Tag: manchester

REVIEW: The Psychedelic Furs

Published on by Lucy CLeave a comment

Rating: 4 out of 5.

“A captivating performance that showcased The Psychedelic Furs at their best.”

The Psychedelic Furs at the Royal Albert Hall put on a genuinely strong show that felt both nostalgic and current at the same time. There was a real sense of anticipation before they came on, and the intimacy of Albert Hall couldn’t have suited them better. I had a view wherever I went and the sound carried beautifully, with that mix of clarity and atmosphere that makes you remember why it’s such an iconic place for live music.

Shout out to Anja Huwe for putting on a great opening act. Her voice has that distinctive dark tone that works well with the post-punk sound she’s known for, and it was interesting to hear how her solo work blends with her older material. By the time she finished, the crowd was clearly ready for the main event.

When The Psychedelic Furs finally came on, they went straight into one of their slower, moodier songs, and from that moment the atmosphere completely shifted. Richard Butler walked on with total confidence, dressed sharp as ever, and instantly commanded attention. There’s something about the way he moves and delivers each lyric that keeps you completely focused on him.

They played all the hits that people were hoping for, including “Love My Way,” “Heaven,” and “Pretty In Pink,” and you could feel the energy of the crowd when each came on. The setlist had a good balance between the familiar favourites and a few deeper cuts from their back catalogue. The band sounded tight and polished, with every instrument sitting perfectly in the mix. You could tell they’ve been playing together for a long time.

The only slight disappointment was that they came on later than expected, which made the set feel shorter once things got going. They didn’t do an encore either, and a few people around me were waiting for one, but it never happened. Even so, the show didn’t feel lacking. It was concise, confident, and full of energy from start to finish.

If you go to watch The Psychedelic Furs you’ll understand just like me, how they’ve stayed a big act for many years. Solid performances from musicians who clearly know their craft. The Albert Hall was the perfect backdrop for it, and while I would have loved a slightly longer set, it still felt like an evening well spent watching a band that continues to deliver decades on.

The Psychedelic Furs tour continues across Europe this winter. Tickets are available here.

REVIEW: Moving Pictures

Published on by Evelina BlackLeave a comment

Rating: 5 out of 5.

“An atmospheric and evocative celebration of some of the very best 21st-century film scores.”

The BBC Philharmonic Orchestra’s Moving Pictures at The Bridgewater Hall was an atmospheric and evocative celebration of some of the very best 21st-century film scores.

As a big fan of film and live music I knew Moving Pictures wasn’t one to miss. The programme promised an “all-killer, no-filler set” and they undoubtedly delivered. The audience were taken on a brilliantly curated journey through genres and moods from intense otherworldly soundscapes to romantic and sensitive themes.

Robert Ames led the orchestra with incredible skill and the decision to have Ali Plumb presenting the scores was a perfect one. He brought useful information, context, and fun every time he entered the stage, and ensured that even if you hadn’t seen every film featured, you still felt included in the experience.

One of my favourite things about the BBC Philharmonic is how they push boundaries. That innovation was on full display here, with a spinning bike wheel used for percussive effects and the rhythmic sounds of a typewriter being used in Dario Marianelli’s ‘Briony’ for Atonement (2007). It was these unexpected instruments that served as a reminder of how creative film scoring can be. As is characteristic of the BBC Philharmonic, the orchestra stretched the possibilities of sound and expression, inviting us to reconsider what music is capable of and how it shapes emotion. Film music proved to be the perfect medium for that mission, highlighting just how essential the score is to the cinematic experience.

I could very easily (and happily) talk at length about every single piece performed but instead, I encourage you to tune in to the recorded performance on BBC Radio 3. So, sticking to the film theme and in true Letterboxd fashion, here are my top four picks from the evening: 

Interstellar (2014) – Hans Zimmer

Hearing one of Zimmer’s most iconic scores live was a transcendent experience, especially with the Bridgewater Hall organ, played by Neil Taylor, creating so much power and depth. Reportedly, Zimmer composed a piece for the organ in an attempt to capture his experience of parenthood without knowing that Christopher Nolan planned to explore that idea through astronauts travelling far from home.  The result is music that feels emotionally intimate and vastly expansive, just like the film, serving as a reminder of just why Hans Zimmer is so legendary. 

