Whenever anyone thinks of the Suffragette movement, particularly in Manchester, one of the first names to come to mind is Emmeline Pankhurst.
Her story is well known – a girl from Moss Side, born into a politically active family, was introduced to the suffrage movement aged just 14 and ultimately helped British women to win the vote and create historic change.
The Pankhurst’s name today is synonymous with women’s suffrage, as are the Kenneys of Saddleworth.
But in the early years of the suffragette movement, before it had a name and was just a few pesky women making some political noise, there was another figure – oft-forgotten – who inspired the women around her to make history.
Her name was Lydia Becker and she hailed from Accrington.
Born in 1827 to a large middle-class family, as a young girl Becker was home-schooled alongside her siblings and took a big interest in nature and botany.
She often wrote to Charles Darwin with questions and the two developed a friendly correspondence, with Lydia sometimes sending him samples of plants from around Manchester to study.
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But as well as growing into a noted botanist, as a young woman she was fascinated by politics and got involved in the suffrage movement at a very early stage.
Having studied in great detail the reproductive science of plants, in particular the bisexual and hermaphrodite species, she soon turned her mind to the gender politics of society.
Inspired by a fellow sister scientist, Barbara Bodichon, who had published a paper entitled The Enfranchisement of Women in 1866, Lydia moved to found the Manchester Women’s Suffrage Committee – the first of its kind in the country.
Not much time after founding her committee, Lydia heard about a local woman – a widow – whose name had appeared by accident on an electoral roll. Sensing an opportunity, she and Lily Maxwell went to the polling station together and demanded she be allowed to cast a ballot. She was, and it caused a ruckus.
Spurred on, soon enough Lydia was encouraging all female heads of household to do the same – and was ultimately instrumental in bringing their petitions to court.
The following year, she was one of the central organisers and speakers at the first-ever meeting of the National Society for Women’s Suffrage and soon found herself undertaking speaking tours across the country.
This was years before the Pankhursts and at a time when it was completely unheard of for women to get involved in politics in any way. To even suggest that a woman should vote in elections was to completely put yourself out on a limb.
Simply put, politics was for men – it was not considered ‘ladylike’ for a woman to stand up in a public place and spout her opinions. Lydia didn’t let this put her off, though.
She simply ignored the naysayers (and there were a lot of them) and kept on going on her tours up and down the country after forming the Women’s Suffrage Journal in 1870, alongside Jessie Boucherett.
At one of these meetings in 1874, there was a young girl sitting in the audience. A fifteen-year-old Emmeline Pankhurst, who from that day forward would be completely committed to the cause after hearing Lydia speak.
As the movement began to gather pace, one thing that set Lydia apart from her counterparts was her ardent support for the vote of single and unmarried women. These women, she argued, were more in need of the vote than their married counterparts (who ultimately secured the vote first in 1918).
It was a point on which she and Emmeline Pankhurst were to disagree, but just as with everything else, Lydia stuck to her guns on her opinions – no matter what ridicule she faced. And there was a lot.
Just as women today who speak or act out against the status quo are often maligned (Jameela Jamil springs to mind, but there are many more), Lydia was subject to merciless teasing – particularly from politicians and the press.
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She wore wire-framed glasses and was made into somewhat of a caricature by cartoonists, who ridiculed her “extreme” views and looks. One cartoon cruelly depicted her being thrown out of parliament wrapped in the Women’s Suffrage Bill.
She also used her position as an educationist to champion the idea that there was no difference in the intelligence levels of men and women, a position that was considered truly revolutionary at the time.
She passed away aged 63 at Aix-les-Bains in 1890, and her name can be found today on a family headstone in St James, Altham. Quite rightly, it can also be found on the Reformers’ Memorial in Kensal Green Cemetery, London, alongside other great reformers and innovators.
Although Lydia died several decades before women would win the right to vote, if it wasn’t for her then we might still be the second-class citizens we were in the 1800s.
