Elise Gallagher Archives - UPSTAGED MANCHESTER

Waiting for Hamlet at GOAT Mcr

August 6, 2021August 6, 2021kristobel

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐⭐⭐

Winner of the Kenneth Branagh New Drama Writing Award, Waiting for Hamlet is a play set in purgatory. King Hamlet and his fool Yorick find themselves ghoulish spectators waiting for a cause.

King Hamlet has arrived freshly murdered by his brother whilst Yorick has occupied the place for over twenty years, keeping watch. Having failed to open the door to both heaven and hell King Hamlet is insistent on going back to the other side, only Yorick isn’t so sure.

Both Tim Marriott (King Hamlet) and Nicholas Collett (Yorick) give fantastic performances.

Marriott’s King Hamlet is ludicrous and self-centered, likening himself to Christ whilst Collett portrays a wise fool. Throughout the course of the play, you soon wonder whether the jester’s hat is sitting on the wrong head.

Both Tim Marriott (King Hamlet) and Nicholas Collett (Yorick) give fantastic performances.

The duo are immediately in character upon arrival, providing the perfect match to one another, verbally sparring. Quite like how you might imagine limbo, the stage is bare and sparse with just a small amount of boxes the characters sometimes sit on, exasperated with the other.

With well over 4,000 lines and around 30,000 words, Hamlet is Shakespeare’s longest play. However, with a running time of only 50 minutes, this arguable prequel covers a lot of ground.

David Visick’s script is undoubtedly the star of the show – within such a short space of time the duo’s after-life commentary spans and loops around topics such as politics, religion, nature and hierarchy, sometimes stepping into the realm of poetry. However, it is important to note that a good script can only truly shine with an equal performance. Marriott and Collett rise to the challenge with ease.

David Visick’s script is undoubtedly the star of the show.

It made me smile to think that King Hamlet’s famous speech from beyond the grave actually came from his ex-jester’s mind.

This understated play is a love letter to the bard, a masterclass in how to bring a new dimension into a well-known tale and ultimately, a demonstration of how to find the comedy in one of Shakespeare’s most famous tragedies.

-Elise Gallagher

The Summer Shakespeare Festival runs at GOAT Mcr (Great Open Air Theatre, Manchester) situated in the amphitheatre at the Great Northern Warehouse, 235 Deansgate until 15 August 2021.

Much Ado About Nothing at The GOAT Mcr

August 5, 2021August 5, 2021kristobel

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐⭐

One of Shakespeare’s most performed comedies Much Ado About Nothing centres on two very different romantic pairings but rather than told by the bard, The GOAT Manchester have decided to let the city’s watchmen take it upon themselves to tell their tale.

Led by Dogberry (Sean Henry) and followed obediently by Oatcake (Kyle Fisher) and Seacoal (Abey Bradbury) the performance takes on the vein of a village amateur dramatics society where the fashionably late Friar Francis (Gemma Whiteley) takes charge of the session with an unimpressed Verges (Harry Mace) joining them.

The company occupies and makes use of all space around them. There are no structural props in the performance space, just a fancy dress rail and costume box. The giddy characters whip around the venue in between audience rows, and even scare a spectating dog.

The giddy characters whip around the venue in between audience rows, and even scare a spectating dog.

The performance is completely over the top, but brilliantly so. A performance highlight was the ghoulish surprise of Don John complete with a plague mask, black cape and clawed plastic hands. His pantomime villain-esque presence and voice – the work of two of the cast – make his limited on-stage presence larger than life.

The skillful ensemble of 5 actors expertly juggle multiple amounts of physical comedy alongside Shakespearean prose. After a slow start, the performance really gathers pace and sets its own rhythm, complete with acoustic guitar performances and trumpet playing. Bradbury, Henry and Mace demonstrate a masterclass in doubling whilst Fisher punctuates his performances with cartoon-like slapstick.

A deliciously funny retelling of a Shakespeare classic.

This performance is a pay-what-you-can production and is a part of GOAT Mcr’s Summer Shakespeare Festival, which will be taking place at the Great Northern Warehouse’s Amphitheatre. Unless you are like me where our performance was interrupted by torrential rain. GOAT Mcr quickly got everyone inside into a dry indoor space and kicked off the show – the cast took off again seemingly unbothered by the false start.

