Adam Buchanan as Mr Bingley*

Words by Sian Hodkin

Earlier this month, ‘Pride and Prejudice‘ took to the Crucible Theatre, where audiences were ready to see how the classic love story would take to the stage. Jane Austen’s novel has stood the test of time for the reader’s love of Elizabeth Bennet, who wishes to marry for love not wealth and her complicated relationship with Mr Darcy, mysterious and brooding, but with good intentions.

From the start it was clear that Director Tamara Harvey was aiming for an alternative take on the novel by using Simon Reade’s dramatisation. Starting with a musical number and moving into the Bennet’s family home. Elizabeth Bennet, played by Isabella Laughland took on the role with style and class, at times it felt a little timid but as time went on she blossomed into the independent, witty Elizabeth the audience loved.

James Northcote fit into the role of Mr Darcy flawlessly. He mastered the dark yet lovable character and it made for an interesting watch. Highlight of the night was Michele Austin as Mrs Bennet, who was absolutely hilarious. It was clear that Harvey wanted to inject some humour into the novel but at times it could get a little too overbearing and detracted from Austen’s passion and romance in the story-line. However, the humour did keep it interesting and gave it an alternative spin, such as Mary Bennet (Grace Chilton) whose social awkwardness gave a break in intense scenes and Adam Buchanan as Mr Bingley gave the performance an energetic lift.

Overall, the play was comedic and exciting and I think the characters put on a fantastic performance, there was a lot of pressure with a story as timeless as ‘Pride and Prejudice’, but I think the cast gave it the boost it required to go on stage. Die-hard Austen fans may not appreciate jeans-wearing Darcy, but I think Harvey’s modern embrace of the novel was brave and worked well in her favour.

The cast on stage at The Crucible*

*All photos from Sheffield Theatre’s Facebook Page

Mental Health can be a daunting subject, with the reality that one in four people in the UK are affected by a mental illness highlighting how much it impacts society. As the likelihood that someone will experience or know someone who has experienced mental illness is high, in a modern society surely acceptance and empathy are common place?

Guess again, the fact that in 2014 it was found that “contact with mental health services is perceived as the second most stigmatising experience for people experiencing mental health problems and for their families” only brings to light the crisis that is present with regards to mental health.

In the ‘Time to Change‘ report conducted in 2013 on National Attitudes. it was found that ‘nearly half (49%) of respondents said they would feel uncomfortable talking to an employer about their own mental health’. In light of this it could be said that those grappling with their own mental health face reservation with regards to disclosure. After all the stigma that mental health is shrouded in with regards to media portrayal hasn’t truly changed, despite condemnation towards those who voice discriminatory views with regards to mental health such as that of Katie Hopkins, the sheer fact that these views remain present in people’s opinions reflects a lack of change.

Though in 2013, Sue Baker the Director of ‘Time to Change’ stressed the changes that have taken place with the  statistic that ‘An estimated two million people in England have improved their attitudes towards those of us with mental health problems over the last two years, adding evidence to the societal change we’ve started to witness.’ The problem still remains that people are tolerant of intolerant views in a time where surely they should be outwardly challenged.

It comes as no real surprise that in the run up to the election mental health has been brought up as a topic for discussion. Considering that as an area it has been pushed to the forefront of government in recent years with regards to published documentation by bodies such as the Department of Health. As Nick Clegg’s recent move to pledge £3.5bn in funding for mental health over the next parliament in the Liberal Democrat manifesto commitment pledge, shows the shift towards support of mental health services.

Ruby Wax on Mental Health. Source: Facebook

Then again it could just be a desperate attempt to gain support by showing sympathy with regards to an area of health that has for so long been the Cinderella service. In any case, the government has remained ignorant of the fact that mental health services remain under-resourced and pressured. Besides the government doesn’t really seem to consider the ideas people who use the mental health service let alone the practitioners who work in partnership with them. Since in spite of the government’s plans to improve access to services, people with mental illness have to continue to wait to receive the care they desperately need or otherwise face the push to take medication.

Drawing from this, it is apparent that mental health has had a number of improvements in recent years with regards to public opinion and changing government policy. All the same, the isolation that those who have a mental illness experience as a result of this very fact is outdated and insupportable as people shouldn’t be defined by their mental health.

