Verdi’s La Traviata (The Fallen Woman) has long been one of the most popular operas; loved for its drama, passion, and instantly recognisable score. Just minutes into Act I and the orchestra gets us into party mood with drinking toast ‘Brindisi’ (made popular by the Heineken ads) sung with gusto by Alfredo (Oliver Johnston).

As Parisian courtesan, Violetta, Maire Flavin is alight with passion. All eyes are on her – even through a huge peephole at the back of the stage. She emerges from a sea of writhing bodies on a bed, in a lavish scene of hedonism. From here it is clear there is a huge height from which to fall.

Director, Alessandro Talevi places the action in the Belle Epoque, which while more than a century after its original setting is not so long after the opera’s premiere in 1853. Europe hasn’t yet suffered the devastation of the first World War, and the pleasure seeking in Act I is symbolic of the continent’s golden age prosperity.

Act II takes us to the more relaxed setting of Violetta and Alfredo’s Country House. But here emotions run just as high when Stephen Gadd enters the home like an explosion as the father, Giorgio Germont.

The quieter third act, which sees Violetta confined to her bed with consumption, is less frantic but no less heart-wrenching.

The production is a revival of the company’s 2014 production, which Talevi also directed. He has returned to not simply revive but to refresh, and it does feel like this has been an opportunity to fine-tune and capture the full emotion of every scene.

In this production the principal roles have been double cast, to offer more performances on consecutive evenings. There are also two conductors. On Tuesday the orchestra was led by Manoj Kamps who expertly guides this compelling narrative as a rollercoaster of emotions through music.

It’s a definite catch it while you can experience.

Opera North La Traviata is at The Lowry from 15-17 November 2022.

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We tried out the Zerowater 12 cup/2.8 litre capacity jug filter, which claims to remove 99.6% total dissolved solids (TDS) from water, which includes fluoride and chlorides that are added to tap water as well as traces of other metals that could be in there such as lead and copper. This makes the Zero filtered water the equivalent, in terms of TDS, as purified bottled water.

But how do we know that?

The filter comes with a water quality reader, which you dip into the water and it gives you an immediate TDS reading on a digital screen. This allows you to test the quality of your tap water as well as the filtered product.

I tried it out with a glass of tap water first and the reading came back at 52 parts per million (PPM). This is very good and the lower end what we’re told is the typical range for the UK, which is said to be between 51 and 200 PPM. There are some UK cities, however, where readings above 300 PPM have been reported.

If you’re familiar with using water filter systems, the filter itself is bigger than some others and, unlike carbon-only water filters, it doesn’t need to be washed through several times before drinking for the first time.

The size is to make room for its 5-stage ion-exchange technology. The water also takes a couple of minutes to filter through. But the spout is separated from the water reservoir, so if you really couldn’t wait you could pour a glass while the rest of the water is still filtering through.

The Zerowater 12 cup/2.8 litre capacity Jug is a little on the large side to fit into a standard larder fridge. But it will fit into a larger fridge freezer or American-style fridge and has a button release on the back so you can let kids help themselves without them needing to lift a heavy jug.

After filtering the first time the Zerowater reading came back at 0.26. This was almost half the original tap water reading, but, since the instructions says the filter needs replacing at 6 PPM, I went through the trouble shooting stages to check it was working properly.

On closer inspection it turned out that I hadn’t sealed the filter fully when attaching it, so some of the tap water was escaping through the gap into the jug. Once I tightened the seal the next filtered jug gave a zero reading on testing.

In term of taste, the filtered water tastes thinner and clean. It certainly matches up with many bottled waters for taste.

The water quality reader will let you know when the filter is ready to be replaced. But as a general guide the company recommends every 95-150 litres if your tap water quality is in the typical UK range pf 51-200 PPM TDS. If it is higher than this where you live, you may need to replace it sooner.

Once you’ve paid the initial £39.99 for the filter jug, it probably works out on average between 10p-15p a litre of water, depending on whether you choose to buy your filters individually, in a multi-pack, or on a subscription.