Although Manchester may have not have blessed the company with good weather, come rain or shine this production delivers a deliciously funny retelling of a Shakespeare classic – just don’t forget your raincoat!

-Elise Gallagher

Much Ado About Nothing runs at GOAT Mcr (Great Open Air Theatre, Manchester) situated in the amphitheatre at the Great Northern Warehouse, 235 Deansgate until 15 August 2021. Tickets are sold on a Pay-What-You-Can basis.

Review: Bloody Elle at the Royal Exchange

June 30, 2021June 30, 2021kristobel

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐

Bloody Elle, a gig musical, is the first piece of performance to see the Royal Exchange Round in over 14 months.

Performed and written by Lauryn Redding, the piece is a one-woman show telling the story of Elle, exploring her growth, queer love and identity. The autobiographical piece is made up of a jigsaw of monologue, commentary with Kae Tempest-like delivery, impressions and live music performance.

Redding carries the show with a likable cheek, easily navigating the hurdles COVID-19 presents, side sweeping her way into every other character involved in her story, complete with accent and mannerisms. The only character she doesn’t do this frequently for or stops doing this for altogether is Eve – her love. Ultimately Redding gives her voice life at the end of the play, which echoes around the round.

The set (Amanda Stoodley) is made up of a series of black platforms of differing heights which have a white paint splatter effect across their tops. It’s a very simple set-up with pub-style tables and stools (complete with tea lights in frosted holders) orbiting the stage, making Elle the centre of our universe.

Her unwavering love for ‘Cloud Rises’, the choreography for her looking over her kingdom, and the warm light mimicking a soft pink sunset were show highlights.

Redding does an incredible job of conducting the show alone. However, for a performance entirely focused and delivered by one person, it felt as if the show was hindered in its flow. The set design is from one palette occasionally punctuated with white light. The choreography, rhythm, and at times even the lyrics, are repeated throughout the piece, giving the performance a repetitive feel.

Director and Joint Artistic Director of the Royal Exchange Bryony Shanahan returns with her winning formula of live music, last seen with the haunting, show-stealing score of Wuthering Heights by Sophie Galpin & Becky Wilkie. The show is at its strongest with Redding’s amazing vocal performances which lace her monologue.

With gig musicals, it’s hard to hit the perfect note – but despite this, Bloody Elle marks a safe return for the Exchange.

-Elise Gallagher

Bloody Elle plays at the Royal Exchange Theatre, Manchester until 7 July 2021.

Review: Opera North’s Un ballo in maschera at The Lowry, Salford

March 11, 2018kristobel

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐

Opera North closed its residency at the Lowry Theatre with Un ballo in maschera, rated as one of Verdi’s best creations.

However, the UK’s relationship with the tragedy has been rather dramatic over the past decade after stagings in London were met with little praise. This is Opera North’s first production of the piece and a rather successful first draft.

The heart of the story follows King Gustavo and his doomed love triangle involving his most loyal friend, and his wife. King Gustavo is painted as a free-thinking, open-minded, kind-hearted and popular ruler, however, what makes him so is not explored. Likewise, the motivations of the conspirators out to murder him were vague – even upon revelation they had little impact and no footing which could prove either confusing or distancing to the audience.

Hannah Clark’s set was vast, its enormity further amplified by the lack of furniture, very sterile or dark in some cases. The sets and costumes melt together – dusty grey three-piece suits, belted macs, and homburg hats taking the characters away from a particular time or place. Dated, but not bound to a date.

Opera North have chosen to adopt Verdi’s original version of the text, based upon the assassination of Gustav III of Sweden at a masked ball in Stockholm.

I expected that the presence of a masked ball would ramp up the dramatics of the third act, however despite the striking plum costumes, powdered white faces and wigs, its climax felt underwhelming.

Anything but underwhelming was Richard Farnes’ conducting. The former Music Director for Opera North made a welcome return delivering a score laced with fragility and drama.

Tereza Gevorgyan gave a stellar performance as Oscar, providing very much needed light comedy in a bleak narrative. Equally as good was Phillip Rhodes who plays the role of Count Anckarström, a loyal friend turned husband hell-bent on revenge. His portrayal is weighted heavily with warmth, which I feel Rhodes struggled to shake off to convey convincing malice.

Patricia Bardon brought fortune-teller Ulrica to life, complete with beret and neck scarf. Bardon is considered a rarity these days, a true contralto. Adrienn Miksch plays the role of torn Amelia excellently, her voice intense and wide-ranging.