In the ‘Time to Change’ report from 2013 with regards to language furthers this as the word ‘willingness’ to for example live next door to someone with a mental illness was used in the report and it stresses a clear divide.  After all would you be unwilling to live with someone with who was known to have a physical disability? Moreover, the findings in the report that those between the ages of 16-34 held the least positive attitudes towards mental health emphasises the changes that need to take place.

Considering that education is essential in promoting awareness, it’s clear that the way for young adults to develop  positive attitude towards mental health lies in promoting these values throughout their time in education in order to target stigma head on. Mark Winstanley the CEO of Rethink Mental Illness in 2013 said ‘Stigma ruins lives – and for some people, it means not only having to deal with a serious illness, but also having to keep it a secret’ and this secrecy cannot continue. As mental health should not be kept a secret nor should it be a cause of isolation or shame and for change to ever be achieved empathy and understanding need to be opinions held by the majority, not a minority.

For more information and further support, visit

Time to Change
Rethink Mental Illness
Mind

‘The Full Monty,’ a classic film set in Steel City itself, is set to take to Sheffield stages this month. The film is based during a time  Steel Mills were closing, leaving six Steelworkers unemployed who decide to turn their talents into a male striptease act. As well as fantastic entertainment, the film tackles various topics such as homosexuality, obesity, suicide and parental rights.

Now the play is back with direction from the Oscar winning writer director of the film himself, Simon Beaufoy who’s bringing this hilarious adaptation back to life. One thing the film is renowned for is its brilliant soundtrack, featuring songs by Donna Summer, Hot Chocolate and Tom Jones. This one of a kind soundtrack is sure to get the audience up on their feet!

With the production by David Pugh and Dafydd Rogers, (multi award-winning producers of ART, Brief Encounter and Calendar Girls), this is sure to be a night to remember.

This comedic yet heartfelt play features lovable characters portrayed by an impressive cast, Gary Lucy, Andrew Dunn, Louis Emerick, Rupert Hill, Martin Miller and Bobby Schofield have had standing ovations from the audience every night so far!

‘The Full Monty’ is set to have audiences dropping everything to go see it!

Tickets are still available  here and shows run until the 23rd of May so there are plenty of opportunities to catch it.

In the past few years, contemporary dance has really started to show its face to the public, defining it as a beautiful, interesting and creative style of dancing. Whilst the more familiar hip hop and jazz genres ruled the music video industry for quite some time, it has only been recently that contemporary dance has started to infiltrate, but there is no doubt that it is definitely holding its own.

For those who don’t dance, contemporary dance is made up of a combination of different styles. There is no specific technique to contemporary, but for it to work, it relies on the dancer connecting the body with the mind to create expression through fluid movement. The style stresses versatility and improvisation, allowing the dancer ‘to freely express their innermost feelings’. So surely there should be no boundaries regarding what a dancer can illustrate through the medium of dance? However, following the release of Sia’s music video for ‘Elastic Heart’, thousands of people were left shocked and disgusted by the 5 minute piece.

Shia Labeouf and Maddie Ziegler in Sia’s ‘Elastic Heart’ Video

In the video, 12 year old Maddie Ziegler (star of Dance Moms) and 28 year old actor Shia LaBeouf can be seen dancing alongside one another wearing nude coloured costumes, or a lack of. Whilst Maddie wears a leotard and cropped blonde wig, Shia sports incredibly tight underwear. Both are smeared in dirt and they dance inside the confines of a huge metal cage. Instantly, comments of negativity swept across social media in a tidal wave of hate towards the video and the choreography within it. Why? Probably because it was different, brave, and a release of innermost feelings that many people couldn’t comprehend.

Dance is an art as well as a sport, and art is ‘the expression or application of human creative skill and imagination. Producing works to be appreciated primarily for their beauty or emotional power. Art can be interpreted in many different ways, but the element of thought is vital if you want to deconstruct what is before you to discover its meaning. The amount of people that interpreted ‘Elastic Heart’ as a video possessing connotations of paedophilia was frightening, although Sia has since said she felt it would happen.

