Creative Tourist

Sunday 16th October 2011

10.47 a.m. With sleep in our eyes, we stumble to the nearest greasy spoon, order up two full Englishes, and take our seats, with the music of Denis Jones still ringing in our heads (and our ears). Before the food arrives to be promptly devoured, we scribble down some thoughts after a night and a day of Manchester Weekender. Three things stand out: how family friendly the whole thing is, how many well thought out free events there are, and how it has succeeded in getting people to venues and places they might otherwise not visit. Good work, Manchester Weekender!

11.56 a.m. Case in point: Manchester Town Hall’s Great Hall (pictured below), which houses Ford Madox Brown’s captivating murals. Indeed, we loved them so much that we almost immediately decided we would be dedicating an entire post to them. The hall itself lives up to its billing; beautifully lit throughout, the splendid ceiling illustrates the nations Manchester traded with at the height of its mercantile power.

12.48 p.m. A quick catch up with friends who have been kept occupied with other events in and around Manchester. It’s one of those weekends, where everyone we know seems to be doing something different, spread across the city engaged in various pursuits, and everyone we pass in the street seems in a rush to get to something or other.

2.40 p.m. We head back over to the Royal Exchange Theatre, not for a play this time, but to see a very unusual collection of clothes. Primitive Streak depicts the first 1000 hours of human life in a series of dresses that take inspiration from the fundamental biological processes. This exhibition, which is part of Manchester Science Festival, is the work of designer and artist Helen Storey and biologist Kate Storey.

The collection uses a minimal pallet to tighten the drama surrounding the biological processes that are being depicted. A particular favourite of ours was the Spinal Column Dress, a halter neck fish tail ball gown with a metal spinal column adornment running the length of the model’s back. The dress displays a biological structure, and the print mimics the results of a DNA test.

Several pieces of the collection are on display at Debanhams, so you’ll be able to catch some of Primitive Streak even if you can’t make it down to the Exchange.

3:45pm Just before leaving the Exchange we heard some music start up from the floor below the gallery. Looking down, we were lucky enough to catch the last stop of the Mala Procession, part of the Asia Triennial, which is featuring at various locales across the city until the 27th November. Here’s a snap of the dancing in action:

4.24 p.m. We swing by the Manchester Food and Drink Festival hub at Albert Square, mindful that after Monday the whole shebang will be leaving us for another year. The desire to spend every remaining penny we have to our name is overwhelming, but in the end we restrain ourselves, and say our goodbyes for another 12 months.

5.22 p.m. Our feet hurt. Our bodies ache. But we’re hardy souls, and swing by the Northern Quarter to get in on some of the hustle and bustle that was so apparent earlier in the day. To see the city so full of life is one of the best things about October in Manchester. So much to do, so little time…

7.11 p.m. Manchester Cathedral is a truly magnificent setting for anything, the type of space you’re happy to find yourself in regardless of what’s taking place. That we’re here for the Sacred Hearts event is entirely fitting, given that Sarah Dunnant’s novel is something of a rumination on religious faith. As we take our seats, we’re not quite sure what to expect.

8.13 p.m. A brief intermission gives us time to stretch our feet, take a few pictures, and scribble a few notes. Combining a reading from Dunnant herself, a dramatisation of parts of the novel, and a live performance from the highly accomplished Musica Secreta choir, Sacred Hearts turns out to be very interesting. Whilst the odd technical difficulty reared its head during the spoken interludes, the choir is perfect; their songs echo around the interior, every bit as harmonious as one would hope.

9.56 p.m. Once again, it’s time for a long walk home with music having had a significant impact upon us. There’s something about music in a holy setting; you can’t help but be moved a little, regardless of the genre or the circumstances. We’re exhausted but content, and shuffle homeward to get some much earned kip. For us, and for the city as a whole, Manchester Weekender was a rousing success.

Part three of a four part series in conjunction with All Points North, providing coverage of Manchester Weekender and other regional festivals.