Moon (2009) – Clint Mansell

This was the only film on the programme I hadn’t seen but now it’s gone straight to the top of my watchlist from the music alone. Mysterious, seductive, and tinged with isolation, it balances a melancholy piano with quiet strings and surges of electronica. The programme notes that the piano reflects the fragility of the protagonist’s (Sam Rockwell) identity as he yearns to return to the human world.  The electric guitar part, played by Peter Willmott, was captivating. 

There Will Be Blood (2007) – Jonny Greenwood

As a devoted Paul Thomas Anderson fan, I was very happy to see this film included and even happier upon hearing the score live. This was Jonny Greenwood’s first feature-film score and it is bold, unsettling, and wildly expressive. Written predominantly for strings, it captures greed, ambition, and the psychological corruption at the film’s core. During the performance, it felt like insatiable power and evil was oozing directly from the strings and straight into the audience. 

Poor Things (2023) – Jerskin Fendrix

This was the perfect end to the concert: strange, lively, and completely original. Poor Things was the first film for which Yorgos Lanthimos did not rely on source music, instead beginning what is now a continued relationship with Jerskin Fendrix. It was also Fendrix’s first time scoring a film, and his colourful, experimental work earned him an Oscar nomination. The harp, played beautifully by Anwen Mai Thomas, added bursts of playful energy to the score’s weird and whimsical world that Bella Baxter (Emma Stone) inhabits. It was an exciting finale that celebrated risk-taking and showcased how boldly film music continues to evolve.

Overall, Moving Pictures was a cinematic adventure through sound, reminding us of the power of film scores to define how we see, feel, and remember cinema.

REVIEW: ENO: Albert Herring

Published on by laurentemplepoetLeave a comment

Rating: 3.5 out of 5.

“Camp and hilarious but disappointing visuals“

The English National Opera made their Manchester debut with a wonderfully fun piece of theatre. Albert Herring is set in the English countryside of the 1940s, where lustful youth are causing a moral panic for their elder conservative neighbours. The set design and costume of the piece were very simple: naturalistic, period accurate costumes in mild colours and giant wooden boards with interchanging shop signs. This arguably gave the performers a chance to shine, and shine they did with outstanding performances in their singing, comedy, and acting. But also, this visual simplicity drew more attention to the interesting choice of having the stagehands be deliberately shown as a piece of the play, even interacting at times with the characters. This choice was honestly jarring at first, but once I got used to their involvement in the show it helped highlight the artifice of theatre and therefore furthers the overall campness of the show. A campness that I only wish was more reflected in the visuals. Given that May Day (the occasion that the play is centred around) has its pagan origin in wild merriment (drinking, partying etc) it would have been interesting to see how the chase Christian morals of certain characters in the play are in opposition to the very festival that they are parading. This is certainly in the subtext of the piece, but it could have been interesting to see irony more obviously within the play with more clear visual decorations and symbols of May Day’s festivities to parallel the plays decent into moral unravelling. This could have been achieved through props and costume: a may pole, a green man costume ect. I will say though for all my complaints about the costuming, there were a couple of highlights: Albert’s May King outfit which was as ridiculous and uncomfortable for Albert as the whole pageantry it was involved in was, therefore providing some great visual comedy; as well as the local bad boys’ cowboy-esk outfit showcasing the youthful rebellious spirit of the emerging 1950s teenager that many of the characters are so frightened by.

The first half of the show had felt quite slow and like it was dragging. My friend who attended with me is a trained Opera singer, and she told me that as a fan she can appreciate the slow pacing because she is busy admiring the beautifully skilled singing. However, to my own untrained ear, that effect was lost, and therefore elements of the first half just felt repetitive and slow. However, this picked up in the much stronger second half. At the end of the play, Herring’s liberation from moral chastity is greatly cathartic for the audience. With all this purity culture, youth, and repressed sexuality, Herrings wild side in contrast is fun, flirtatious, and daring. Resulting in a fantastic boisterous ending with a surprise moment, a small but bold edit that shouldn’t shock you in this day and age but certainly will. But I’ll let you enjoy that when you go and see the play, which despite my criticisms, I really recommend you do if you want a fun night out that will leave you in stitches!

REVIEW: Dancing at Lughnasa

Published on by Laura DaviesLeave a comment

Rating: 4 out of 5.

An extraordinarily captivating, tender and attentive performance of Brian Friel’s play. 

Dancing at Lughnasa is a co-production by the Royal Exchange Theatre and Sheffield Theatre, of Brian Friel’s incredible 1990 play. The story takes place on the outskirts of Ballybeg in County Donegal and follows five sisters struggling with money, family, identity, religion, purpose, love, and everything in between. 