The truth behind the choreography, was that the dancers were portraying two warring self-states, perhaps Shia in the form of the thick skin, and Maddie representing the elastic heart. The controversy seemed to spark as soon as it was seen that Shia and Maddie have physical contact in the video. In my opinion, this is where the minority view became fuelled by the distortion of touch meaning lust, and bare skin meaning sex. Would there have been the same controversy if the dancers were both clothed, or both female? Sia herself informed Nastassia Baroni that her sole intention was to move people and elicit some form of excitement. However, can art be misinterpreted, is it actually possible? Of course, you can disagree with the opinion of someone else, but art is left down to interpretation, so surely there is no actual right or wrong answer.

Emma Parkin, a dancer herself, said ‘I think it’s quite naïve of people to criticise the videos when they are a form of art, thought has gone into every second of the choreography. Although unorthodox, the style of dance is well suited to the themes within Sia’s songs’. Another example of contemporary choreography would be that of Years and Years in their new music video for their single ‘King’ in which the band chose to go down the interpretive dance route and create something ‘unusual’. Using a troupe of dancers to visually suffocate Olly, the lead, and play him like a puppet, it becomes clear that the dancers are illustrating the power and control of another person over him. Yet other accounts show interpretations of drug and alcohol addiction, as well as mental illness.

However, given the clothes and relative ages of all involved in the video, Years and Years have avoided the slate by the public, despite actually having used the same choreographer. An important point to make, is the incredible difference that a music video can make to the song it accompanies. A perfect example of this is Skylar Grey’s ‘Dance Without You’. Featured in the dance film Step Up Revolution, the song seems to be a raunchy, sassy kind of number. That is, until, Grey’s own music video is viewed and it becomes apparent that actually she is singing about mental health, namely bipolar disorder. At this point, the creepy instrumentation makes a little more sense and the theme of psychosis emerges alongside simple but dark choreography.

Another example might be Hozier’s ‘Take Me to Church’, a song which is evidently touching upon the theme of religion. The music video features Sergei Polunin, a principal ballet dancer, flawlessly executing a stunning contemporary ballet dance. Now associating Polunin with the song, a new meaning begins to seep through as it appears Hozier has written not only a love song, but a contemplation of sin. In Hozier’s own words, “The song is about asserting yourself and reclaiming your humanity through an act of love”. Polunin’s effortless choreography represents finding oneself and loving yourself in spite of all the things that persistently try to sabotage individuality.

In more recent years, contemporary choreography has most certainly started to assert itself in the music video industry, thus creating and publicising visual masterpieces. The art of dance knows very few limits, and contemporary takes the restrictions of the other genres and mixes them all together to make a free, interpretative style. In the opinion of Rachel Bowers, dancer and dance teacher, contemporary is important “because you can express your individuality and your emotion through movement, losing yourself in dance”. Although the exposure and expression of raw emotion can cause controversy, all in all I don’t doubt that this may actually be what the artists wanted.

Having just put on an exciting production of the musical Spring Awakening (by Duncan Sheik and Steven Slater) at the Hubs on Friday 24th and Saturday 25th April, it’s about time that SHUDrama steps into the Lifestyle & Culture spotlight and gets the standing ovation that it deserves.

Technically one of the university’s many societies, SHUDrama is a theatre company in its own right, boasting the title of Hallam’s biggest non-sporting club or society, and having won many awards over the years including ‘Best Event’ and ‘Outstanding Society of the Year’. Looking at the company’s wealth of past events and planned future productions, it is not hard to see why.

Image by Heather Isobel Photography – Courtesy of SHUDrama – Lead Spring Awakening cast members Rebecca Cleary (In the role of Wendla Bergman) and Toby Steers (playing Melchior Gabor).

With many big name productions under their belt such What I Want to Say But Never will, Seussical, and Cabaret, SHUDrama continues to grow and break new boundaries. Upon speaking to Michael Hudson, a former public relations and media student who served on the committee as Marketing Manager and Secretary, and who is now an associate member after having graduated, it was clear how much pride the members of SHUDrama hold in their activities.

