A series of incredible independent arts and culture events will span across Greater Manchester over the coming weeks, as Manchester Independents commissions 12 amazing new works.
They are an initiative launched out of the pandemic to support local artists across all 10 boroughs, and give them a platform to showcase their projects, supported by various cultural organisations around the region including Brighter Sound, HOME, Factory International, Contact and many more.
Following on from the success of the 2021 scheme, which saw 23 new commissions, Manchester Independents are ready to present 12 new projects, from walking tours to art exhibitions to theatre.
The vast range of new work includes everything from workshops with Muslim women in Rochdale to film screenings in Levenshulme to AI-generated theatre in the city centre.
Themes will range from celebrations, love and feminism to mental health, chronic illness and dystopian Manchester.
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You’ll find the new Manchester Independents commissions at venues from theatres (like Contact and 53Two) to parks to galleries to digital spaces.
Events are going to be popping up all over Greater Manchester over the coming weeks – here’s what you need to know.
This six-minute video artwork will blend spoken word, an original soundtrack, and a choral performance of the chorus from Eminem’s ‘Cleaning Out My Closet’ to speak about absence, loss, grief and childhood rebellion.
Dance, contemporary circus, poetry and improvisation will come together in this duet. The piece looks at mysticism, Afrofuturism and Black Feminist Hauntology through our connection with the life giving element, water.
Horticultural Centre at Wythenshawe Park, 30 September
The neglected Horticultural Centre at Wythenshawe Park is going to be brought to life by visual artist Michele Selway. She’ll use Victorian photographic equipment to document the place and the people that are keeping it going, and use the unique 1951 Wet Plate Collodion process to photograph onto large format glass plates, mirroring the materials of the glass house itself.
Four Dholis And A Divorce by Hafsah Aneela Bashir, @redwizz1
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Rochdale Ukrainian Club, 29 September
This performance explores intergenerational trauma and lived experiences of divorce through five female characters from a South Asian Muslim background.
Portraits of a Poet by Princess Arinola Adegbite (BITEZ), @pabitez
The Whitworth, 5 October
A surrealist work exploring perception and the ways we perform in society for safety, love and acceptance. It begins from the perspective of a black female artist to investigate agency, spectatorship and power.
A theatre piece exploring Sam’s 12 years of visiting Manchester Children’s hospital regularly. This performance plays with comedy, sadness, perceptions and toilet humour often found in discussions amongst young patients.
A fast-moving, comedy drama about life with chronic gynaecological disease.
Cerebral Palsy Graphic Novel by Julian Gray, @juliangrayart
Published online at the end of August – available at www.manchesterindependents.org
Interviews with people with Cerebral Palsy about its representation in media and performance, culminating in an online zine.
The Anxious Photographer’s Handbook by Simon Jones, @simonjones_2000
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Book launch in September, exhibition in October. Details to be updated on www.manchesterindependents.org
A visually engaging book containing a range of interesting photographic challenges which can be used as a way to connect with the local environment and society. The work is primarily aimed at individuals that have become isolated due to issues such as anxiety and other mental health/social issues.
See www.manchesterindependents.org for latest updates.
Jova and the wave rebranding as yeguachita – EP, graphic identity and video works. yeguachita will be creating a concept album in collaboration with other musicians.
Featured image: Supplied
Art & Culture
Better Man has bombed at the box office – but is the Robbie Williams biopic any good?
Danny Jones
So, Robbie Williams’ biopic Better Man has been out for a little while now and the question on many people’s lips – you know, apart from ‘why is he a monkey?’ – is, quite simply, is it any good?
Many of you may have already seen it, others may have absolutely no interest in hearing about Robbie‘s already well-publicised exploits (be they in ape form or otherwise), or maybe you’ve just been waiting to hear whether it’s any good before heading out to the cinema.
Well, if you’re judging it purely by the current headlines circulating online, you’d be forgiven for thinking it’s absolute rubbish. So far, Better Man has ‘tanked’ at the box office, making just over $1 million compared to a budget of nearly $110m (£90.8m).
However, given how pivotal the US viewing figures are, a big chunk of the commercial disappointment has come down to Americans largely not knowing who Robbie Williams even is and it’s no surprise that it’s done a little better here in the UK – though still not stellar. But again, ticket sales aside, is it good?