Roger Fulford best sums it up In VotesforWomen: TheStoryofaStruggle, when he writes: “The history of the decades from 1860 to 1890 – so far as women’s suffrage is concerned – is the story of Miss Becker.”
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A true pioneer and an inspiration for many women, her name deserves to be remembered.
Review | The Lion, The Witch and The Beaver* – sorry, Wardrobe
The Manc
What an enchanting evening at The Lowry as we were transported to Narnia to review the live stage adaptation of The Lion, The Witch and The Wardrobe in Media City as the production began its festive run in Greater Manchester.
As we entered the playing space, the atmosphere was set with a pianist on stage, slowly drowning out the noise of the outside world and settling the audience in for a night of magic.
Launching ‘Act One’ with a touching rendition of the British wartime classic, ‘We’ll Meet Again’ by Vera Lynne, we meet the large ensemble, multi-instrumentalist cast.
This talented ensemble pivots around multiple roles throughout the performance, creating a shape-shifting atmosphere with some impressive seamless transitions, allowing us to “open our minds” and be absorbed into the mythical world of Narnia alongside The Pevensies.
Sweetly played by Joanna Adaran, Jesse Dunbar, Kudzai Mangombe and Bunmi Osadolor, they excel in exploring sibling dynamics such as rivalry, trust, but most of all, loyalty and love.
The most mind-blowing element of this performance, however, was the production; it truly is the unsung hero of the entire show, so we’ll so the singing on their behalf.
Set and costume (designed by Tom Paris), lighting (done by Jack Knowles), puppetry design and direction (by Max Humphries and Toby Olie), sound design (credit to Tom Marshall) and hair, make-up and wig designer (Susanna Perez).
All this carefully curated talent helped create a world where we had no choice but to believe in magic.
For us as an audience, it made things so much easier to immerse and delight in the world of C.S. Lewis’ imagination, as it is so wonderfully presented in front of us.
This was elevated once again by levitation and disappearing acts – the scene was set on the boards and in the air.
Huge credit goes to Gwen Hales (aerial director) and Chris Fisher (magic and illusions); it felt as if anything was possible, and we needed no convincing that we were in the presence of pure enchantment.
However, arguably the most magnificent moment of the show was the reveal of Aslan himself. As this grand puppet prowled onto the stage, you could hear gasps echo throughout the theatre.
Manoeuvred by three puppeteers, this skilful spectacle was a credit to bringing the story to life in live theatre. The seamless, lifelike movements of breath and king-like presence were both majestic and a credit to the production.
Accompanied by Stanton Wright, we had no doubt that this was the true hero of Narnia.
If you want us to sum up our review of The Lion, The Witch and The Wardrobe at The Lowry, quite simply, this show is nothing short of a marvel.
Make sure to take home a cuddly lion toy, of course. (Credit: The Manc)
With constant playfulness and wit throughout – mainly brought to you from the broad Northern and oh-so lovable Mr Beaver (Ed Thorpe), and fellow believer in magic, ‘The Professor’ (Kraig Thornber).
It’s the lattermost that left us with a lasting thought, as he warmly reminds the audience that even when times feel dark, “the sun is always up there, we just have to look.”
The Lion, The Witch and The Wardrobe is running from The Lowry in Salford Quays all the way up until Sunday, 11 January 2026. Don’t miss the magic and grab your tickets HERE.
If you’re interested in finding out what else we’ve enjoyed at the theatre in Manchester recently, then look no further…
Featured Images — The Manc Group/Press shots (Brinkhoff/Moegenburg supplied via The Lowry)
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Hazlett at Manchester Academy 3 – some of the best ‘sad and depressing songs’ you could ever ask for
Danny Jones
On Thursday evening, we finally got to see Hazlett in a small, tightly-packed room here in Manchester and have maybe never heard so many people sing so expertly quietly so as not to even remotely dullen the stunning voice of this rising solo artist.
For anyone who isn’t aware of Hazlett, he’s an Australian singer-songwriter who has been gradually growing in popularity over the last couple of years, but his journey to where he is dates back much further than that.
