Following an inquest into the death of teenager, Evelin Chacko, Bolton Coroners’ Court heard that the 16-year-old was found dead in a nearby woodland just an hour after leaving the hospitaland that there were “systemic failures” at “every stage” of her treatment.
Evelin Chacko, from Farnworth, was admitted to Royal Bolton Hospital following an overdose at her family home on 1 July 2020 and, after being initially taken into A&E, was placed in C2 ward: an adult treatment centre for people with complex care needs and the elderly.
Bolton Coroners’ Court heard how Evelin left the ward and returned home on at least three occasions but had always come back, with C2 consultant Dr Geraldine Donnelly confirming it was an open ward and that Evelin was “free to come and go” without monitoring from July 5 onwards.
However, after a meeting on July 10, where the assigned nurse Afreen Khan was said to be awaiting a mental health review for Evelin, he was told the next steps would be dealt with by another team and was not made aware that she attempted to harm herself the night before her death during the handover.
The inquest also heard that a mental health review took place on July 13 at around 1pm but Mr Khan was not able to attend due to his workload and the pressures of looking after nine other patients. Evelin left at 2.12pm and died just over an hour later.
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Mr Khan told the court that “you shouldn’t be a named nurse and in charge [of multiple others], but we were expected to do both roles because of the pandemic and staffing. I didn’t have the chance to sit down and read her notes. I gave her medication, carried out observations and saw her behaviour.”
After hearing that she was placed on an “inappropriate ward” and should have been afforded “extra contact to check she was ok”, Area Coroner Professor Dr Alan Walsh also questioned how Khan could have been able to do “two jobs at once” in attending to the other patients and keeping an eye on Evelin.
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Another staff member, Mary Hart, worked various shifts throughout Ms Chacko’s time in the hospital and said that while she had no immediate concerns about her wellbeing, she did note how “Evelin walked past and she appeared to be very upset” on 13 July, adding that “it was out of character for her.”
However, it is worth noting that although Evelin was described as a “smiley” individual by both her family and individuals around the hospital, it was also heard that she had a long history of “suicidal ideation” and had been escorted away from a motorway bridge in May earlier that year.
Data extracted from her phone also showed that in the months leading up to her death, the 16-year-old’s internet searches included, ‘I feel like I have to commit suicide’, ‘How to hide that I am suicidal’, and ‘What to write in a suicide note’, as well as googling hanging methods on the day she died.
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Giving evidence in the inquest, Dr Patrick Waugh’s examination of her body showed ligature marks, as well as abrasions on her chin which suggested an attempt to adjust/struggle and suggested hanging as the cause of death.
Noticing that she was crying, Hart said she tried to approach the teen and although she did speak to her, Evelin “wouldn’t engage or acknowledge.” After returning from the Clinical Decision Unit, another nurse, Dawn Murphy, said she met security at the entrance and gave Evelin’s name and description.
It was then heard that in the notes entered into the electronic system at 1.49pm following the mental health review, it was stated that there was a “need to monitor” her but — similarly to Mr Khan and Evelin’s attempt to harm herself — she was not made aware of the contents of the report.
Speaking on behalf of the Chacko family, a spokesperson for Oakwood Solicitors said: “We are deeply saddened by Evelin Chacko’s tragic death however, we are consoled with the admissions made by Bolton NHS Foundation Trust in relation to their failings.
“The investigations are still underway with regards to the involvement of Greater Manchester Mental Health and Bolton Council, but it has been recognised that Evelin, a 16-year-old, was on a wholly inappropriate adult acute ward. There is a lot to learn from her death.
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“The nurse involved in Evelin’s care admitted that they did not have time to review the records and she was inappropriately placed on a ward where they were not experienced to deal with Evelin’s mental health. What was consistent is that Evelin was loving and caring.”
The inquest has now been halted until 30 October when more evidence will be presented to the Coroners’ Court. Oakwood concluded by stating, “It is hoped that when the investigations resume in the Autumn that the family will be able to receive some closure.”
For anyone struggling with mental health, don’t hesitate to get in touch with the Samaritans on 116 123, text ‘SHOUT’ to 85258, contact the NHS on 101 or, if it’s an emergency, call 999 immediately.
You can also find helpful resources regarding sexual abuse support HERE.
Featured Image — Facebook
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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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Peaky Blinders confirm title and release date of upcoming film
Danny Jones
After what feels like an age since it was first announced, Peaky Blinders and Netflix have finally confirmed the title and release date of the upcoming feature-length film.
It was revealed that the global streaming giant secured exclusive rights to the movie last year, and it has now been revealed that it will also be released in selected theatres before it hits the platform.
With production on the long-talked-about project getting underway in September 2024, we’ve heard little else from creator Steven Knight, who has also been booked to deliver the Oasis reunion documentary chronicling their Live ’25 world tour.
However, we now know not only the official title of the film, Peaky Blinders: The Immortal Man, and that it will be dropping early next year. They’ve even shared the first poster.
Clearly referring to the series’ most famous lead character, Thomas Shelby – played by now fully-fledged Hollywood A-lister Cillian Murphy since 2013 – the teaser shows him sat astride a horse, not to mention covered in a fair amount of dirt and/or blood.
Alongside the suit and the trademark newsboy cap with blades inserted in the brim (the calling card of both the fictional and the real ‘Peaky Blinders’), it’s quite a classic look of Tommy’s.
Scheduled to release in limited cinemas on 6 March before arriving on Netflix on 20/3/2026, this will not only be the first film in the wider franchise but the first to air separately from the BBC.
While its parent network is still involved as collaborators on the flick, this is the first instalment in the IP to be distributed directly by Netflix after they bought the rights to release the show in the US.
Another look at a seemingly older Tommy Shelby (Credit: Publicity picture via Netflix)
As for The Immortal Man, both new and returning members of the cast include:
Cillian Murphy (Oppenheimer, 28 Days Later)
Rebecca Ferguson (Dune, Silo)
Tim Roth (Reservoir Dogs, The Hateful Eight)
Sophie Rundle (After the Flood, Gentleman Jack)
Ned Dennehy (Culprits, The Peripheral)
Packy Lee (Blue Lights)
Ian Peck (His Dark Materials, Robin Hood)
Jay Lycurgo (Steve, Half Bad: The Bastard Son & The Devil Himself)
Barry Keoghan (Saltburn, The Banshees of Inisherin)
Stephen Graham (Adolescence, A Thousand Blows)
Speaking in a full press release, Murphy said: “It seems like Tommy Shelby wasn’t finished with me. It is very gratifying to be re-collaborating with Steven Knight and Tom Harper on the film version of Peaky Blinders. This is one for the fans.”
Returning four years after the end of the mainline series, but catching up with Tommy at the outset of WWII in terms of the actual timelines, Netflix say that the Shelby patriarch “is driven back from a self-imposed exile to face his most destructive reckoning yet.”
Safe to say we cannot wait to be back in the world.
In the meantime, you can find out more about the next season(s) of Peaky Blinders coming to the BBC very soon down below.
Danny Jones -
11th August 2023 