Opera North only have two performances left of Un ballo in maschera: the first on the 17th of March at Nottingham Theatre Royal, and the 24th of March at Newcastle Theatre Royal. It is an enjoyable performance which runs away with time.

-Elise Gallagher

Catch Opera North’s Un ballo in maschera at Nottingham Theatre Royal and Newcastle Theatre Royal later this month.

REVIEW: Finding Alice (The Lowry, Salford Quays)

January 20, 2018January 20, 2018kristobel

Reviewer: Elise Gallagher

Upstaged Rating: ⭐⭐⭐

Creative collective Manchester ADP premieres a new piece of writing with Finding Alice, directed by Charlie Mortimer.

The hour and a half piece explores the lives of Camille, Ida, and Audrey – three cellmates under interrogation by prison officer Himmel. They are accused of being a part of the spy network known as the “Alice Network” run by the infamous Alice Dubois. But the question everyone wants to know is, who’s Alice?

The play opens with Camille, a fiery proud woman played by Nuala Maguire being interrogated by her German prison officer Himmel (Oates). Her naïve fifteen-year-old cell mate Ida is played by Chloe Proctor who delivers a standout performance. Camille’s character fluctuates between unrivalled fury, ignorance, and then maternal instinct over Ida, whom she promised she’d look after.

It seems Camille had made quite a name for herself before she was imprisoned, as revealed by the arrival of Audrey played by Diana Atkins, a part-English part-Belgian officer of higher rank than Camille within the Network.

Maguire plays Camille with a thick Belgian accent which I feel was prone to variation throughout the performance. Audrey speaks with an eccentric RP, one only the Queen could rival, whilst Oates plays the German Officer Himmel with a thoroughly Northern English accent. I found this inconsistency could cause confusion with the audience.

In a production like this, I feel it would either make sense to either allow each actor to perform in their native accent or encourage all actors to adopt their character’s accents, variation between the two distracts from the narrative at hand and remains unexplained.

Furthermore, I feel Oates’ delivery failed to meet the mark. I often found his delivery didn’t match that of a supposedly threatening German soldier.

However, for an opening night performance, I sincerely hope the play’s actors gather proper grounding in their roles as the tour develops.

It’s important to note that this performance contains scenes of implied sexual violence.

Most fascinating of all, the story’s foundations are completely true. The play is dedicated to Louise de Bettignies, also known as ‘The Queen of Spies’, as well as to Edith Cavell and to all the women who were apart of the Alice Network but whose names do not grace history.

Alice Dubois lived and fought occupying forces in Europe during the First World War, during which women across Europe challenged the expectations their society shackled to them. Finding Alice was selected from over two hundred script submissions sent into Manchester ADP – I thoroughly look forward to seeing more original stories and the voices they share on the stage.

Finding Alice is an intricate tale of imprisonment, desperation, resilience, and most importantly, survival. However, for such a fantastic story I feel it was let down by its performance.

-Elise Gallagher

Finding Alice is being performed at Oldham Coliseum on 10th and 15th February 2018.

Our favourite productions of 2017

December 23, 2017kristobel

20171223_133820

We’ve had premieres, modern adaptations and watched some shows receive West End transfers – the Manchester stages have been truly brilliant this year. Here is Upstaged Manchester’s round-up of theatrical highlights through 2017. Which shows would make your list?

The Suppliant Women at the Royal Exchange

The Suppliant Women was certainly one of the most extraordinary theatrical events that I have ever seen. Debating ideas of identity and asylum, the story strikes a shrill chord now – in our current migrant crisis – as it ever did over two thousand years ago. The most impressive aspect of this show was the chorus, made up of thirty-five girls aged between 16 and 26. Thrilling, shocking and painfully good. The Suppliant Women is just one jewel in what has been a bold and exciting season for the Royal Exchange.

The Father at Oldham Coliseum

It is rare that we experience dementia from the perspective of the person who is struggling with it, rather we experience it from the viewpoint of family members and carers. Oldham Coliseum triumphed in presenting The Father, a highly engaging but charming, heart-rending though witty, interpretation of Andre’s struggle with the disease. With a tremendous performance from Kenneth Alan Taylor, many people were left moved as the show came down. This was a flawless production that managed to get people talking, sharing and understanding dementia together.