For a play with a reputation of feeling a bit long, this production was wonderfully transfixing. For the whole 2 hour 45 minute run time I was thoroughly engaged, and couldn’t believe how quickly it was over. This really speaks to the high quality world building and storytelling of the production, it allowed me to become so immersed in the narrative. 

This is a testament to the love director Elizabeth Newman has poured into this production. She explains that, during the research period, she spent a lot of time “staring at walls” and truthfully, it shows. This is because the relationship fostered between the women in the play, the joy they carve out from domesticity for themselves, through dancing and laughing together – feels so authentic, Newman is firmly inside these characters’ heads. The set design by Francis O’Connor encapsulates this further, he creates a bustling space, where the grass from outside bleeds into the kitchen and the sun sits low, almost intrusive – reflecting how this lifestyle cannot be sustainable for much longer when, as Michael narrates ‘the effects of the industrial revolution’ are starting to catch up with the Mundy women. 

Moments of joy, like beautiful dancing sequences by Sundeep Saini are powerfully contrasted with tender moments of vulnerability, sometimes at the same time. One of my favourite moments involved Margaret and Kate sitting at the bottom of the table, sobbing quietly, foreheads pressed together and holding each other as they worry for their future, whilst Christina has a romantic moment outside. This direction and acting is just so stunning, and very attentive to the play text. 

The stand out performances for me were Natalie Radmall-Quirke, who plays Kate, Siobhán O’Kelly, who plays Margaret and Kwaku Fortune who plays Michael. Kwaku has a natural knack for storytelling, his narration had the audience in the palm of his hand, great pace and directness. Natalie and Siobhán showed incredible range of emotion and the care they have for these characters and this story is clear as day. Unmissable performances. 

This production is a powerful and poignant piece, maddeningly relevant to the times we live in despite its 1936 setting, I would highly recommend the watch.

This show runs at Royal Exchange Theatre until 8th November. Tickets here.

REVIEW: Sunny Afternoon

Published on by Seth Connor-Fullwood1 Comment

Rating: 3 out of 5.

Good fun, great songs, and interesting but cheesy

This new tour of Sunny Afternoon celebrates the raw energy, passion and timeless sound of one of Britain’s most iconic bands, THE KINKS. Charting the euphoric highs and agonising lows, it tells their story through an incredible back catalogue of chart-toppers.  

The musicians and singers are all very good performers, and it’s always good to see them rocking out as well as performing some Kinks songs acapella (‘Days’) and showing off their harmonising skills. Danny Horn makes a very good Ray Davies throughout.

Admittedly, although I already liked their music, I didn’t know much about their background or history. Would I have found ‘Sunny Afternoon’ boring if I knew more? Would anyone who’s not a Kinks fan enjoy this? Does it even appeal to Kinks super fans, who presumably know all this stuff and might prefer to just listen to them at home?

I’m not sure, but for me at least, it was interesting to learn about where The Kinks came from, to place them in their historical context, and see how their working class status defined them in their interactions with the music industry and upper classes. I also liked how the play explored the impact of being in a band on the members and their families, especially Lisa Wright’s Rasa. Moments such as this might make ‘Sunny Afternoon’ appeal to people who aren’t already lovers of The Kinks.

The start of the piece left me cold, which didn’t make me hopeful. The continuous teasing of the ‘You Really Got Me’ riff and vocals meant that some of the impact was lost when they finally played it in the middle of the first half. Some moments, such as Ray Davies attacking his speaker cone, were stretched out for too long.

Once it got going I began to really enjoy it, especially the end of the first half and the start of the second, particularly when they were showing the tensions within the band. The moments of out-and-out spectacle were my favourite parts. Oliver Hoare looks great swinging from a chandelier in a dress and covered in lipstick. Watching the band members punch each other up was always exciting. The period costumes and sets were gorgeous throughout. I really liked the scene showing England winning the World Cup, with various actors coming down into the audience to celebrate, although this technique was overused throughout the piece. 

‘Sunny Afternoon’ is surprisingly funny, with several clever references to contemporary pop culture as well as some good comedy, both physical and verbal.

I thought the end was a little too cheesy, with everyone told to stand up, clap, and wave their arms in the air. That said, I did enjoy the final encore medley of hits built around ‘Lola,’ which I thought for a moment they weren’t going to include even though it’s on the poster. 

