‘The functional chic of Shirley Hughes’s mums makes me feel seen’ Behold! The mum in Dogger, in her natty little bandana, cropped cords and sandals But there is something about the functional chic of a Shirley Hughes mother that makes me feel seen. Hers are mums that look like the mums I knew then, with the spirit of the mums I know now. Behold! Dogger’s mum in her natty little bandana, cropped cords and sandals. Alfie’s mum in stonewashed jeans and pixie boots. Angel Mae’s heavily pregnant mum in her pink dungarees. Bernard’s long-suffering mum in top-to-toe butter yellow. Mums with chaotic hair and rumpled shirts, who retain an air of youth and a sense of personal style Hughes herself was a lover of bold colours and sharp accessories, particularly hats. “The trick to wearing a hat is to wear it a lot,” she once told Jane Garvey in a Radio 4 interview. “And don’t walk around as though you’re balancing something on your head – forget you’re wearing it.” It’s good advice, especially for those in the throes of a postnatal style crisis. Wear something that makes your soul sing, then try to forget all about it. Never in her books are the clothes mentioned or made a focus – like the messy houses and the big feelings and the diverse neighbourhoods, they are simply allowed to be. Life as it is. Mums as they are, evolving alongside their children. Families in flux, held still for a moment on the page. Nobody did, obviously – husbands are as they are – and besides, it was too late. The moment was gone, and so was my daughter, just a streak of snot in red dungarees on the horizon. I thanked the woman over my shoulder as I broke into a run, waving a tissue. But I like to think Shirley would have done me justice. The Observer New Review: The Observer Food Monthly: Policies A notorious criminal who appeared on the Nolan Show to condemn punishment-style attacks is a former member of a dissident republican linked gang involved in kneecappings and extortion William ‘Shirley’ Barker told the BBC presenter last Friday that the rappers Kneecap who are the centre of a political storm over “kill your local MP” comments “need to know what a person that has been kneecapped has been through” Receive today's headlines directly to your inbox every morning and evening Please check your inbox to verify your details Kadish Morris selects her favourite stories in this weekly newsletter “America has been the only place where some text in my work was censored,” says Danielle Brathwaite-Shirley A video game that the 29-year-old British artist had made about walking home alone at night had been on view in the US Accompanying wall text featured the phrase “your state has failed you” But the gallery “said that using the word ‘state’ was too political” The gallery also restricted children from accessing the piece parents had to opt in to allow the kids to see my work,” she says It wasn’t about trans-ness as a whole — that wasn’t the main focus But America was the only place where kids weren’t allowed in.” a community of developers who create low-res horror games Her games may be visual labyrinths full of eerily striking visual references in which the player is first questioned about their identity — whether they are “Black and trans” “trans” or “cis” — determining their path through the virtual space Still from ‘Pirating Blackness’ (2021) by Danielle Brathwaite-Shirley © Courtesy the artist; exh BerlinI want to activate people’s brains and allow them to have conversations with people that they don’t like The work will be on view at Frieze New York in a solo booth presented by London’s Public Gallery “We’re showing BlackTransSea (2021),” says Brathwaite-Shirley “You go on the journey of your ancestors — whether they were taken across the ocean or they travel to take other people across the ocean If your ancestors are people that carry people across the ocean that ship can never make it to its destination Then there’s the most intense game the artist has ever made — No space for redemption (2024) “It’s also about people online who cause trauma to other people and use that trauma as content for themselves.” Each section is inspired by conversations dreams and experiences Brathwaite-Shirley has had “This particular piece is very diaristic.” The artist will not be travelling to the US where President Trump’s executive orders have targeted trans people’s rights “I’m sad I’m not going,” Brathwaite-Shirley says Still from ‘No Space for Redemption’ (2024) by Danielle Brathwaite-Shirley © Courtesy the artist; exh BerlinThe idea behind each artwork typically begins with a conversation “My job is to just listen and collect snippets of what they’re saying Images that are important to them or are of them we use those images to craft the foundation of the environment,” says Brathwaite-Shirley “We” is a group of Black trans coders and developers they can create anything from a figure to a landscape to an object within 15 minutes I wanted the work to be an archive,” the artist explains “I would start by taking photos of Black