Better Man – Review
I wasn’t sure a (very good) CGI monkey Robbie Williams film was going to be any good either based solely on the trailer, but they nailed it.
*Once again, some spoilers ahead – though it is his life story, so we’re not really spoiling anything…
I’ll start this off by admitting that for all his foibles and controversies of the years, I am a Robbie fan; his music was always on in my house as a kid and well into my teens. Being born in the mid-90s, he was probably one of the first big pop stars to ever enter my world.
Growing up obsessed with football too, a charismatic, mainstream rock and roll-spirited figure in the mainstream who also loved the beautiful game and even took influence from chants heard around the grounds in his songwriting always made him extra appealing to me.
All that is just to say that I’m fully aware there’s probably some bias here, so I’ll still try to be as impartial and ‘objective’ as you can be with a film review. But back to the point, the short answer is yes: it’s good – very good, in my opinion.
If you’re similarly fond of the frenetic, funny and ferocious showman, you’ll obviously have a vested interest in looking back on his career thru a (somewhat simian) Lens, but even if you’re not, I still think you can get a lot of of the film and a greater insight into a captivating life story.
Monkey see, monkey do—make me sad, very sad…
This scene (among many) had us welling up. (Credit: Paramount Pictures)
For starters, put simply: as daft as it may seem, the monkey thing does work. It may come across like a strange gimmick when you first see the trailers but it doesn’t take much digging to realise that there’s quite a well-thought-out three-pronged approach behind it.
One of the first things the 50-year-old singer said on the press tour for this film is that he’s always felt “unevolved” and it’s something that’s brought up a couple of times in the film itself, so making him an ape rather than a modern Homo sapien is one way to way to communicate that.
Plus, not only does it obviously make any sad moments – and there are a lot of them – even more emotional and tear-jerking, especially during the scenes during Robbie’s childhood, but it also plays into the sad reality that he’s felt like a performing monkey for the majority of his life.
When you stop and think about the reasoning behind it feels a lot more considered than on first impression, and it certainly helps you empathise and, more importantly, sympathise with the troubled character you’re seeing on screen.
Robert vs Robbie
A very clever movie poster to boot.
And that’s pretty much the rub right there: this was always going to be at least a somewhat self-indulgent watch, not just because it’s a biopic but because it’s Robbie and that’s what his persona is about – but it is and always has been a performance in every sense of the word and the film does a great job of trying to distinguish ‘Robbie’ from Robert.
From seeing the origins behind being given that name specifically, his younger years and affectionate albeit mostly fraught relationship with his father; how the boom of Take That engulfed his entire world and even more so once he went solo, as well as the version of himself he’s shown to the world for last three decades, it’s clear he’s often struggled to find the line between the two himself.
It’s also very important to state the cheeky, cocksure Robbie Williams you were expecting to watch the rise of throughout this biopic has wrestled with a much lower opinion of himself than you could ever imagine. It’s a driving force behind the film and manifests in all manner of problematic and unpleasant ways, just as it did in real life. You see him see a lot of them in the crowd throughout the duration, in fact.
Because for anyone who isn’t aware, a lot of Robbie’s experiences are problematic and unpleasant; the early days as a boyband commodity, his substance abuse, struggles with mental health and beyond are all laid bare on screen in fairly graphic detail at times. A lot of the situations these issues spring from would feel hard to believe were it not for the fact it’s a true story with very little embellishment, if at all.
Manchester references are a bonus
One of the things that did stand out as a particularly surreal aspect of the film was the handful of references to Robbie’s intersection with Mancunian culture, which simultaneously felt familiar and somehow like going back in time to peep behind the curtain at a world that very few saw first-hand.
Again, the behind-the-scenes examination of how Take That transpired and those very dangerous, inappropriate and frankly unlawful series of events in nightclubs over on the likes of Canal Street feels like a fever dream (as it did for Robbie).
Perhaps the biggest buzz we got was the not-so-surprise appearance by the Gallagher brothers and ‘The Robster’s obsession with Oasis. The look is exactly what you’d expect and Liam‘s accent might not be perfect but it still gave us a thrill without feeling like pointless lip service.