A Long Weekender, part one

By Onward, Manchester

October 17, 2011

All Points North, Art, Creative Tourist, Deaf Institute, Hey! Manchester, Manchester Art Gallery, Manchester Craft and Design Centre, Manchester Weekender

1 Comment

Saturday 15th October 2011

9.02 a.m. And so it begins, with the ringing of a phone alarm followed by toast, imitation Weetabix, and cups of tea. A look out the window suggests that earlier predictions of another citywide heatwave may not have been too far wide of the mark. Perfect weather for a stroll to Manchester Art Gallery, to catch the first part of Sounds Like A Gallery.

10.34 a.m. We arrive early, as it turns out; Black Jack Barnet won’t be starting until 12. Fortunately, that gives us the chance to enjoy the gallery’s fantastic permanent collection. The problem with living in a city for any number of years – and knowing that your immediate future lies within its boundaries – is that it’s easy to become complacent about the likes of the Manchester Art Gallery. A “we should drop in some time” mentality takes over, whereby you intend to visit but never get around to it. We’re delighted to have been prompted to do so, and make a note to come visit the Ford Madox Brown exhibition as soon as our pockets are a little heavier. We’d fully recommend you pay the place a visit, too.

12.36 p.m. Black Jack Barnet (pictured above, alongside William Etty’s The Sirens and Ulysses) turns out to be great: playing to a broad audience of kids and older folk, he uses “poetic license” to tell the stories behind six of the gallery’s most bold and impressive paintings. From song to song he shifts style dramatically, so that one moment he’s delivering gospel folk that calls to mind Seasick Steve, and the next he’s mining Jam On Bread twee indie territory, touring the first floor and picking up new followers at every stop. He mostly plays it for laughs and gets them, with the children in attendance every bit as delighted as the adults.

1.12 p.m. We recharge our batteries with a plate of fish and chips in a Norther Quarter caff, with a soundtrack of “Twenty Four Hours From Tulsa” and “These Boots Are Made For Walking.” Next stop, the Manchester Craft and Design Centre…

1.45 p.m. …another place it is easy to forget about, but which deserves plenty more attention than it receives. Partly because the building is beautiful – with a high glass ceiling that lets the light stream into the artisan-filled shopping piazza bellow – and partly because it houses a handful of the city’s most talented artists and craftivists.

2.15 p.m. Within the venue, a makeshift stage has been set up to play host to a couple of hours of world music. First up is Jali Njonkoling Kuyateh, who you might have seen playing his African harp around Piccadilly Gardens. It really is a remarkable instrument; it doesn’t look like much, but the beautiful sound it emits is somewhere between a harp and guitar, and Jail’s voice sounds melodious and delightfully archaic at the same time.

2.41 p.m. The live performances are interspersed with sets from DJ Mayeve and a performance from San’at Mahmudova. We spend a pleasant hour exploring the centre and snacking on chocolate cake at the popular onsite cafe…

3.12 p.m. …after which we spend some time browsing the small jewellery boutiques. We’re interrupted by the first notes of singer/songwriter Luciano Gerber’s 20 minute set. The sounds of rich, nostalgic Brazillian folk reverberate around the bright airy space, which really does lend itself to live music.

3.40 p.m. EthniCITY concludes with an emotionally charged Flamenco set from Calaita (above), that combines powerful lyrics with Catalonian melodies, and underpinned by staccato percussion. It’s always nice to have your eyes opened to different cultures.

4:30 p.m. We retire to the nearby Cord for a couple of pints and reflect on what we’ve seen so far, then eventually head over to the Deaf Institute, grabbing a bite to eat along the way.

7.56 p.m. As we arrive at the Deaf Institute, we’re handed envelopes that contain 3D glasses. A nice touch that helps create the feeling that we’re going to see something special.

8.47 p.m. Support band Gladeyes quickly ensure that said feeling is justified. Indie rock that has its toes more in the rock ‘n’ roll pool than the indie pool, they absolutely command the stage, and deliver a killer performance that the audience clearly love. We hurry to pick up a free copy of their CD, the existence of which they mention between practically every song.

