a place that many of us do not know. On one side of the stage is a microphone and audio system – which juxtaposes the sand and flour spread out around it. Miray uses this to create a live audio loop, creating a raw, personable emotion that adds to the audience engagement. Miray comes across completely calm and composed throughout this process. The only downside is the looped audio sometimes overshadows Miray’s words, taking attention away from her and towards the sound system instead.

The physical movement – directed by Mele Broomes – is a key part of this show and it is clear Miray is paying homage to her heritage and culture with the care and detail that has gone into it. Every outstretched leg and uplifted arm seems to have a purpose and the changing tempo of the accompanying drums complements Miray perfectly.

The Bread We Break offers an engaging and important view of how the simplest and most taken for granted items can have impact and create change. And as her story weaves between personal and political we are invited to think about how everyday aspects of our lives cam be politicised and controlled. Given the current conflicts around the world it feels even more important to have these conversations and open our minds to other cultures and issues. Miray gives a great performance and has a charm and power to her words that keeps the audience hooked the entire time.

The Bread We Break is at Contact from 24 to 31 March 2022.

The post The Bread We Break: Review appeared first on Quays Life.