All that being said, is the much-talked Robbie biopic a good enough film to warrant popping out to the pictures? Well, I’d certainly say so. Not only are the visuals and the CGI itself pretty flawless, but the motion capture is done so well that it never felt like I was taken out of the film at any point – even the very particular Stoke and Cheshire accents of Robbie and Gary Barlow are very convincing.
We knew there was going to be lots of humour too but there’s also a lot of impressive stuff the director does that I wasn’t expecting.
One of those is the transitions: there are lots of clever tonal switches done with great camerawork and effects (particularly during one driving sequence and some of the flashback frames) and they really do help covertly shift the mood so some of the darker moments don’t give you full on whiplash.
And lastly, the director’s fingerprints can be felt all over the movie as Michael Gracey’s The Greatest Showman pedigree certainly makes sections of the film feel more like a musical than I was expecting – but in a good way. Big bold cabaret choreography fitting of the man himself.
After all, we all know most Robbie tunes are bangers but seeing them brought to life in these new and interesting ways really does make Better Man a better film than we’d even hoped for and it’s certainly good enough to be performing a lot better than it is at the box office right now. Maybe give it a go.
As far as I’m concerned, big stunning set pieces like this are just the tip when it comes to what makes the Robbie biopic a good film.
Featured Images — Paramount Pictures/Chrysalis Records
Art & Culture
Jake Quickenden to star in stage version of cult classic British comedy, Rita, Sue and Bob Too!
Danny Jones
The original stage play version of classic UK comedy, Rita, Sue and Bob Too!, is coming to Greater Manchester this February and it’s set to star Jake Quickenden in a leading role.
Released as a feature-length back in 1987, the cult favourite film set in North Yorkshire is still considered one of the most quintessentially British and incisive ‘dramedies’ ever made, depicting a very unfiltered and poignant look at working-class life during the Thatcher years.
The story has been brought to the theatre many times before, including down the road in Salford Quays, but this latest series of stage shows marks the first time Rita, Sue and Bob Too! the play is heading to this particular borough.
With a healthy slate of tour dates across the country, the Regal Entertainments production and recognisable cast is coming to Stockport for multiple nights next month.
Adapting the original semi-autobiographical play text by Bradford‘s very own Andrea Dunbar – where the tale takes place and whose upbringing the events revolve around – with direction from Chantelle Nolan, this is one of the biggest live productions of Rita, Sue and Bob Too! ever.
Speaking ahead of the nationwide tour, Nolan says: “After over 20 years of producing brilliant entertainment in St Helens and in Liverpool, Regal Entertainments has developed a touring department, and we can’t wait to share our five-star productions with new audiences across the UK.”
“We’re very proud to attract the top stars from the worlds of theatre, film and TV to star in our productions […] Dunbar’s cult classic film was originally a hit play, and we know that it’s a show that you can see time and time again and still be rolling in the aisles with laughter, we are incredibly pleased with the ticket sales so far.”
As well as the former X-Factor, I’m A Celeb, Hollyoaks and Dancing on Ice star in the leading role as Bob, other names on the call sheet include Jessica Ellis (also seen on Hollyoaks), Shameless and Coronation Street‘s Warren Donnelly, as well as ex-Britain’s Got Talent contestant, Siobhan Phillips.
As for the other two leads, Liverpool-born comic Kay Nicholson is starring as Rita and Lancashire actor Jenna Sian O’Hara as Sue. In case you’ve never seen or heard anything about it before, without spoiling anything, the two young schoolgirls get themselves into some rather adult circumstances.
Strictly an 18+ performance, the Stockport show is one of just a small handful of North West runs, set to take place at the iconic art deco theatre that is The Plaza from Tuesday, 18-Saturday, 22 February.
As for Quickenden, the 36-year-old added: “I’m delighted to be joining the brilliant cast of Rita, Sue and Bob Too! Regal Entertainments have a fantastic reputation for producing exciting entertainment in Merseyside and I can’t wait to take the show all over the UK.
“Andrea Dunbar’s play is a classic and I can’t wait to play Bob.” If you’ve not come across it before, maybe ask your mum and dad or perhaps a grandparent – we’re sure they’ll fill you in…
Daisy Jackson -
31st August 2023 
