THE TAMING OF THE SHREW

Written by William Shakespeare

Directed by Amy Gavin and Hannah Ellis Ryan

The Shrew Gets a Manc Makeover: Unseemly Women Take On Shakespeare

The bawdy babes are back and this time, they’re not pulling any punches. Unseemly Women, HER Productions, and Girl Gang Manchester have teamed up for a burlesque-soaked, neon-splashed, full-throttle takedown of Shakespeare’s most problematic “rom-com” at HOME and it’s an absolute riot.

Under the whip-smart direction of Amy Gavin and Hannah Ellis Ryan, The Taming of the “Shrew” ditches dusty tradition for something far more visceral. Set between a glitter-drenched nightclub and the chaotic world of Padua, this all-female and non-binary ensemble slices through the Bard’s gender politics with stilettos sharpened.

The very talented cast slinks and shimmy across the stage and into the audience to ramp up the immersive aspects of this sassy production. Think Baz Luhrmann meets Blackadder on a hen do in the Northern Quarter, with a soundtrack that pivots from catchy pop tracks and bluesy vocals to the sinister horror of a slowed down Andy Williams’ Can’t Take My Eyes Off You.

Shady Murphy is magnificent as Katerina, all fire and fury before her spark is methodically and heartbreakingly extinguished. Opposite her, a brilliant Emily Spowage delivers a Petruchio that’s equal parts swagger and sadism. It’s a masterclass in gaslighting so when Petruchio insists the sun is the moon, your stomach will twist as Katerina tries to navigate around safe path through her marital nightmare.

Visually, it’s a feast: Zoe Barnes’ Vivienne Westwood-inspired wedding dress looks iconic. The Belles look suitably beguiling and risqué for this production. The pole dancing and musical elements ramp up the visual drama and showcase the multi-talented performers in this riotous piece.

This is a fun and face-paced punch to the gut that’s a glitter cannon full of feminist fury. By refusing to sanitize the original text, this production reframes it with power, purpose, and a healthy dose of revenge. Here this vibrant and talented ensemble reclaim the narrative. The odious Sly Christopher is left to watch the women like a second rate Bernard Manning gagged and trussed up like a turkey.

Catch it before it disappears in a cloud of glitter and gaslight.

HOME MCR 27TH-31ST MAY 2025

WAKE

Beatbox, Cabaret, Circus, Dance, Gig Theatre, Large Theatres, Poetry, Uncategorized

Co-Created and Co-Directed by Jennifer Jennings and Phillip McMahon

Warehouse One, HOME MCR

Growing up Protestant in rural Northern Ireland I went to a lot of funerals. There were wakes with copious amounts of tea, cake and sandwiches and the odd drop of whisky or sherry. They were mostly restrained quiet affairs where your loss was acknowledged with a solemn handshake, a box of teabags or a tin of ham. I always had a sense that our Catholic neighbours had nailed the wake more as a celebration for the dead with music and booze usually leading to a good cèilidh. Apparently I was right and THISISPOPBABY are on the mainland showcasing the rites of the WAKE but with a few extra bells and whistles. My lovely Dad was seen to the grave with the lilt of bagpipes…as of last night I’m wishing we could redo his send-off with some accordions, the bodhrán and maybe an Irish dancer in a sequined g-string with buttock tassles and possibly a world champion pole dancer if the budget would stretch.

Jennifer Jennings and Phillip McMahon of Dublin based THISISPOPBABY have blended the traditional mourning rites with a high calibre camp burlesque show that includes aerial work, Irish dance, slam poetry, break dancing and pole dancing. The result is anarchic and playful rousing invitation to mourn our dead by celebrating life. The production has had several sell out run in Dublin before heading to Sadlers Wells and now Manchester. The Warehouse space is a ideal setting with a tiered stage for the musicians and the pole dancer whereas the circular second stage has a circus vibe and is used for the dance routines and the aerial work. The audience are seated to 3 sides of the circular stage so the sight lines are excellent.