Noticing a few familiar faces in the crowd from his last visit to the city for a performance at The Deaf Institute just over a year ago – one we sadly missed and have been kicking ourselves ever since – he acknowledged that many may already know his story, but it’s nevertheless worth sharing with the class.
After self-deprecating (how oh-so British) about gigging in pubs when he was younger, and being told to stick to covers rather than try any of his own material, he moved to Sweden in 2019 and fell in love with not only a much more seasonal European but winter, specifically. No wonder he looked at home here.
Here’s our review of Hazlett at Manchester Academy 3, 4/12/2025. (Credit: Audio North)
Kicking off with one of his best-known tracks, ‘Please Don’t Be’, it immediately struck us how full and mournful it all felt in the flesh – arguably even more so than the studio version we’ve been playing in our headphones since 2023.
The atmospheric but not over-produced engineering is an aspect we’ve always admired about Hazlett‘s discography, and we were so relieved it came across on the night, with the Brisbane-born ex-pat crediting his talented live band with helping bring that same sound to life on stage.
It’s a regular trapping, we’ve found, when it comes to acoustic-led music; that instinct, perhaps, for an artist and/or a producer to use seemingly as many of the tools at their disposal as possible just because they’re available to them.
Sadly, this easy pitfall often ends up taking away from what makes those tunes so beautiful to begin with – but not in this case.
The rising solo star seemed to have an expert command not only of his vocals, but the second mic that added those subtle and yet stirring layers, and built those moving, almost ethereal effects on top of the words themselves.
Honestly, we were literally in awe of him just whistling…
Admittedly, it’s hard to put a finger on what exactly made this such a special show, but we think it is THAT same appreciation and embrace of colder months and how it’s inspired his music.
Just bear with us for a minute, it’ll make sense soon.
He actually said it was one of the things he loves the most about people in this country, and this specific part of the world, as well as other parts of Europe, such as his now beloved Sweden, where he says he found his creative spark.
It’s that feeling of the weather and the mood it brings so intensely that he says it helped him write ‘Bones Shake’, which was fittingly chilling as he played it to the spellbound, would-be choir, and could hear the soft sibilance of people gently repeating those S-sounds back to him.
There’s a genuine sense of being able to chart the slight sorrow in the passing of time through the seasons, and while some may not be afforded that same feeling from the sun-soaked shores of his homeland, it’s a concept he’s really run with – especially on his most recent LP.
Simply titled, last night you said you missed me, it’s almost something he kind of tried to resist, confessing that he wrote and finished the album in the space of about a month, fearing that it couldn’t be good enough/ready purely because it came together so quickly.
Given that two specific tracks from this record made a lady standing with us well up and eventually shed several tears (you know who you are), we’d say he absolutely nailed it.
Our only minor gripe was not getting to hear ‘Tell Me What You Dream About’. (Credit: The Manc)
He did joke that his set is filled with nothing but “a bunch of sad and depressing songs” and had a laugh at the idea of people being “dragged along” without any real idea of who he is or the kind of stuff he makes, but having now witnessed him play live, we can assure you it’s much more than that.
Bloom Mountain was an emotional, magical debut that found us in a particular place and time in our lives that we’ll always appreciate, but hearing him knit it together with his newest material confirmed to us that his music has to be more than listened to – it has to be felt.
Like the changing of the seasons. Like the winter. Like the cold.
We unfortunately didn’t manage to make it in time to watch the support act, Hans Williams, but judging by the reaction from the audience who did get in there early enough, the authentic but inventive stylings of the Americana, folk and soul-infused indie-pop artist, he definitely won over plenty of new fans.
As Mitchell Hazlett Lewis, to use his full name, he’s had our hearts since the very start and will continue to do so for however long he keeps bringing his relatable lyricism, delicate but impressive guitar-picking and gentle charm to Manchester.
Please check out his tour dates and see him the next time he’s in town. You can guarantee you’ll find
Please enjoy the song from his latest album that he says his mum likes best.