Michael speaks of a large family of friends living and working together, and is keen to say that the society has over 100 members from different courses from nursing to law and maths, and not just performing arts students. Members of SHUDrama may also attend society run workshops on skills and confidence, and take part in charity fundraisers. More information about these can be found on their website . SHUDrama has received media attention from the likes of The Sheffield Star and The PostCode Gazette, and we hope that they will only continue to reach new heights from here, especially after their daring staging of Spring Awakening, and with their upcoming productions.

After having attended the opening night of Spring Awakening, SHULife saw how energetic the cast and crew really were as they leapt their way through songs such as ‘The Bitch of Living’ and put their hearts and souls into ballads such as ‘The Word of My Body’ and ‘Touch Me’. Director Peter Nield, Producer Melissa Barber, and Musical Director Ellen Woods should all be extremely proud of what they have created here, which was a smoothly running show full of rocky themes, which all remain poignantly relevant in today’s society for our youth from their teens and often into their twenties.

Coming up in May, SHUDrama will also present their now annual Thestival, which Michael describes as “a 3 day theatre festival in HUBS that celebrates lesser known work or brand new writing from their members and other students from Sheffield”, and has been his own personal highlight of working with the company. Having gained an exceptional profit margin last year and also having been crowned Best Event at last year’s Hallam Union Society Awards, Thestival is not an event to miss this year.

You may or may not have heard about ‘The Hat Stand’ in the Winter Gardens but it’s definitely worth checking out.  See the beautiful headwear designed by Amanda Moon Headwear, Imogen’s Imagination (designed by Sophie Cooke) and Little Denim (designed by Siobhan Nicholson). These three milliners have come together once again to bring you a wide variety of stunning headwear ranging from elegant wildlife pieces to slightly more extravagant designs. Not only are these three lovely ladies coming together to bring Sheffield the best in headwear for special occasions, they have also teamed up to help raise money for a fantastic cause: Brain Tumour Research.

On Friday, 27^th March you are all invited to wear a hat (either your own or one made by the three designers) and have your photo taken at ‘The Hat Stand’ in their frame. This will then be part of the online campaign #hattastic. There will also be Brain Tumor Research badges for you to buy via donation, so you can wear these with pride as you help raise awareness for a brilliant charity!

Siobhan Nicholson of Little Denim said “We have followed this event in previous years & when we realised it would coincide with our pop-up shop this year, we knew we wanted to join in. How could we NOT get involved with a campaign that asks us all to ‘Wear a Hat’?”

This charity also holds a special place for one of the designers, Sophie Cooke who sadly lost a best friend from school to a brain tumor in 2007 and since then she has been a keen supporter of Brain Tumour Research and the work they do.

 “For me, as a milliner and as someone who has lost such a close friend to this form of cancer, it goes without saying that I feel this is a charity I want to support.”

So come on over to the Winter Gardens tomorrow or if you’re not in university  then they have extended it until Saturday as well. So get your hat on or borrow one designed by any of the millers and come and join in for ‘Wear A Hat Day’, it’s sure to be a hattastic day to remember!

All photography by Roseanne May Cross

Walking the streets of Sheffield as a ‘foreigner’ from the Midlands is fascinating. As you stroll past mazes of brick buildings with large panel windows, you wonder what these areas would have been like at the height of Sheffield’s industrial age. Busy, noisy, full of life and dust, people turning out knives, forks, spoons, and a host of silverware destined for some of the great houses, hotels and clubs around the world. Fine work that marked Sheffield out as The Steel City.

Yet for many students today they are just part of the background scenery as we walk to Uni, work and the clubs. If you go to The Night Kitchen in Shalesmoor for an all-nighter, do you ever wonder what that building used to be? Ever look around and wonder who used to live or work here?

The Night Kitchen is home to CADS (the Creative Arts Development Space). And it’s not the only old building which is being used for a greater use for the people of Sheffield.

Portland Works on Randall Street near Bramall Lane is one of these buildings. Built in 1877 it was where stainless steel cutlery was invented by Robert F. Mosley Ltd. Shipped all over the world, the metalwork’s made here and across the city, marked Sheffield globally as ‘The steel city’.

Today, Portland Works offers workspace for over 20 businesses, bands and artists and is a great location for a start-up businesses. Contemporary jewellery maker MAH jewellery has a block at the works. Made by Maral Azhdari, a jewellery and metal works graduate from Sheffield Hallam, her products are truly unique and she combines traditional craftsmanship with contemporary techniques to produce one of a kind jewellery.

