Before the curtain even rises, the actors engage with the audience, blending seamlessly into the pre-show environment. This immersive experience sets the tone for the evening, with characters wandering through the crowd, never breaking from their roles. This early interaction not only adds a layer of entertainment but also helps familiarise the audience with the characters’ distinct personalities.

The intimacy of the venue enhances the connection between the performers and the audience. The clever use of outfits and lighting transforms the space, transporting viewers into the vibrant, eclectic world of a cabaret club. Modern music and slang are skillfully woven into the narrative, making the centuries-old dialogue accessible and relatable.

HER Productions’ signature all-female and non-binary cast delivers stellar performances. The talent on display is undeniable, with each actor bringing depth and nuance to their role. The complexities of the characters are laid bare, making the themes of the play resonate powerfully. The comedic timing is impeccable, eliciting genuine laughter throughout the performance.

One standout aspect of this production is the actors’ professionalism and commitment to their roles. Their ability to maintain character, even during audience interactions, ensures that the immersive experience is seamless and engaging.

The modern retelling of The Taming of the Shrew incorporates exciting elements such as pole dancing and scantily clad actors, adding a provocative edge to the performance. This bold approach not only entertains but also provokes thought about the play’s underlying themes and their relevance in today’s world.

HER Productions bravely tackles the problematic aspects of the original play, such as the spousal abuse, and manages to balance the comedy with a powerful critique of patriarchy and violence that many women still face. This production is not just about entertainment; it’s about reclaiming the narrative and giving a voice to those who have been historically marginalised.

The beauty of Shakespeare lies in its adaptability, and this production exemplifies that by telling the story from a woman’s perspective.

The play is a clever, vibrant, and immersive theatrical experience. The combination of a talented cast, innovative setting, and modern twists make it a must-see. Whether you are a Shakespeare enthusiast or new to his works, this production offers a fresh perspective that is both entertaining and thought-provoking.

HER Productions’ The Taming of the “Shrew” is at Hope Mill Theatre on June 19 – 30, the production will then move to Shakespeare North Playhouse July 10-13 and conclude its run with two nights at Lawrence Batley Theatre, Huddersfield on 17 and 19 July.

Read our interview with Emily Spowage who plays Petruchio.

The post HER Productions’ The Taming of the “Shrew”: Review appeared first on Quays Life.

Tell us about yourself and the character you are playing
Emily: “I have been acting for 10 years, but this is my first Shakespeare piece. I’m really excited. I’m playing Petruchio, which is obviously usually a male role, but with the context of us performing it inside a cabaret club, I am the cabaret performer who’s taking on the part of the Petruchio. He’s bombastic, he’s loud, he is, can be aggressive, he can be violent, he is controlling, and he always gets his own way. And he certainly likes to control a situation and he believes that what he says goes, and that he can do anything that he wants to do because he’s just that kind of man.”

What drove you to play this role? What has been the most interesting aspect of your character to explore?

Emily: “We’re moving on with the kind of parts that get written for women, but parts like this still don’t get written for women, really. So, it’s brilliant to be able to step into playing these shoes. I’m also really enjoying the element of it being an all-female cast and the fact that we aren’t shying away from the fact that we are women playing these parts. We’re stepping into the over-the-top nature of it and really playing those stereotypes and those kind of features and characteristics of this kind of man, that this kind of man would not see in himself”.

How do the elements of burlesque, clowns, and cabaret contribute to the storytelling of The Taming of the Shrew?

Emily: “So, we have a central pole for a start. So, the pole, as in a pole dancing pole is the central feature of our set. We use it as different elements of the set. Sometimes it’s a door, sometimes it’s a lookout point, sometimes it’s being used as a pole. Also, the cast is very much a chorus in a way. Lots of characters multi-role anyway but when we aren’t playing another character, we might be supporting vocally. We might be creating some set, and some people are playing tables and pieces of furniture so it’s very much created in the moment. So visually it looks great. Obviously, it’s a minimal set, but we’re utilising all the people to create those elements.

“Also, the cast is super talented. We’ve got some beautiful singers and amazing dancers so it’s kind of all singing, all dancing, all grinding!”