If you do like to drink a lot of bottled water the Zerowater filter is a good, sustainable alternative for staying hydrated.

For more details visit Zerowater.co.uk

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It must have been the ultimate task for board game producers, Ginger Fox but somehow they’ve managed to transfer the daftness, randomness and enjoyable elements of the TV show, Taskmaster into a format that allows you to undertake various tasks using items found in and around the home.

It is based upon the long-running BAFTA award winning TV comedy quiz show starring Greg Davies (stand-up comedian and actor best known as the headmaster from “The Inbetweeners”) and its creator Alex Horne (band-leader of The Horne Section) currently enjoying its 10th series on Channel 4 following the successful move from Dave.

The game comes with a game board, rules sheet, pen, paper, playing pieces, Taskmaster trophy and a couple of hundred all important task cards.

Each player is given a Secret Task card to begin with and they need to surreptitiously follow the instructions throughout the game without the other players guessing their task. How could I be so blind as to not notice my wife stroking a cushion as if it were a pet for a full hour?

Players take turns performing the Davies role of Taskmaster although there is the option of one person being the sole arbiter of awarding points if they are unwilling to partake in the challenges, are feeling unsure about joining in too fully, or if they are just power hungry.

Three or more players age 8 or over are needed to play and they do not need any prior knowledge of the show to enjoy the experience. My son loved playing both a generous Taskmaster, wielding the power to award additional points, as much as he did performing the tasks. The board game takes an estimated 30 to 45 minutes to complete whereas we played two rounds on our first attempt that lasted a fun-packed hour.

The Taskmaster gets to choose the type of task the other contestants perform (Garden Task, Lab Task, Living Room Task or Kitchen Task). Limiting the game to Garden Tasks would be ideal for the current situation where people are restricted to meeting outdoors and would need to bring their improvisation and ingenuity along with their bottles.

There are plenty of opportunities to show favouritism and begin arguments with the point scoring mainly being at the discretion of the Taskmaster. The time limits on the tasks ensure the game zips along at pace as players rush around trying to find the best materials to make trophies or snazzy footwear.

For the game’s finale, there is the option to read a final task from a card or to scan a QR code to watch Horne provide a task which ties in neatly with the TV show. This is a great competitive, fun and creative way to spend an afternoon or evening, which will likely be returned to time and time again (although I’m not sure how much of a kicking my creative ego can take when faced with a 9-year-old creative genius).

The Taskmaster Board Game is suitable for 3 or more players and for ages 8+ It costs £19.99 from Smyths.

From the Deep Dark Wood to a Whole Farmyard of Fun – interview with children’s author Julia Donaldson.

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The main thrust of the piece is rebirth or renaissance. Opera North’s epic production opens with three neighbours overwhelmed by the heatwave currently sweeping the city. The heatwave is a metaphor for the brewing tension that’s scheduled for the second act of the performance.

Director Matthew Eberhardt skilfully creates a confined and claustrophobic space where immigrants, from all walks of American life, mark the milestones of human existence. Within its walls there’s a pending funeral; a couple are expecting their first child; a graduation celebration; an eviction from the tenement block (for late rent payments); and rumours of an affair.

The Maurantt’s are the central characters of the piece. Anna (Giselle Allen) and Frank Robert Heywood) who exist in a loveless marriage have a daughter, Rose (Alison Langer) who is pursued by three suitors. Sam Kaplan, who’s played by Alex Banfield, is the archetypal ‘boy next door’, bookish and introverted; Harry Easter (Quirijn de Lang) delivers an chilling portrayal of how ‘men with power’ seek to use that influence to gain sexual gratification; and Vincent Jones (Christopher Naire) – Naire’s a brute who’s not afraid to use force or foul language to get what he wants.

The original play was set in and around the steps of a tenement block and had a multitude of characters all with interweaving storylines. It was perceived as so complex in its delivery that it was deemed akin to watching improvisation on stage. Weil’s decision to retell this story and adapt it to music stemmed from his desire to reinvent the American opera to develop a unique ‘dramatic opera’ that was both a ‘commercial and an artistic’ hit.