There’s also a range of musicians such as Kimmy Yeah, Big Eyes Family Players and Dosch as well as a record production company, Singing knives. There’s also a wide range of craftsman who use traditional techniques to create everything from Knives (Stuart Mitchell Knives) to engraving, by Shaw engraving, and joinery projects with Lynthorpe Woodworks. There’s many more to be discovered on the Portland Works website.

Photo: Ian Spooner

What is so remarkable about Portland Works’ story and other buildings similar to it such as Albyn Works, which is located next to Kelham Island and The Stag Works on John Street, is that they still house traditional craftspeople. CADS also being a part of this story. As well as being the home to The Night Kitchen it also rents studio space for all forms of creative activity such as art exhibitions, music events and film screenings at cheap rates.

However, it isn’t an easy ride for buildings like Portland Works. Many of them have suffered severe neglect since the decline of steel manufacturing in the UK. A lot of money and dedication is needed to get them functioning properly and looking their best.

In 2009, due to its decrepit state, Portland Works was threatened with being converted into flats. Loyal tenants and the local community campaigned for four years to conserve the Works for its original use. As a social enterprise, the Works is owned by community shareholders and any profits made from running the Works are reinvested in the building.

Since 2013 the aim is to renovate the building so it can be used to its full potential, and be developed as a centre for traditional crafts. Meaning seeing more independent mental works and other creative manufacturing businesses. It also hopes to offer training in traditional skills to the younger generation.

Photo: Shareholders, 2013

Buildings like Portland Works, Albyn Works, The Stag Works and CADS hold history that is still unfolding today. These are more than just a collection of businesses. These buildings represent the kind of space that is disappearing in our cities. They are vital to sustaining creativity and a good quality of working life in Sheffield. Portland Works wants more attention from the young, to inherit the traditional manufacturing skills used by existing tenants for its future.

Students make up a large part of the population of Sheffield and we need to appreciate and treasure these buildings in order to keep creative arts and independent manufacturing alive in Sheffield.

As a student what would you like to see more of from these buildings, such as Portland Works, that would make you want to get involved? Leave a comment below.

If you are interested in the story of Portland Works, inheriting some traditional skills or renting space for a business of your own after graduating, take a look at their website: http://www.portlandworks.co.uk/ or come along to their open day on 11^th April 2015.  

Portland Works, Randall Street, Sheffield, S2 4EQ. 

Find out more about the makers who work at Portland Works here

If you would like to donate to Portland Works to help restore the building to its former glory you can Gift Aid online via: https://localgiving.com/charity/portlandworks

Other places to discover:

http://albynworks.co.uk/

https://www.facebook.com/StagWorks

http://www.cads-online.co.uk/

https://www.facebook.com/TheNightKitchen/timeline

Are you a budding Journalist? Are you passionate about Animation or Games Design? Then make sure you come along to Pathways: Creative Media Industry Day in the Cantor building on Wednesday 18^th March, from 10am to 4pm.

On the day you have the chance to hear talks from a collection of professionals thriving in their sector, from Brian Baglow of Hollow Earth Industries, Donald Fogarty from Future Rising, Neil Thompson – the Editor of Good Morning Britain and if photography is your craft, Louise Clements, International Artistic Director will be discussing her career and the FORMAT International Photography Festival.

These talks are bound to be fully booked on the day so it would be best to book on Careers Central beforehand.

There’s also a chance to attend specialist workshops, including Getting Your Foot in the Door, Going Freelance, Making the Most of Your Work Experience Opportunity, and Industry Networking Using Social Media. All of these are dedicated to helping students start their career in the Media sector, we all know it’s an extremely competitive field so these workshops will be valuable!

Even if you have never thought about working in the media industry then it’s worth visiting. The term ‘media’ can spread across everything from working in Radio to Communications Assistants for businesses or the public sector. It’s a part of everyone’s day to day life and we don’t realise how many forms it takes.

There will also be opportunities to talk to over 30 businesses in the creative media industry. Prolific businesses such as BBC Radio 5 Live, Creative England, Sumo Digital, HR Media, Screen Yorkshire and the Children’s Media Conference and many more! Giving you plenty of chances to suit up and get your networking head on!