The Band at The Opera House

The Band is a complete triumph – it’s not just a musical for Take That groupies, but a musical for anybody who grew up with a boyband. Tugging hard at your heartstrings and tickling your funny bone, with a sterling cast and Take That’s wonderful floor-fillers, I was thrilled to find out that the musical will tour for an extra year following the huge demand for tickets. Truly feel-good and fabulous.

Uncle Vanya at HOME

Director Walter Meierjohann brought this deeply layered and finely nuanced production to complete fruition. Fascinating and truly absorbing, every word managed to strike new meaning. Nick Holder’s Uncle Vanya straddled the tragicomic perfectly, giving the best Vanya that I have seen, and all of the ensemble gave top-notch performances. This interpretation of the Chekov favourite was completely consuming.

Reviewer – Elise Gallagher:

Yank! at Hope Mill Theatre

My first review for Upstaged and my introduction to a fantastic venue – Hope Mill Theatre. A fresh musical which I feel took everyone by surprise and has introduced a new chapter of theatre in Manchester. I was thrilled to hear that Yank! received a well-deserved West End transfer.

Jane Eyre at The Lowry

One of my favourite stories translated onto the stage – it broke my heart (but in a good way!) and did Charlotte Bronte justice. Adapting a novel for the stage is a challenging prospect, especially such a timeless classic like Jane Eyre.

Reviewer: Daniel Shipman

Cotton Panic (MIF) at Upper Campfield Market Hall

Manchester International Festival audiences who ventured away from Festival Square, down Deansgate to the atmospheric Upper Campfield Market Hall were rewarded with a powerhouse performance from Jane Horrocks in Cotton Panic. This linked Manchester’s industrial heritage to the US Civil War in a truly enlightening way, whilst also serving up an innovative, entertaining, genre-defying piece of theatre. For me, it was the highlight of the festival.

People, Places and Things at HOME

Following a 2015 debut at London’s National Theatre, the touring version of Headlong’s People, Places & Things opened at HOME in September 2017. A perfect example of how to bring quality theatre out of London, this production drew on seemingly limitless reserves of energy to propel the audience through a tale of addiction and recovery. Lisa Dwyer Hogg had big shoes to fill after Denise Gough won an Olivier in the central role, but the power and nuance of her performance blew me away.

How to Save the World Without Really Trying at HOME

This was my first experience of self-described ‘drag aliens’ Bourgeois & Maurice, and I am already a devoted fan. The chemistry between the two is as good as you will ever see on stage, and the songs are well-written and hilarious. Get along to one of their shows if you possibly can, and if not check out their albums on Spotify.

Merry Christmas to each and every one of you – thank you for all of your support this year.

Wishing you all the best in 2018.

-Kristy Stott

upstagedlogo

Review: Superposition (The Lowry, Salford Quays)

October 28, 2017October 28, 2017kristobel

Guest Reviewer: Elise Gallagher

Upstaged Rating:

Spoken word, science and strip clubs combine to create Chanje Kunda’s one-woman cabaret show exploring the laws of attraction and the meaning of life.

Manchester poet, playwright and performance artist Chanje Kunda presents Superposition at the Lowry Theatre. Kunda took lessons in several disciplines of dance in the lead up to her show. Two are pole and lap dancing, which are commonly performed in certain venues for a particular clientele, but Kunda sets out to reinvent this.

“As a woman, I wanted to find out about the laws of attraction. I wanted to know how the universe works and about my place in the universe. So, I decided to ask these questions to a philosopher, to a physicist and to my son.”

Superposition is a frank, hopeful yet honest look at the questions that surround the universe, juxtaposed through the lens of lap dancing and quantum physics.

During one scene Kunda illustrates the similarities between the properties of particles and the routines of a nightclub. She explains that if the atom was a nightclub, “the nucleus would be dancing in the middle of the nightclub” whilst the electron would be orbiting the nucleus “getting to see the sexiness from all angles”. She explains this all whilst pole dancing, I must add.

The prospect of a show marrying poetry, pole dancing and particle physics to perform on stage is a daunting prospect, and it had the potential to go very wrong. However, it didn’t. The narrative pivoted between Kunda’s lessons in erotic dancing (including “floor fuckery”), the body positivity reflections against the backdrop of her life. And all seamlessly fused together in a dialogue of dance fusion, philosophy and music.