Opera North’s production successfully delivers this balance. It does so by remaining faithful to the original production and making the ‘tenement building’ a central character in the piece. Designer, Francis O’Conner formulates a huge steel tenement block, with its internal components exposed. There is a degree of transparency which enables the audience to be outside the building while seeing what’s inside at the same time.

The overarching thread of Street Scene beautifully blends spoken word and song to move the narrative forward. James Holmes’s conducting prowess merges poignantly with Langston Hughes’s lyrics. Hughes was, incidentally, brought on board specifically because of his ability to capture the vocal rhythm of New York’s working classes.

When Anna, Frank or Rose sing, they use common parlance and very often the lyrics they sing are prophetic, revealing their innermost beliefs or the painful circumstance that await them. This is beautifully demonstrated when Anna sings ‘Somehow I Never Could Believe’, a lament about her youth and dreams of love and romance; when Frank sings ‘Let Things Be Like They Always Was’ – a broken man expressing the age-old belief that life was always better in the past; or when Rose sings ‘What Good Would the Moon Be?’ – her inner-conflict, influenced by the suitors who seek her affection and her desire escape the mental prison she’s in.

Choreographer Gary Clarke captures the mood of the times with some beautiful routines. When Mae Jones (Michelle Andrews) and her love interest Dick McGann (Rodney Vubya) dance the Jitter Bug to ‘Moon-faced Starry-eyed’ the audience give a rousing response.

Although conceived in the late 1940s and not generating the box office returns of other lighter shows of the time; Street Scene, a dramatic opera, was a success on its own terms. Opera North’s production is a phenomenal success and proves that this work still has resonance in the 21st century.

Opera North is at The Lowry, Salford Quays from 10-14 March 2020.
Tue 10 Mar The Marriage of Figaro 7.00pm
Wed 11 Mar The Turn of the Screw 7.30pm
Thu 12 Mar The Marriage of Figaro (audio-described) 7.00pm
Fri 13 Mar Street Scene (captioned) 7.00pm
Sat 14 Mar The Marriage of Figaro 7.00pm

Five reasons why The Turn of the Screw is the scariest opera you’ll ever see.

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Just like acting luminaries, Clive Owen, Hugh Grant and Kate Winslet, Garfield also appeared at the Manchester Royal Exchange Theatre early in his career: in his case, it was the early noughties a productions of Kes. As Billy Casper, he was a fidgety bundle of engaging, nervous energy. I was impressed enough to track him down in the bar afterwards and tell him as much. Garfield was flattered, thanked me, and then disappeared outside for a cigarette (he returned to the Royal Exchange a year later in Romeo and Juliet).

I have followed his career with interest ever since: from acclaimed turns in gritty C4 dramas like Red Riding and Boy A, to middlebrow movies like Never Let Me Go, and The Social Network, to his brief stint as Peter Parker, in a pair of movies which were successful but possibly not successful enough. Garfield was unceremoniously dropped from the Spiderman franchise but emerged emboldened, moving into more adult fare: Martin Scorcese’s Silence, and an Oscar nominated turn in Mel Gibson’s Hacksaw Ridge.

As Sam, Garfield gives possibly the most layered performance of his young career, though sadly very few people have seen Under the Silver Lake. Due in 2018, it received a fleeting theatrical release in Spring 2019, before streaming service MUBI (it’s now out on DVD). Mitchell Green’s film comes on like Goonies meets Mulholland Drive, or Rear Window crossed with Ferris Bueller’s Day Off. Sam is a character with an apartment and a car but no apparent career. Growing up in a post VCR world, his interests are those of the average geek: arcade games, graphic novels, and especially quiz shows. He obsessively watches video tapes of TV hostess Vanna White, convinced her mannered camera glances contain hidden significance.