Want to know the best part? This event is completely FREE.

For more information follow the link or pop in to the Careers and Employability Centre beforehand who will be able to help!

*Featured photos: Flickr and Wikipedia

This February, the triple Olivier Award winning musical Top Hat took to the stage of the Lyceum Theatre to delight audiences with fancy footwork, stunning sets and magical music.

A ‘West End whopper’ that would have Fred Astaire and Ginger Rogers smiling with approval, the romantic comedy celebrates the glamour of the 1930’s, Hollywood’s golden age. Making its debut in Sheffield direct from the success it found in London, the national tour will also visit Manchester, Newcastle, Leeds and Dublin, amongst many others, before concluding in Eastbourne on the 25th July. With over 200 breathtaking costumes, the stage adaptation of Irving Berlin’s novel captivates from start to finish.

Including some of his greatest hits, namely ‘Let’s Face the Music and Dance’, ‘Cheek to Cheek’, and ‘Puttin’ on the Ritz’, the musical oozes both style and romance merged with a spectacular orchestra and lavish choreography, a recipe that audiences can’t resist tapping their toes to. Watch the story unfold as the character Jerry Travers (Alan Burkitt), Broadway sensation and hopeless romantic, effortlessly dances his way across Europe in order to win the heart of society girl Dale Tremont (Charlotte Gooch).

Not only does a tremendously talented ensemble take over the stage with the flawless choreography of Bill Deamer, but the backdrop also breathes life into the production thanks to the sheer talent of set designer Hildegard Bechtler.

Top Hat is an enjoyable and totally irresistible dance musical which should definitely not be missed!

Tickets available from Sheffield Theatres!

Featured Image: Facebook

As the house lights went down for David Hare’s ‘The Absence of War’, I was not quite sure of what to expect from a play about a field in which I am admittedly quite clueless, but I was pleasantly surprised with what I can only explain as a tour de force of a political drama, with an ever-developing plot. Not once did David Hare’s writing leave me feeling out of place as an audience member lost amongst political and economic jargon, but instead I felt that with this specific knowledge I was able to get a real feel for the characters of this fictional Labour opposition office.

Written in 1992, after Hare himself witnessed the cut-throat private proceedings of that year’s general election, it is evident that as much insight and research has gone into all areas of this most recent production as its original conception over a decade ago. The plot focusses on a three week election campaign lead by fictional leader of the labour party, Sheffield born George Jones, in a race for power against the current conservative government in a political crisis, and a race against his own charisma and troubles with the media. Surrounded by his unelected team, each one of them with their different views and agendas for his political career and persona, George is often conflicted and trapped within the man he has become, as politics becomes more about image than ideas. This is a play not to be missed by fans of ‘The West Wing’, ‘The Thick of It’, or ‘House of Cards’, as it can certainly compete on their level, and should earn its place amongst the greatest political productions of late.

Acclaimed director, Jeremy Herrin, has left no detail untouched; set changes were smooth and just as dramatic as dialogue, the use of Ceefax on TVs around the stage and live filmed footage of interviews was refreshingly original, the chemistry and talent of the company, in their conversations as well as their off-sides, was impeccable.

Most notable for myself was the performance of Cyril Nri in the role of Oliver Dix, the political advisor to leader of the labour opposition, played by Reece Dinsdale. Nri is currently best known for his role as Lance, in channel 4’s ‘Cucumber’, and as a fan of the show I can now profess a new found respect for him as an extremely talented and versatile artist. Nri’s facial expressions and mannerisms never seemed fake, and the feeling he conveyed was so real that I often found myself lost in admiration for his acting instead of lost in the spectacularly witty and raw plot.

With a nail biting general election coming this may, and this perhaps being the first time many of us can vote, ‘The Absence of War’ is a perfect introduction to the world of politics to get you buzzing about party policy and the tension involved in running a government.

‘The Absence of War’ runs until 21st February at the Crucible Theatre before touring around the country to a further ten locations. Tickets can be purchased from the Sheffield Theatre’s Box Office in person, by phone, or online, and prices range from £12 – £23 with a transaction fee of £1.50.

Featured image credit: Sheffield Theatres