Overall, then, ‘Sunny Afternoon’ is a fun night out, an interesting depiction of life in 60s England with, of course, lots of great songs.

REVIEW: Outlawed

Published on by Lucy CLeave a comment

Rating: 5 out of 5.

Outlawed is a hilarious, high-energy drag and cabaret night full of clever humour and unforgettable performances.

Set inside the Major Oak’s cabaret bar, Outlawed is a drag and cabaret night featuring the characters from Robin Hood, created by Nottingham’s own Nonsuch Studios. It’s funny, clever, and completely different to anything I’ve seen in a while. The show is full of energy, cheeky humour and imagination.

I’m from Nottingham but saw the performance in Manchester, where I now live. It was great to see their playful take on my hometown. The Nottingham references were well done, never over the top and always funny. They added a nice extra layer for anyone familiar with the area.

From the moment it started, the cast had the audience on board. The cabaret bar setting suited the chaos perfectly. Instead of retelling the story, it brought the well-known characters together in a fast-paced night of drag, comedy and pop numbers. The energy stayed high all the way through. It felt like a proper night out rather than a sit and watch theatre show.

The Sheriff of Nottingham, played by AK Golding, completely stole it for me. Their comic timing was spot on and they had this way of pulling the audience in with just a look. Every expression landed perfectly and the Sheriff was both ridiculous and magnetic.

Dora Gee’s Maid Marian was another standout. She brought a funny, confident edge to the character. Hunter Manning as Robin Hood had a charm that tied the show together. Lucinda B Hind as Friar Tuck’ed brought unpredictable energy that kept you laughing. Every performer had their own style and together they made something genuinely electric.

The writing was sharp and full of clever lines. It used the Robin Hood world as a backdrop for something new. It’s fast, funny and a bit ridiculous in the best way. The humour was self aware, playful and always smart.

The costumes were a real highlight. They were bold, colourful and full of personality. You could tell the cast were enjoying themselves in them.

Outlawed is a proper good time, full of laughs, creativity and strong performances. You can just switch off, enjoy the chaos and appreciate how much thought went into it. I left smiling and impressed by how they pulled it all together.

REVIEW: Black Sabbath Ballet

Published on by Lucy CLeave a comment

Rating: 5 out of 5.

A thrilling and inventive fusion of metal and ballet that showcases stunning choreography, powerful music, and a bold tribute to Birmingham

I went along to see Black Sabbath – The Ballet at the Lowry and honestly, it is unlike anything I have ever seen in a theatre before. I have been to a fair few ballet shows and plenty of gigs too, but this was a proper mash-up of the two worlds and it worked brilliantly. Carlos Acosta and the Birmingham Royal Ballet have really pushed things into completely new territory with this one, and it is obvious everyone involved put everything into making it spectacular.

From the moment the lights went down, the energy in the theatre was electric. The first act hits you with that iconic Black Sabbath sound, the Royal Ballet Sinfonia pumping through the theatre while dancers move across the stage with such precision it almost makes you forget the music is metal. There is something mesmerising about seeing these incredibly trained dancers interpreting songs like Paranoid and Iron Man. There are moments where the choreography literally reflects the riffs and drum beats. One of the most memorable things for me was seeing a guitarist lifted high into the air by dancers while playing. It is the kind of theatrical flair that makes you think that this is definitely different from anything else you will see on a stage.

The staging was impressive, simple in parts but clever where it needed to be. There is a section with a couple locked in an endless kiss while the backdrop of an industrial factory reminds you of the city’s heritage and the band’s own roots. It is dark, dramatic, and the dancers really commit to it in a way that feels raw and emotional without going over the top. You can see three distinct groups of dancers, each bringing something unique. Some are more traditional, some contemporary, and others almost experimental. Watching them interact is like seeing three different takes on what the music can mean.

The second act took me by surprise. I was not expecting to learn so much about the band alongside the performance. The pre-recorded voiceovers from Ozzy, Sharon, and Tony Iommi give the production real narrative weight, from the hilarious confessions about crazy spending habits to the more harrowing moments like Tony’s injury in the welding factory. It gives the whole ballet a depth that makes you feel more connected to the music and the people behind it, not just entertained.

I have to say the finale blew me away. A demon perched on a wrecked car holding drumsticks while dancers moved around in almost chaotic harmony felt completely over the top in the best possible way. Throw in live renditions of War Pigs and Paranoid and you have a theatre experience that is loud, proud, and unapologetically heavy. It is rare that a production can appeal to both metal fans and ballet fans alike, but this manages it effortlessly.