Sam has a regular sex life, but romantic intimacy appears outside his comfort zone. One day, he spies new neighbour Sarah (Riley Keough, who is, coincidentally, the granddaughter of Elvis Presley; yes, really), in the complex swimming pool. They hang out in Sarah’s apartment, and he experiences something foreign – an emotional connection. The following day, the lady has vanished. Sam embarks upon a selfless, surreal quest to uncover the truth of her disappearance, which leads him across the city, and down a rabbit hole of conspiracy, scandal and murder.

Sam seeks assistance from a fellow comic fan, the brains behind a local fanzine about urban myths (brought to thrilling life in a short, chiaroscuro animation). ‘Comic Fan’ enlightens Sam on the finer points of the Hobo code; a guide book of arcane symbols, created during the Great Depression, to help transients navigate their way across country (significantly, this character is played by Patrick Fischler, who appeared in Mulholland Drive as a man with a recurring nightmare about a dumpster dwelling down-and-out).

The vagrant theme continues with the appearance of the self-proclaimed Homeless King (David Yow). Sam also crosses paths with the glittery Balloon Girl (Grace Van Patten). The motives of these characters are ambiguous; are they here to help or hinder? There are sub-plots about a city dog killer, and a rock band, Jesus and the Brides of Dracula, whose songs may contain subliminal messages. This leads to the film’s most audacious encounter, with the mansion dwelling musician known as ‘Songwriter’ (Jeremy Bob). ‘Songwriter’ performs a medley of anthems he claims to have written (‘I Want it That Way’, ‘Smells Like Teen Spirit.’) ‘I created so many of the things you care about’, he smirks, ‘when you were 15 and rebelling, you were rebelling to my music!’ In this alternate America, Kurt Cobain was a corporate shill, with nothing original to say.

Ultimately, Silver Lake is a 133-minute long shaggy dog story. But it’s the ride that counts, not the destination. Even the haters have been forced to praise Mitchell’s ambition. This is a film designed for study groups and repeat viewings.

Director Ridley Scott, in a documentary on the legacy of Blade Runner, recalled the indifferent response the film received on original release; being ahead of your time, he argues, is just as bad as being behind the times. In 2019, David Robert Mitchell finds himself in the same predicament; it may take a while for the world to catch up.

UNDER THE SILVER LAKE David Robert Mitchell is available to watch on MUBI, iTUNES and DVD/BLU-RAY.

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New Live Theatre, Manchester Hub Drama and No Egos Theatre Productions brings the premiere of SARAH to the Lowry for 2020, following their sold-out production of ‘The Betting Shop’ in 2019. ‘SARAH’ is a brand-new play by Writer and Director Stevie Helps, of the critically acclaimed play, ‘Rachel’.

The play highlights the importance of not only talking to one another and making time for those you love, but actively hearing them too. One character expresses the sentiment in Act 3 – that it’s such a loss to wait until you are dying to explain your previous actions to people you love.

There are many secrets to unearth and unfold in this production, mostly borne out of the inability to share worries, anxiety and anxieties, flaws and traits. The play reflects on how easy it is to seamlessly become the victim, to even find a life behind bars preferable to a domestic prison where never ending physical and emotional abuse becomes the norm.

Writer/Producer/Director Helps is known to overlay a multitude of genres and technical styles, from naturalism to comedy to physical theatre to melodrama and even satire to push theatrical boundaries. This production is certainly boundary blurring, and while we learn why the male characters behave as they do, the female characters are the ones to suffer and seek excuses for their abuser’s actions. With strong portrayals from all the cast, the live singer, Kat Rawling, deserves special credit and links the plot exceptionally well as, certainly, in Act 3 when the plot takes an unexpected turn into a form of ‘who done it?’

Helps’ writing often has serious underlying dark tones. His production offers both commercial and artistic threads woven into stylistic experiments intended to introduce theatre to a wider audience. It seems to have worked because this was a sell-out production, however perhaps with so many layers in this production, certain of the more abstract threads might be lost on some.

SARAH is no self help guide; in parts it is disquieting but highlights the significance and need of a deeper level of communication between loved ones before it’s too late.

SARAH by Stevie Helps was at The Lowry, Salford Quays on 15 January 2020.

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