At one point Kunda empathises with a cat on heat and discusses the many questions life has to offer with her curious son. She then puts on the most glorious pair of ‘stripper shoes’ which she at first wobbles, unbalanced, in – but a short time later she is working the pole, transfixing the audience.

At the end of the rabbit hole that Kunda has sent us down she studies her audience and says, “I’m letting you watch me because you paid,” and in that moment we are forced to think about the politics and conflict of ownership, the policing and imposed restrictions of bodies and more importantly, the politics of black women’s bodies. When asking to pick out a lap dancer, Kunda looks for one with a “badonk-donk bum”, only there were none; instead, the lap dancer had breasts that even gravitational force couldn’t pull down. In the body confidence workshop she attended, where they were all asked to undress, and she was the only black female, she was staggered to see that their pubic hair was like down or fur rather than the texture of her own.

I imagine, it goes without saying, that this kind of show is an acquired taste. However, behind the poetry, the pole, and the heels there is a rawness which laces between the words and the movement and transcends boundaries.

The show circles around and around, looping upon itself – but it isn’t repetitive. My only qualm with the performance as a whole was that sometimes Kunda was overshadowed by the volume of the music.

In an age where women’s eroticism is often portrayed quite cheaply, Kunda searches for a new way to elevate and celebrate it – through the disciplines of science, spirituality and sensuality. The hour passed very quickly.

-Elise Gallagher

Further UK tour dates for Superposition can be found here.

REVIEW: Derren Brown (The Lowry, Salford)

August 4, 2017kristobel

Derren Brown returns to The Lowry with Underground

guest reviewer: Elise Gallagher

upstaged rating:

Fresh from a sell-out London bill, Derren Brown returns to Manchester with Underground his latest stage show which brings together a collection of Brown’s previous and favourite stage work. However, do not let this put you off, for I would strongly predict that there is something new to be seen for even the most die-hard fan.

I have seen Derren Brown once before and it would seem Derren’s charm and showman ship has only grown. Underground exhibits the ingredients needed to make a world class show. Brown oozes class, charm, intelligence and just a glint of cheekiness. However, I feel Underground highlights a much more sensitive and sentimental quality to not only the show but the man himself.

As you may imagine, audience participation is key to the show, especially for the utterly jaw dropping moments. It takes genuine skill to carry a show of such ferocity alone, with only the slightest help from a gorilla and a kangaroo. The show expertly mixed culture, emotion, grief and sheer exhilaration into a perfect cocktail which we gulped down unconsciously, craving more.

I feel quite torn when considering the wonder of the mind. Half of me wants to know exactly how he does it, every unconscious clue we give on a day to day basis. However, the other half of me thinks that this would only ruin its attraction. Some things should just remain shrouded in mystery instead of being examined for all to see.

Someone remarked that this being a showcase show may as well be his goodbye tour, I sincerely hope not. The world needs a bit more magic at the moment and I’m sure he has much more up his sleeve.

It is quite hard to write a review for a one man show whose thrill factor relies solely on secrets and surprise, my lips are sealed. But I leave you with this, Underground is a true masterclass in showmanship and psychological genius. A must see.

-Elise Gallagher

Derren Brown’s Underground is at The Lowry, Salford until Saturday 5th August 2017 and continues at The Playhouse Theatre, London in September 2017.

REVIEW: The Mikado (The Lowry Theatre, Salford)

July 27, 2017kristobel

upstaged reviewer: Elise Gallagher

upstaged rating:

The Mikado or ‘The Town of Titipu’ was first produced in 1885 and first ran for a mammoth 672 nights making it one of Gilbert and Sullivan’s most popular plays. Set in the rather bizarre world of Titipu our protagonist Nanki-Poo (Richard Munday) falls in love with a girl named Yum-Yum (Alan Richardson) but both are tragically betrothed to others. One is bound to the Lord High Executioner Ko-Ko (David McKenchnie) whilst Nanki-Poo is entrapped by the formidable Katisha (Alex Weatherhill).

The adaption is set in a private school camping trip which I must admit, I did not realise until I read it in the programme. I feel the production was supposed to be contextualised within a certain setting, however, I felt it was staged rather randomly in a wood far away from any towns or villages. However, the ambience that the set created was a success as it only heightened the hilarity on stage.

Director Sasha Regan stated that ultimately the tale was written as a way to poke fun at the establishment. She felt that Gilbert and Sullivan put their very English society on the stage to take the mickey in their original version of The Mikado, a sentiment which reverberates in Sasha Regan’s all-male production.