Balloon dance from Wake.
Image credit: Ruth Medjber

THIS IS THE WAKE FOR EVERYONE THAT’S NEVER COMING BACK…

Felispeak is the Irish-Nigerian spoken word artist who weaves a story through the very varied performance styles. Her crisp dry drawl has a laconic charm and there is a real lyricism in her words that is reminiscent of some of our great Irish poets. Some performances burst on stage such as Colombian breakdancer Cristian Emmanuel Dirocie or the mind bending balloon dance by American competitive Irish dancer Michael Roberson and THISISPOPBABY stalwart Phillip Connaughton. Others have a gentler intro such as a beautiful aerial routine by Jenny Tuffs or the plaintive voice and accordian of Darren Roche from the band Moxie in the haunting Raglan Road.

The music here is a roller coaster soundtrack that encompasses traditional melodies and modern Irish classics like The Cranberries Ode To My Family delivered in a gorgeous performance by Emer Dineen. Peppered through these are Bronski Beat Small-town Boy used in a phenomenally confident performance by Michael Roberson. Eurythmics Sweet Dreams sees another striking clubland meets Irish dance while the Peggy Lee classic is rendered unforgettable by a hilariously cheeky performance by Phillip Connaughton.

This is a impressive production bringing together fourteen artists from very varied disciplines and showcases some stunning performances including Venezuelan Lisette Krol, who is a world champion pole dancer and a truly breathtaking performer. Most of all, WAKE is a celebration of how we choose to live while acknowledging death is all around us. In this only possible response is to be open to the joy and accepting of the pain of lost lives that were well lived. This life-affirming production feels like everyone has been on the poitín or Irish moonshine and this is a party for the dead that everyone should join.

AVIVA STUDIOS 17th – 21st April 2025

Still Got It…!?

Cabaret, Large Theatres

AVIVA STUDIOS

Still Got It…!? is the cabaret show from David Hoyle and is the culmination of his three week residency at Factory International. There may be no obvious sign of a pier or chips and candyfloss but this production has as much a rich vein of darkly sweet seaside humour as a stick of Blackpool rock. Hoyle is the consummate performer and seems as at home on the vast stage in The Hall as in a more typically intimate cabaret venue. He delivers a performance that is warm, witty, pithy and droll. There’s something quite beautiful and incredibly touching to see this avant-garde performer who has so openly documented his own personal struggles taking to this packed auditorium to ask Still Got It…!?

Hoyle is joined on stage by a range of cabaret artists and although they are all undoubtedly talented there is also a strong sense of Hoyle using this opportunity in a 1600 capacity auditorium to celebrate friendships he has made on his own creative journey. Glitterbomb Dancers are a cabaret dance group produced by Joseph Mercier are as hi energy as they are big on sequins, glitter and dark and twisty charm. Their numbers are dotted through the show and include a dystopian ballet and a pointed and dark allusion to the Pan’s People dancers of Top of the Pops and a time when we switched on to Gary Glitter and Jimmy Saville.

Thom Shaw otherwise known as Pam Lustgarden joins Hoyle on stage to discuss jam making in the W.I. as well as well as her well documented love of poetry and building improvised incendiary devices. Her act includes poetry by John Cooper Clarke and a unique take on Pull My Daisy by Jack Kerouac, Allen Ginsberg and Neal Cassidy. The best element however is a sly epitaph for Hoyle when he supposedly dies from Empathy.

There are burlesque performances that include Lilly Snapdragon who performs in a child’s paddling pool and delivers an act that may destroy or increase the traditional Mancunion fondness for the great British fry up depending on your fondness for blending food and sex in a particularly graphic manner!! Symoné whirls across the stage on rollerskates using hulahoops while the Alternative Miss Ireland Veda Lady delivers a powerhouse performance involving a shopping trolley and later educates the audience about PrEP and her podcast Poz Vibe.