I loved that this was a tribute not just to Black Sabbath, but to Birmingham itself. The city’s influence is woven into the choreography and the music, which gives it a sense of place that makes it feel very authentic. The dancing was flawless, the staging imaginative, and the whole production radiates energy and skill. If you want something bold, inventive, and completely unlike anything else, this is the one to see.

REVIEW: Mark of A Woman

Published on by Lucy CLeave a comment

Rating: 4 out of 5.

Mark of A Woman is a quietly powerful and moving performance

Mark of A Woman is one of those pieces that quietly holds your attention and makes you think differently about how stories are told. Performed by Deaf artist and choreographer Chisato Minamimura, it explores the connection between women and tattooing, showing how marks on the body can hold memory, identity and power. The performance blends movement, digital animation and sound to create something that feels emotional and layered rather than straightforward or literal.

It begins simply, with soft light and slow, controlled movement. Minamimura’s presence is captivating from the start. Every gesture feels intentional, and even the smallest shift in her expression carries weight. She communicates completely through her body and face, so clearly that you never feel like words are missing. There is a rhythm to her movement that feels both calm and strong at once.

Visually the show is beautiful. The digital projections move and change around her, sometimes following her gestures and sometimes creating something new of their own. At one point a woman’s back appears across the stage, and patterns spread over her skin like flowing ink. It captures everything the piece is about, the way our bodies can be both a canvas and a story in themselves. The lighting and visuals work perfectly with her movements, creating moments that feel almost like memory or dream rather than performance.

The piece is not structured in a typical way and that is part of what makes it so interesting. There is no clear storyline or narration, just fragments of images and feeling that build into something more meaningful as you watch. Some parts are harder to grasp, especially during longer sections of mime, but they never lose your attention. Even when the meaning is unclear, the movement itself is absorbing and you can sense what she is trying to express through tone and energy.

What comes through most strongly is a sense of pride and ownership. Mark of A Woman celebrates women, our bodies and the marks we choose to make. It feels political but in a quiet way, more about reclaiming space and identity than making statements. There is strength and tenderness in equal measure, and it never feels forced or heavy handed.

Minamimura has a calm but magnetic stage presence. You can tell she has years of experience but she performs with openness rather than showiness. The use of sign language and Visual Vernacular flows naturally with the choreography, turning communication into art. It makes you see language in a completely new way.

By the end I felt like I had experienced something thoughtful and original. It is not a piece that tells you what to think, it just lets you feel it for yourself. Mark of A Woman is subtle, expressive and beautifully made. It gives a voice to stories that have often been overlooked and does so with care and honesty.

REVIEW: Shaker Loops

Published on by Seth Connor-FullwoodLeave a comment

Rating: 4 out of 5.

“Manchester Collective put on a very good show and are impressive performers”

The staging for the Manchester Collective’s performance of John Adams’ ‘Shaker Loops’ at the RNCM is very simple. Seven lights stand in a semi-circle around the collective, with eight more above them, all orange or yellow and reinforced by a cloud from the haze machine behind the performers.

In the first half of the performance, Manchester Collective play three other pieces: Dobrinka Tabakova’s ‘Such Different Paths’, Kaija Saariaho’s ‘Terra Memoria’, and a composition by Rakhi Singh, ‘Veni Creator Spiritus’.

These opening pieces are all good, and of course played beautifully, but each one seems to fizzle out by the end, despite good moments. Furthermore, the speeches and introductions between them, despite being interesting and important, did take me out of the performance and probably could have been placed elsewhere for a bigger impact.

I particularly enjoyed the transitions between different passages and sections in ‘Such Different Paths’, along with the harmonies and interplay between the seven players. I found it easy to get lost in all the different layers, picking out different instruments and focusing on how they related to each other. 

The second piece, a pizzicato-filled ode to the dead, gradually builds up. The overhead lights are now pink, creating a softer atmosphere. The textures are more minimal, with only four members of the collective onstage. Instead of the harmonies of the first, ‘Terra Memoria’ relies on changing dynamics, with urgent moments played against more tender ones.

Between the second and third pieces, thanks to a request from a helpful audience member, the haze machine is turned off because of all the noise it was making. ‘Veni Creator Spiritus’ is based around a Latin hymn, and swells and drones accordingly and appropriately. 16 Manchester Collective performers join for this one, some of them singing as well as playing their instruments, giving it a complex texture similar to the opening piece.