Can you share any interesting or surprising moments from the rehearsal process that significantly shaped your performance?

Emily: “I’d been focusing on Petruchio, so working the cabaret performer into that was really interesting for me. There’s some beautiful moments where some cabaret is happening at the same time as a really interesting monologue. And just the fact that it’s all women on the stage and the way we’re staging these things – it really gives weight to the words.

“Obviously, when this play was written, there’s a few ways of interpreting it, but often it is repeated in this text that a woman, a wife is a belonging – she belongs to her husband. He can decide what she does, where she goes, how she lives and who she is. So, I think it really brings out those words that it is a woman performing. Especially with that cabaret element, which can be so empowering and so political at the same time. I just think it’s adding weight to the patriarchal structures that we still also live in”.

What do you hope the audience takes away from this production?

Emily: ““I think this play has been demonised a little bit and quite rightly because there’s quite a lot of spousal abuse in it, even though it is a comedy.

“We have made it funny. It’s funny, it’s entertaining, it’s got singing, it’s got dancing, it’s got burlesque. But the weight of the play is about the patriarchy and the violence that a lot of women still have to suffer. The beauty of Shakespeare is that we can keep looking at it through different eyes, through modern eyes and we can just give different people the power to tell the story and put the microphone in a different person’s hands and say, ‘I’m going to tell this story from a woman’s perspective’.

“We are going to tell this story and we’re going to take back the power in a way. So, I think we shouldn’t be frightened of any of these plays, it’s just who we give the microphone to, and I think that’s what we’re trying to explore”.

HER productions The Taming of The Shrew is at Hope Mill Theatre on June 19 – 30, the production will then move to Shakespeare North Playhouse July 10-13 and conclude its run with two nights at Lawrence Batley Theatre, Huddersfield on 17 and 19 July.

Read our review,

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This multi-sensory extravaganza, titled “Afrique en Cirque,” celebrates African culture with the vibrancy of youth, joy, and the diaspora, while inviting the audience to join them on an unforgettable journey inspired by daily life in Guinea.

The circus is on for four nights as one of the paid highlights of the venue’s Welcome programme. The Welcome, a two-year project led by 22 representatives from different boroughs of Manchester and curated by Factory Assembly, aimed to reflect the rich tapestry of Manchester’s communities and bring forth a unique cultural experience for all.

Most of the activities are free which means you can enjoy a full day of festivities, including music, delectable cuisine, and a range of engaging activities such as creating your own art work to add to Leeroy New’s ‘Balete Spacecraft’ sculpture.

It feels like the venue could well be a spacecraft because once inside Afrique en Cirque, bursting with colourful costumes and stunning scenery, transports us to another continent for a night filled with joy, unity, and inspiration.

The performance features mesmerising live Afrojazz music and traditional West African instruments, from soul-stirring percussion to the enchanting sounds of the kora. Through breathtaking acrobatics, the talented performers paint vivid pictures of life in Guinea, captivating the audience from start to finish.

What sets Afrique en Cirque apart is its ability to establish an intimate connection with the audience. Laughter and beautiful sounds bridge the gap between performers and spectators, making everyone feel like an integral part of the show. As an audience member you’ll find yourself not simply a passive observer but an active participant in this immersive experience.

The lighting design adds to the enchantment, casting a spell that leaves the audience in a trance. The interplay of light and shadows adds depth to the storytelling and heightens the emotional impact of the performance.

The Welcome invites everyone to explore their creativity, emphasising that creativity resides within each person; it only needs to be discovered. In a world filled with diversity and unique perspectives, Afrique en Cirque serves as a reminder that the beauty of culture and creativity lies in its ability to unite us all.

In this sense, Afrique en Cirque at Aviva Studios is more than just a circus performance — it is a celebration of culture, a fusion of talents, and an invitation to explore the boundless possibilities of human creativity.

Afrique en Cirque is at The Hall, Aviva Studios from 11-15 November 2023 as part of The Welcome a cultural, community celebration from 11-19 Nov for the opening of the new space. Visit the website for the full programme of events.

The post Kalabanté Productions: Afrique en Cirque – Review appeared first on Quays Life.