Some of these performances translate better than others unto such a large stage however that becomes increasingly irrelevant as Hoyle himself wields his laconic charm and stage majesty across proceedings. The huge audience is always on his side and revelling in seeing one of their own up on that stage delivering songs and reverie in his unique style. The interactive quiz show Still Got It, Never Had It, Lost It Years Ago has the audience riotously involved as Hoyle strides across the stage discussing rats in his Longsight abode, a belief in Capitalist reality and his childhood stamp collection. There truly is a broad church in the house tonight and Hoyle is the perfect High priest. He may wonder aloud how a lot of us are still alive…or ask himself How did I get away with that? The answer from the crowd to the big question of the night…David Hoyle,Still Got It…!? A resounding YES!!!

Please Feel Free to Ignore My Work

Still Got It…!?

Together Again, Again

Cabaret, Large Theatres

Created and performed by Jinkx Monsoon and Major Scales

It’s 2022 and the newly refurbished CONTACT THEATRE is open again, the space is packed as audiences return to theatres as we slowly emerge from a global pandemic…all is well…or is it? Apparently its actually 2065 and the world is ruled by reptiles and many of the stars of Rupaul‘s Drag Race are long since dead, as is Lady Gaga. Thankfully we are still here and so is the live cabaret…enter faded movie star and chanteuse Jinkx Monsoon reunited with her pianist and lyricist Major Scales after 45 long, hard years.

Major Scales is balding and bitter but still stylish like a snide merging of Noel Coward with Karl Lagerfeld. Winner of Rupaul’s Drag Race Season 5 is the indefatigable Jinkx Monsoon who now looks like a cross between retired club singer Rita Sullivan and the infamous Norma Desmond. This mighty drag queen has undoubtedly seen better days as she shuffles arthritically across the stage with all the style of an OAP in sequins and an ill fitting Tena lady pad. This doesn’t bode well but as the show gets going one thing is resoundingly clear; the body may decay, the mind may glitch but the indomitable spirit of a great drag queen will remain. This musical duo may have had a 45 year hiatus and a whole other lifetime of festering resentments yet the old magic remains.

Belting through blistering asides, heckling the audience and occasionally “forgetting” where she is in a song…Monsoon still has the voice and Scales is the perfect foil and accompanist. This really is a joyous and raucous night out. The jokes come thick and fast, the onstage arguments are like the Burton and Taylor of the cabaret world, and the choreography perfectly captures an elderly superstar still living her best life on stage. The songs feature some great twists on classics and very funny but also allow Monsoon to deliver some brilliant vocal performances.

Together Again, Again is a delightful celebration of raw talent, sheer determination and the ruthless meeting of vanity and the aging process. The 45 year hiatus for this creative duo is a wickedly funny but sobering reminder of what the pandemic did to performers across the world when theatres had to close their doors to live audiences.

CONTACT 7-8th May 2022

UK Tour dates 2022

HIVE CITY LEGACY

Cabaret

HOME

Written and developed by Busty Beatz, Lisa Fa’alafi and Yami Löfvenberg and A League of Extraordinary Femmes

Directed by Lisa Fa’alafi

There is a new hive in Manchester this week and it’s not the one on the roof of HOME. Anyone who witnessed the anarchic and joyous cabaret spectacle that was HOT BROWN HONEY when their hive landed at HOME in December 2017 will have some idea of what to expect from Hive City Legacy. This show is a collaborative project between the Australian company, their producers Quiet Riot and Roundhouse. A call out in 2018 for young British Femmes of Colour to expand the hive led to the creation of this new show. Heavily influenced by the original cabaret blend of beat box, body popping, aerial work, spoken word and burlesque, this new production zeroes in on London. Stories of matriarchy, mental health, marginalisation and harnessing the power of the Hive to once again ACTIVATE POLLINATE LIBERATE.

The staging is simple but effective creating a honeycomb effect with lighting that allows for creating office parties and commuter trains while also giving a sense of magical wonder as boxes open Pandora like to reveal snaking flags and oversized combs and tape measures. In the midst of all this is a wide eyed ingénue (Farrel Cox), drinking in the truths both joyful and distressing of being a young femme of colour in a still marginalised country.