Alan Richardson shocked the audience with his vocal range, I was in complete disbelief when he first hit his high note. His performance easily stole laughter from the audience. David McKechnie played a magnificent Ko-Ko, who seemed to toy with physical comedy with ease. His performance in ‘As Some Day It May Happen’ was a show highlight. Alex Weatherhill also did a fantastic job in his role as Katisha.

However, it was Jamie Jukes who played Pitti-Sing who was the stand out performer for me. His performance was effortless and I found my eye would wander to him and Richard Russell Edwards (Peep-Bo) whenever they were on stage. The two bounced off one another and make a perfect double act.

This was my first time going into a Gilbert and Sullivan production and I would say that it is an acquired taste. It took me a little longer than usual to truly settle down into the performance. This is the perfect show for anyone who wants to leave their worries at the stage door and truly have fun, although it may be a step too silly for some.

I was seated next to an older gentleman who sang and danced throughout the entire performance with a huge grin on his face. He wasn’t alone in his glee.

-Elise Gallagher

The Mikado runs in The Quays Theatre at The Lowry until Saturday 29 July 2017.

Review: Returning to Reims (HOME, Manchester) – Manchester International Festival

July 10, 2017kristobel

Bush Moukarzel & Ali Gadema in Returning to Reims Performed as part of Manchester International Festival 2017 © Jonathan-Keenan — Bush Moukarzel & Ali Gadema in Returning to Reims
Performed as part of Manchester International Festival 2017
© Jonathan-Keenan

guest reviewer: Elise Gallagher

upstaged rating:

Returning to Reims marks a new chapter for director Thomas Ostermeier. Differing from his previous interpretations including A Dolls House (2003) and Hamlet (2007), Returning to Reims is the first time the German director has adapted a text which was not originally intended for performance.

The book, Returning to Reims, was published in 2009 by author Didier Eribon. Here, he looks back on his life in the wake of his father’s death in order to observe the working-class identity he rejected as an intellect, and as a gay man. His book is a memoir and a sociological study and one in which he tries to understand the wider working class culture, and its shift from the far left of the political spectrum to the far right. However, the production itself is not weighed down with heavy political jargon and knowledge.

Returning to Reims successfully tackles the resurgence of populist nationalism in Europe and class struggle through live action performance, video, sound, and narration. Ostermeier routinely chops and changes classic texts by a means of forcing them into the current day, he mockingly references this in the production through Bush Moukarzel who proclaims, “it’s multi-layered filmmaking – it’s my style!”

The play takes place in a dated recording studio where Homeland’s Nina Hoss reads a voiceover of Eribon’s memoirs for a documentary which observes the oppression of the working class and their struggle for a political voice. In doing so, Hoss also begins to reflect on her own background as the daughter of a union leader and activist. Her performance is breath-taking. I found the use of the recording of a documentary a beautiful way to tell someone else’s story. I also found that despite the lines being diegetically scripted in the scene, they were expressed thoughtfully and effortlessly, further captivating the audience.

The use of such a multi-layered approach to the production creates a simple narrative rooted in current, topical themes surrounding notions of tolerance and social justice. The production becomes even more relevant especially when taking into account the last 12-18 months.

Light relief to the production came in the form of Ali Gadema who played the disgruntled recording studio worker. Alongside the banter he shared with Moukarzel, Gadema also delivered a rap/spoken word performance with the audience. Although it contrasted greatly with the soft and arguably lucid narration delivered by Hoss, the rap itself was used to interact with the audience. Moukarzel acknowledged that there was an audience and even joined and sat with his audience below the stage, again, adding yet another layer to the production.

I felt the addition of the spoken word piece was cleverly done as today the rise of genres such as grime give artists the opportunity to express themselves and their feelings towards many things such as the government. Grime is also commonly heralded as a voice for the working class, did Moukarzel deliberately adopt this sentiment to further drive home his message?

Returning to Reims is a highly watchable, lucid, and intriguing play which pitched the past and present day against each other and in turn, highlighted that the stage can still be a venue for political and living debate. The German directed English-language dramatisation of the memoirs of a French sociologist makes a perfect addition to the Manchester International Festival.

-Elise Gallagher

Returning to Reims is being performed until 14th July 2017 at HOME, Manchester as part of Manchester International Festival.