Manchester Collective are aligning once again with South African cellist, composer and singer, Abel Selaocoe in a boundary-pushing concert, The Oracle, about connection through music.

In a progression of their highly popular Sirocco collaboration, and backed by the beat of African percussion, Abel is joined by the Collective at Manchester’s Bridgewater Hall, to present a life-affirming, musical journey across space and time – spanning continents and generations, past and future.

“My journey with Manchester Collective started quite some time ago and our relationship has now matured into something extremely beautiful,” says Selacoe. “The Collective has served as one of my homes to create without any inhibitions – something special always seems to come out of this environment they’ve created. Our latest collaboration will see us explore the sound worlds between classical music and African music, and beyond”.

The title of the show is inspired by the concept of oracles – characters from different communities who impart wise and insightful counsel – transcending space and time to bring a message that is important for everybody’s wellbeing. Exploring a whole new musical connection, the evening will feature four new works on this theme by Selaocoe, (commissioned by Manchester Collective and the Southbank Centre in partnership with the Royal Philharmonic Society), alongside masterpieces by Jean-Philippe Rameau, Igor Stravinsky, Mica Levi and Oliver Leith.

The music incorporates electric bass, African percussion, solo cello and a string orchestra. From Baroque to Mbaqanga music from South Africa, it promises to transcend the boundaries of genre, reimagining classical instruments’ sound worlds, and inviting audiences to jump into different worlds of expression.

“Audiences can expect to be thrown into a world of both the familiar and unfamiliar,” says Selaocoe. “They will be taken on a journey that explores the types of sounds an instrument can make outside of itself, just like an oracle – somebody who can transcend their community and tell a story so that people can understand their purpose.

“Another theme that will bind everything together is Afrofuturism. This has been a very personal journey for me, exploring a topic that speaks to me as a Black person and my idea of where my journey goes in the future – the use of technology, the idea of space, and of transcending what was before to look further ahead. For me, The Oracle is all about finding a universal idea of spirit that can take us to another world.”

Since co-founding Manchester Collective in 2016, Rakhi Singh (Musical Director) and Adam Szabo (CEO) have championed the organisation’s experimental programming and collaborations. In a relatively short time, the Collective has staged around a hundred live shows that have spread over six seasons; integrating classical and electronic music, as well as commissioning new work from contemporary composers including, Edmund Finnis, Hannah Peel, Lyra Pramuk, and Laurence Osborn.

Szabo is led by personal inspiration in seeking exciting collaborations. ‘We tend to find artists that we are blown away and inspired by. They often work in different kind of areas but generally, they have a very strong distinctive artistic personality. Their work has a certain flavour which is absolutely individual,” he says.

“Working with Abel has been interesting as it’s been evolving for many years now. We worked together the first time in 2018 and we have done work together almost every year since that time. A lot of classical musicians are trained to just interpret what they’re given, but Abel always brings something new. There are not many musicians who have that kind of energy; an inexhaustible well of creativity.”

The show aims to create an uplifting atmosphere with joy woven through it. Szabo emphasises it is an event for everyone: “There can be two types of audiences,” he explains. “One of those audiences are people who don’t normally find themselves in concert halls and it will be cool to blow their minds and show them what is possible and how exciting live music can be. The other audience is an artistic community of artists who work in a classical tradition and then it’s about expanding their ideas of what is possible with these instruments”.

The event has been designed to inspire a rush of energy into the audience. Selaocoe has been known for creating a type of atmosphere where you don’t know what could happen next. But Szabo is certain about one thing: “Music is something that should be a shared experience.’ So, if going along to The Oracle, expect the unexpected, alongside a mixture of listening and sense of togetherness.

Those who love live music know the euphoric atmosphere and togetherness that can be experienced at a gig. We could all do with more connection and for some, The Oracle may be the missing piece that can bring a sense of belonging.

The Oracle comes to Manchester’s Bridgewater Hall on 15 April before continuing on its UK Tour. Manchester Collective is also collaborating with Hannah Peel and Lyra Pramuk in Neon which will be held at The White Hotel in Salford on 20 May 2022. This event is minimalistic and includes evolving trance rhythms.

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