The performances by all eight femmes are full of savvy confidence, boisterous energy, anger and poignant sadness. These femmes are in your face enraged and disturbed by a world where their history is being swallowed by your history and oceans are swallowed by puddles. There is a definite sting in the words and actions of these femmes in this hive and they are definitely all queen bees in their own right.

The segments are varied in pace and style. Ropework beautifully showcases trust and faith in each other when you quite literally put your faith on the line. Office parties teeter into violent discomfort as voices assault our senses and sensibilities with racist taunts and stereotypical assumptions. The national anthem plays alongside the snaking endless swirl of the English flag while spoken word pieces are unfueled from the mouths of these femmes.

Hive City Legacy has many of the trademark magic touches of the Mother Hive and is lovingly directed by one of its founders Lisa Fa’alafi. The joyous finale has everyone on their feet dancing with the femmes. Enough of us taking to the stage and we might just outgrow the Hive and start to truly ACTIVATE POLLINATE LIBERATE!!

At HOME 3rd – 7th Sept 2019

Corrido de la Sangre

Cabaret, Large Theatres

HOME

The Tiger Lillies

Director Mark Holthusen

Writer Pedar Bjurman

Music and Lyrics Martyn Jacques

The Tiger Lillies have been delighting and possibly revolting audiences for nearly 30 years. This “anarchic Brechtian street opera trio” are Grammy nominated, world class purveyors of unapologetically deviant and defiant shows. Commissioned by HOME, Manchester, Corrido de la Sangre is a vivid, glorious celebration of the rip roaring circus that is the Mexican Day of the Dead. Ruthless and gruesome no one escapes unscathed as this dark and gleeful trio play their twisted tunes.

Three musicians on a stage within a stage, pasted in garish make up and suitably clad to evoke their long dead characters, this corrido band rises from hell to play again and tell the ghastly tale of their demise. From the opening number it is clear that this is no grotesque parody but is a high calibre, darkly anarchic cabaret.

The band are skilled musicians playing a range of instruments from piano and ukulele – Martyn Jacques to upright bass and musical saw – Adrian Stout and Jonas Galland on a range of drums. Martyn Jacques sings with a laconic and dispassionate falsetto that can be pure and sweet or acid sharp and vitriolic. At times it feels like Dave Vanien from The Damned has met Noel Coward in the catacombs and formed some unholy musical alliance with a mariachi band.

The lyrics of each song drive the narrative along with vivid imagery that is not for the mawkish or easily offended. Orphan is sweetly plaintive and poignant, La Bruja mournful and haunting while Scarface is a shocking and visceral description of the ghastly disfiguring of a young women. I bought the soundtrack and I’m still humming along to the bizarrely upbeat Good Doctor and the haunting Borderland.

Visually it is gorgeous. The staging is intimate, and the combination of projections, shadow puppetry and papercut artwork create a constant feeling of wonderment as reveal after reveal alters the staging like a kaleidoscope and creates a sense of the performance being peeled back through the years like Russian dolls unfolding in size. The backdrop gives a sense of the decaying splendour of old Mexico and the ragged holes suggest the disintegration of cloth like flesh from a corpse. The projection of colours and shapes from fiesta lace and flowers to the gold of icons weeping blood to Mexican skies and flames of hell is visually stunning. It evokes the magical realism of Frida Kahlo but with the scale of Diego Rivera folk art murals. Director Mark Holthusen has created a beautiful visual spectacle that pulsates like a vast beautiful beating heart.

As the good doctor says – Once you are in, you can never get out. Leaving the performance at HOME last night I was tempted to ask for a lock in and for the deadly trio to rise again and sing another corrido.