‘Shaker Loops’ is easily the best piece of the four. It’s like listening to all of the best parts of the pieces from the first half, without any of the weaker moments. Its mutating rhythms are captivating and exciting, and it’s the only piece with a strong ending. All 16 players perform impressively tightly throughout. Their interactions and harmonies are beautiful. Christ Bryan’s poetry is evocative and has a strong sense of mood and place, taking listeners on a journey from industrial smog and darkness to sunlight. If anything, he’s underused. His poetry works really well with the music, and I could have listened for hours. The delivery of his final line, ‘Where beameth forever a beautiful day’, with the end of ‘Shaker Loops’, is just great.

IN CONVERSATION WITH: Ladies Who Improv

Published on by ayoungishperspective1Leave a comment

LADIES WHO IMPROV is a female Manchester based troupe who focus on the funny. We sat down with the group to discuss their upcoming performance.

How did you go from meeting in an improv class to becoming a fully-fledged troupe?

We did a showcase at the end of the improv course and after we left the stage we realised just how much we enjoyed improvising with one another. We chatted afterwards and really got to know each other. With two of our players being Lithuanian and American we discussed our comedic inspirations and humours and learnt a lot about one another; all the while connecting as a group. Seeing this opportunity, I suggested we apply for the Women in Comedy Festival that was coming up at the time and the others were really keen although perhaps unsure if we would get in. We somehow did end up getting in, despite being a brand new troupe and LADIES WHO IMPROV haven’t looked back since! 

Do you remember your very first show together—and how it felt compared to now? 

Our first show was a bit of a blur. There was some nerves floating around. We not only sold out, but they also had to add more seats to the venue due to demand and so we felt the pressure to be great. Luckily, it was a great show and the audience had a lot of fun, but I think we perhaps were still getting to know each others styles and comfort levels within scenes and characters. Our shows now are a lot slicker and tighter in terms of cuts and character traits. Of course there are still some nerves but we don’t feel as much pressure. We just want to have fun and as we now know each other so well as performers, we really do enjoy performing together.  

What’s the funniest audience suggestion you’ve ever run with?

That is a hard one, as we have had so many, including words such as ‘Help’ etc. I guess one stand out one for me, would be from our first ever show. An audience member decided mid game to shout a suggestion. Ever the professional, I jumped at the chance to hear this. The suggestion was to continue the game but to have an audience member join us on stage (as an extra LADIES WHO IMPROV member). I assumed this would be the enthusiastic suggester, but in fact they did not want to do it and decided it should be someone else instead. So we then had to find someone else to volunteer and chaos ensued. It was a lot of fun and luckily both audience members were great sports! 

What has it meant to you to carve out space as women in a scene that can be very male-dominated?

I think it is really important to all of us in the troupe to continue to do this and to inspire and encourage other females to join in with improv and comedy as a whole. It’s surprising that in this day and age this is still a thing but we think it is very important to acknowledge this and build a safe space for women to play, interact and be silly. It is a very male-dominating industry, but that doesn’t mean it can’t ever change. I think there needs to be more celebration and focus on women within comedy. This is why we are so excited to be performing at the Women in Comedy Festival on 8th October 2025. 

What advice would you give to other women looking to step into improv or comedy for the first time? 

Just go for it! I have done a variety of comedy courses and improv classes in different cities across the UK, and it can be really hard when you are a newbie in an already established group or scene, but showing up is truly half the work. After that first interaction, you will have at least met one person you click with. Then after the next time, you will find some others who maybe have the same humour and before you know it, you will have people you trust and enjoy performing with regularly. I would also say if you are Manchester based then introduce yourself to companies such as Thirsty Productions, The Totally Improvised Company or Improv North. They’re all friendly and eager to have new people join!

How do you want audiences to feel when they walk away from one of your shows?

Apart from exhaustion from laughter, we want our audience to feel entertained and happy! Our shows are silly, fun and at times incredibly absurd. They are a source of fun and enjoyment, both for the audience and for us as a troupe. It would be great if some of the audience wanted to know how to start doing improv themselves. Perhaps they are looking for a new hobby or always wanted to try it. We love chatting to our audience after the show at the bar, so if anyone needs any advice on how to get into the improv community in Manchester, we would be happy to help.

Catch Ladies Who Improve on 8th October at 8.30pm at the Fitzgerald in Manchester (as part of the Women in Comedy Festival). Tickets are available here.