9.34 p.m. As Denis Jones and his musical companion take to the stage, the crowd roar their appreciation. As he begins his set, the sound from the bass and amps are so strong we can literally “feel” the waves of music being created on stage.

The songs are built up in layers; Jones pushes chords and melodies from his guitar through various electrical gizmos creating various effects. Samplers distort his vocals and add an electronic/techno feel to music that started out with distinctly country influences.

And the distorting glasses, which allow the wearer to view the world in a distinctly glitzy haze, seem appropriate now that he’s in full swing. The visuals displayed behind him show sound scapes in primary colours, and against this background Jones casts a dramatic silhouette.

11.12 p.m. The sounds of Denis Jones are still reverberating around our head as we walk home, trying to put the effect into words. We decide that his music lies somewhere between folk, country, psych, and IDM, although the only word that does the set justice is “stunning.” We retire exhausted, but excited about what Sunday has in store for us.

Part two of a four part series in conjunction with All Points North, providing coverage of Manchester Weekender and other regional festivals.

Good at the Royal Exchange Theatre

By Samantha Bradey

October 15, 2011

All Points North, Creative Tourist, Royal Exchange Theatre, Things to do in Manchester

We’ve rarely been disappointed at the Exchange and we arrived last night hoping the evening’s performance, and our inaugural Manchester Weekender event, would be no exception.

It wasn’t. Good is a play that is hard to forget, one that will roll around in our minds for some time to come.

This production of C.P. Taylor’s 1981 classic, directed by Polly Findlay, tells the story of Professor Haldler, an academic living in 1930s Germany who is struggling to balance the responsibilities of an infirm mother and a hapless wife with a burgeoning infatuation with his student.

To deal with his frustration at his mother’s declining health he writes a pro-euthanasia novel that catches the attention of the Nazi Party, who enlist his services to add ethical weight to their anti-Semitic policies. At crucial moments of moral choice Hadler’s tendency to imagine beautiful music playing leads to him making ethically dubious decisions, almost without him realizing the impact of his actions until it is too late.

The action unfolds in a series of overlapping scenes that act as a means of deliberately disorienting the audience. This device leaves you feeling empathetic with Hadler, played by Adrian Rawlins. We switch from a scene with his mother, to his Jewish friend, to his wife, to his love interest, all the time witnessing how Hadler’s attention is constantly moved from the moral focus of his predicament by his own musical delusions.

With its multitalented cast Good was a show filled with tight performances. Particular highlights involved the switch from straight acting to musical performance. And the climatic scene of the first half was a delight, complete with light pyrotechnics – the description on the Exchange’s website of “1984 meets Cabaret” is entirely apt.

After the opening minutes, you become quickly acclimatized to this pace, and begin to share the disorientation of the main character. The musical interludes seamlessly integrate and feel entirely believable as a means of distracting Hadler from the situations of those around him.

The main question Good asks is “what would you do?” if faced with the same situation and the same choices. It is a question subtly asked; implicit in the creation of an emotional reality so complete, but also one regularly broken by dramatic techniques.

With the demands placed upon him by the supporting characters you can, as a viewer, sympathize with Hadler; however, in one of the final scenes between Hadler and his Jewish friend Maurice I actually wanted to get out of my seat and slap the central character, for sleepwalking from a position of sympathetic protagonist to an attempt to convince his now deceased friend, and himself in the process, that the actions of the Nazi Party are entirely justifiable and are, in fact, the fault of the German Jewish population.

The performances were, without exception, extremely accomplished, showcasing faultlessly how each character around Hadler is so wrapped up in their own psyche and the intricacies of their own experience that they have few faculties left with which to explore the wider implications of their actions.

Good runs until the 5th November, and we would certainly urge you to go and see the play for yourself. Tickets can be booked through the Royal Exchange website, and as always significant discounts are available for people under 26.

Part one of a four part series in conjunction with All Points North, providing coverage of Manchester Weekender and other regional festivals.

—Onward, Manchester.

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A Long Weekender, part two

A Long Weekender, part one

Good at the Royal Exchange Theatre

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