At HOME 20th April – 5th May

Viva

The Tiger Lillies

Images by Jonathon Keenan

Hot Brown Honey

Cabaret, Circus, Dance, Large Theatres

HOME

Briefs Factory presents Hot Brown Honey

Six vibrant First Nation women wearing identical shellsuits on a stage dominated by a huge gleaming, pulsating honeycomb hub. Our MC is Busty Beatz (Kim Bowers) a co-founder of Hot Brown Honey and she is loud and proud and magnificent towering above everyone astride the honey dome. Below is the other founder, Director and Choreographer Lisa Fa’alafi who I met briefly as I took my seat in the theatre. These women are chatty and welcoming as they stroll around the aisles before the show. They are upfront and direct, almost immediately the audience is told a collection toward their childcare will be passing through the aisles because as Lisa says The Revolution can not happen without childcare.

Suddenly the performance ramps up the energy. I can’t fully hear everything. I’m blinking as the lights flash powerfully on the honeycomb dome. The performers are hi octane and nothing is going to stop them. It’s too loud!! It’s too bright!!! It’s too……DO NOT ADJUST YOUR SET. WAKE UP. GET ON BOARD. ROCK THE BOAT. THIS MAY JUST BE THE TRIP OF YOUR LIFE.

There is zero tolerance of stereotyping as MC Beatz quotes from the 2009 TEDTalk by Chimamanda Ngozi Adichie The Danger of a Single Story. There are no single stories here and this is reinforced by a show that defies any genre. This is burlesque, cabaret, song, beatboxing, hip hop, poetry, hula hooping, aerial silks, sermon and comedy. This is an EVENT and like its orchestrators it cannot be pigeonholed.

This is an intelligent, passionate celebration of womankind in all its colours, shapes and creeds of politics, religion and sexuality. There is a strong burlesque influence running through all aspects of this show. This is burlesque as gender politics defying any attempts at body shaming. Women standing proud and celebrating perfect boobs, giant inflatable boulder boobs, pussies that may or may not have seen childbirth, giant padded feline pussies, bodies curvy or lean, skin that gleams or has cellulite or skin blemishes. Women using burlesque to own their own bodies using the frequent vivid costume changes to drive the stories. Fa’alafi describes the experience as the decolonisation of our thoughts and inhibitions. The poet and playwright Maya Angelou was also a burlesque dancer in her early years; and it a very powerful tool of expression and liberation.

There are group sequences ramming home the message We Are Not Maids. Shellsuits are shed to reveal cheeky Princess Megan t-shirts then shed again to reveal maid costumes. MC Beatz dons a massive Afro for the anthem Don’t Touch My Hair. Fa’alafi delights with a reverse striptease parodying the fantasies of bare breasted Polynesian maidens in grass skirts. This is no coy blushing maiden or unskilled island girl. Our Lisa is surrounded by leaves but deftly fashions shoes and bags like a fashion forward icon. The glorious voice of ‘Ofa Fotu rips apart the James Brown anthem It’s a Man’s Man’s Man’s World while she wears a stifling costume that clearly alludes to a golliwog doll. Elena Wangurra battles the confines of the Australian flag and triumphantly emerges as a superhero in the vivid colours of the Aboriginal flag. The beat box skills of Hope One pound through the speakers while Crystal Stacey spins hoola hoops with the dexterity that most women multi task. Domestic violence is portrayed in a way that is gut wrenchingly shocking. Crystal Stacey performance was my personal highlight as she escaped violent assault by using aerial silks. Her performance was exquisite and horrifying and incredibly poignant. Literally hanging by a thread this was a truly visceral evocation of desperation, determination and resilience. We do this for the Women who cannot speak. We are taught that silence will save us. But we will make noise.

The Speaker of this Hive asks Will you stay the same or rock the boat? The Hot Brown Honey mantra throughout this amazing show is DECOLONISE AND MOISTURISE or as Fa‘alafi says We want to decolonize the World , one stage at a time. The audience are on their feet dancing. The atmosphere is electric. The Party Manifesto is clear and this is one party you won’t want to miss.

