Tag: Maz Hedgehog

LUCKY TONIGHT!/BAD SCIENCE/What is love to a GODDESS?

Uncategorized

HOME

It’s that time of year again when HOME launches its biennial festival of new work showcasing and supporting local artists. This year kicks off with an interactive quiz show in the Event Space. Afreena Islam-Wright is an established theatre maker and quiz show host whose work includes Daughters of the Curry Revolution and Meet me at the Cemetery Gates. Her latest work takes the novel approach of blending a one woman theatre show with a lively quiz experience.

Tables are set with tablecloths and beer mats and each team has a tablet set up to join a speed quiz with your chosen team name and buzzer choice. The interactive quiz is a bit of a shock to the system to anyone new to the world of speed quizzing but Islam-Wright instills her audience with confidence and enthusiasm. This is a fun evening on many levels and the questions may be quite niche but are all skillfully woven around the narrative of her personal story. Interspersed through the rounds are the threads that weave the performer’s personal story as a young woman who grew up in Old Trafford as part of a very traditional Bangladeshi family and started her own family with someone outside her family’s culture. This is a work in development which shows a lot of potential especially if the intention is to use the medium of quizzing to bring theatre and storytelling into pubs across the country. 

Afreena Islam-Wright

SwitchMCR are a Manchester based company comprised of graduates from the Royal Exchange Young Company. This new production BAD SCIENCE is a hi-energy, adrenaline fuelled romp that has its three female performers cast as a group of incompetent politicians scrabbling for survival within their party. Tasked to use psychiatry as a means of squashing public protest they shamelessly use the audience as a Focus Group to create a new psychiatric condition. The result is anarchic and amusing as our production created a new condition called Lemonism and its dodgy premise brought down yet another dodgy politician. The use of loud music and lively choreography certainly ramps up the generally buzzy feel of this piece. There is some nice physical comedy especially from deviser  Emily Bold.

What it is love to a GODDESS? takes place on the stage in Theatre 1 and sees Maz Hedgehog retell the story of Medea and her obsessive love of Jason of The Argonauts. This is a perhaps too faithful retelling of the myth in that a sense of dynamic theatre-making risks getting lost in a slightly static monologue. Max Hedgehog is a strong and charismatic performer who leans into a sinuous and terrifying malevolence that is both impressive and commanding. Some tweaking of the movement and sound direction in this piece could ramp up the impact of this piece and enhance some very poetic writing by the performer.

PUSH FESTIVAL 24th Jan – 8th Feb 2025

VIGNETTES

Large Theatres
Joyce Branagh 1978-2023. Vignettes at CONTACT Image credit: Shay Rowan

Written by Alex Keelan, Zoe Iqbal, Maz Hedgehog, Debbie Oates, Lekhani Chirwa and Lyndsay Williams

Directed by Kate Colgrave-Pope, Gitika Buttoo, Ifeoma Uzo, Bryony Shanahan, Amy Gavin and Ellie Rose

CONTACT THEATRE

VIGNETTES has been showcasing the work of local female and non-binary writers since 2020 and has rapidly become an established part of the Manchester theatre network. Set up by HER Productions and local playwright Alex Keelan each one focuses on stories from the female perspective.

The latest offering honours 45 years of Manchester Rape Crisis , with each of the short plays inspired by stories from the organisation woven around a play by Alex Keelan which outlines the history of the organisation. 1973-2023 introduces each of the other pieces by the haunting ring of the helpline phone. Joyce Branagh is excellent in her portrayal of one of the women inspired by her own experience to establish an organisation to support women after rape or sexual assault. Her portrayal of neat as a pin Joyce reflects the quiet stoicism of a woman who can be wearily matter of fact that you could be the most ladylike lady and you could still get raped. She appears in each segment as the decades pass reflecting the grass roots start, the gradual growth, the failed bids for funding and the successful ones that see the organisation both flounder and expand at the mercy of never having core government funding. Unseen and powerfully moving is Mary who remains on stage throughout in her cardboard house. Keelan uses a less is more approach to beautiful effect by keeping her unseen but never forgotten as a tribute to all those unseen traumatised women that rape imprisons in their homes or minds while the perpetrators roam free in a Society that still makes convictions for sexual assaults so difficult.

The other 5 short plays are varied and rich in their subject matter. Zoe Iqbal uses Bhaijaan to look at issues around abuse and consent within an arranged marriage when family shame can be more damning than abuse. Burdens by Maz Hedgehog explores a mother/daughter relationship where history repeats itself when both find themselves in abusive relationships and a daughter initiates help for her mother but finds herself asking the helpline Can a woman rape another woman? This is a well written piece with strong performances with an excellent Krissi Bohn stepping into her role as the mother at very short notice.

A Day in the Life Of by Lekhani Chirwa and Broken by Lindsay Williams both focus on the stress and difficulties for staff working for Manchester Rape Crisis. The first piece explores coping mechanisms and the importance of mentoring and features a really vibrant performance by Alicia Forde. The second piece features a blistering performance by Lois Mackie as an I.S.V.A (Independent Sexual Violence Advocate). It outlines the unimaginable strain on victims who wait for court dates and the difficulties of getting a conviction. In raising awareness of the importance of victim support it also asks the question why the lack of convictions seems to make sexual assault virtually decriminalised.

The central play by Debbie Oates bridges all the other plays as Lifelines tells the story of Yvonne who was supported by the helpline and is now ready to take her first call as a volunteer. At the heart of this subject matter is the importance of women listening to each other and creatinga safe space. Director Bryony Shanahan and the always wonderful Julie Hesmondhalgh make every word count in this sensitive piece. There is humour and a huge heart at the core of this story of a middle aged woman raped as a young girl who through the support of the helpline has finally learned to breathe again and most days can walk beside it…around it…most days.

Julie Hesmondhalgh in Lifelines. Vignettes at CONTACT.
Image credit: Shay Rowan

The production closes with a celebration for Yvonne as she finally retires. Joyce Branagh and the cast raise a glass on stage, then invite the audience to stand and for a moment think of all those unseen women in Manchester, the North West and of course within the audience itself. VIGNETTES producers Hannah Ellis Ryan and Alex Keelan can be justly proud of their achievements as tonight was a fitting tribute to an amazing and vital organisation.

CONTACT THEATRE 4th/5th October 2023