HOME until Saturday 23rd Dec

DUCKIE

Cabaret, Children's Theatre, Large Theatres, Musical, Uncategorized

CONTACT
Writer/ Performer – Le Chocolat Gateau
Produced/Developed – In Company Collective
There are moments when I wish I could rewind time with my children and go back to when they were very young. Today was such a day, watching the gorgeous DUCKIE I wished my teenage darlings were ten years younger and there in the audience with me. This show is a wonderfully deft merging of cabaret, children’s theatre, fairy tale reimagining and a big dollop of old Hollywood magic.
Cabaret performer and Opera singer Le Gateau Chocolat takes the much loved tale of The Ugly Duckling by Hans Christian Anderson and goes to the circus to seek out soulmates for this lonely misfit, the runt of the litter. To the delight of the child in all of us, the mischievious performer portrays a duck who cannot quack but belches instead. His lonely duckie can’t quack or dance, he is too small to be a muscleman and too big, too yellow, too tall…… DUCKIE would seem to be a duck who is seriously down on his luck.
The voiceover which speaks to DUCKIE and at times the audience is soothing and reassuring- a bit like having Judy Dench voicing your bedtime story. The rest is simply the gorgeous baritone voice of Le Gateau Chocolat which is like having your senses bathed in warm chocolate fondant. The songs often tweaked to fit the story range from Disney classics through to The Pussycat Dolls Don’t cha and La Cage Aux Folles I am what I am to Cyndi Laupers Girls just want to have fun.
Visually the set is deceptively simple but with dressing up clothes tucked away and bright umbrellas popping out it holds gems of surprise. The lighting design is magical and reminds me of the country village circus tours of my childhood. Throughout his costume changes there is always the fluid physicality, warmly, gleaming eyes and glittery lips. This is a performer who is totally at ease with his audience, both young and simply young at heart. It would be hard not to be drawn into DUCKIE’S world and empathise with his plight.
When the insults come increasingly thick and fast and the voicing of them sounds more and more like children the true dark background to the story shines through. DUCKIE is rendered small, wounded and vulnerable as he looks out in confusion at a world that will not let him belong. His salvation through a beautifully rendered little mouse is touching and ensures a fairytale happy ending. We shun or ridicule what is “ugly” not because it’s ugly but simply because it is different. DUCKIE delivers a message of acceptance and tolerance that resonates with adults and sews a seed in young children that hopefully blossoms in every new generation.
CONTACT 24-25 OCTOBER

BOURGEOIS & MAURICE: HOW TO SAVE THE WORLD WITHOUT REALLY TRYING

Cabaret, Small Theatres

HOME
Drag aliens have descended on Theatre 2 at HOME and an audience of humansexuals are there for the anarchic Weimaresque cabaret. These drag aliens are rocking some serious sequins, latex, beehives and lashes. They are also strangely reminiscent of Ana Matronic and Jake Shears of Scissor Sisters being channelled via AbFab Patsy and Julian Clary.

The performers are the first to receive the HOME T1 Commission which will result in a creative development project leading to new piece of work in Theatre 1 in Spring 2019.

Georgeouis Bourgeouis (George Herworth) is an acerbic, bitchy, narcissistic cabaret singer who is an armchair activist. Maurice Maurice (Liz Morris) is a deadpan, piano playing nihilist who aspires to become simply gas. Bougeouis & Maurice are full on throughout the performance. They never break character even when talking to their multiple other selves on screen.

The performance is a riotous blend of wickedly funny songs and sharp observations on our current political landscape. The drag aliens have studied and googled our society and having decided that all the other political isms have failed they suggest adopting their own brand of hedonism.

Subjects such as flawed British values, Brexit, patriarchy and chemsex are covered in unforgettable songs. I drove home humming the classic “everyone’s at a chemsex party except me”- available on Spotify.

This is slick delivery underpinned by layers of carefully conceived detail and precise observations. The rousing anthem was no saccharine song of hope but was an inspired and a perfect way to close a show about saving the world. If cabaret is really the last frontier then what a way to go.

10/11 October