trans people and putting them in the game [But] I found that when I would make something and delete it I felt like I was also curating what I thought was appropriate to archive about the person I was almost doing some of the similar erasure that I think archives do Brathwaite-Shirley was born in 1995 and raised in Streatham so we’d go to a Seventh-Day Adventist church ‘I’m possessed on the weekend’ church,” the artist laughs Brathwaite-Shirley became increasingly fascinated with video games but imagine my family in there.” A timid and artsy child Brathwaite-Shirley was “a big nerd at heart” In Danielle Brathwaite-Shirley’s Berlin studio © Portrait by Anna Tiessen for the FTBrathwaite-Shirley’s video game ‘Black Trans Archive’ (2020) asks players how they identify before the game starts © Portrait by Anna Tiessen for the FTAfter studying at the Slade School of Fine Art in London “I think the pace of life in London is really fast I live by a lake very far out of the city and it lets me just spend all this time thinking.” Her early works were long animations with complex storylines It was about an AI that comes back to Earth after a long time away and decides to make an atmosphere that is only breathable for Black trans people “I want to activate people’s brains and allow them to have conversations with people that they don’t like With people that they think they have nothing in common with.” ‘We are here because of those that are not’ (2020) by Danielle Brathwaite-Shirley © Courtesy the artistBrathwaite-Shirley doesn’t expect the audience to arrive with fully formed ideas but rather to be open to new thoughts It feels very difficult to go to a physical space where you can muddle through a topic you don’t fully understand It feels like you must be an expert in order to talk about the topic A participatory performance at Tate Modern last year “ended up as this [big] conversation that wouldn’t stop People just talked and talked and talked and talked.” It was proof For an exhibition at the Serpentine in the autumn the artist is creating a work in which the only function is to encourage participants to talk to each other “The game controls all the lights in space It controls the environment as well as conversation topics It’s a game that is not just purely linked to playing [but] gets you to look away from the screen and into someone’s eyes.”  The heart of Brathwaite-Shirley’s art lies in what happens to the player — especially once the game ends rather than what you’re seeing,” the artist says “I wouldn’t want someone to leave saying that the artwork is beautiful I would much rather them say ‘I felt’ or ‘I didn’t like’ or ‘I have to think about X’.” Brathwaite-Shirley in her Berlin studio © Portrait by Anna Tiessen for the FTMay 7-11 Find out about our latest stories first — follow FT Weekend on Instagram and X, and sign up to receive the FT Weekend newsletter every Saturday morning Comments have not been enabled for this article She started two tours – and had to abandon them The singer talks about 30 years of heaven and hell who – although she has lived mainly in the US for almost 30 years – is incredibly Scottish about flattery “I think possibly you just relate deeply to the lyrics of Chinese Fire Horse,” she says wryly That track is about life chewing you up and spitting you out because you are too old Let All That We Imagine has its roots in 2016 when Manson fell off stage on the first day of the tour for Strange Little Birds “I’m not blaming myself for my physical exuberance,” she says but it took five years for it to disintegrate.” Duke Erikson and Steve Marker – sending her musical ideas My band are not communicative at the best of times The only thing I would get would be these instrumentals with some zany titles.” it worked: they had an album to tour by last year and were about to play their biggest UK gig in 15 years when Manson’s other hip “collapsed the day before” and she had to have that one replaced too particularly as I’m at this late stage in my career I’ve got to be honest with you – dark and depressing and soul-crushing “That’s such a Shirley Manson thing to say,” I say Manson onstage with Garbage last year in Wolverhampton Photograph: Katja Ogrin/RedfernsOnly Happy When It Rains wasn’t technically the breakthrough Garbage single – that was Stupid Girl – but both were released in 1995 and became the soundtrack to the year: caustic on the dole in Scotland and trying to get paid to make music and I got a phone call out of the blue: do you want to come and work with one of America’s most favoured sons was famous as the producer of Nirvana’s Nevermind and was an all-purpose big beast of alternative rock a credited producer on Sonic Youth and Smashing Pumpkins albums That eponymous debut album could do no wrong – it sold 4m copies worldwide and went double-platinum in the US Manson says now that: “Butch in particular was credited with all our work he went out of his way to explain that the band worked as a band.” Truthfully Manson had such panache that a whole bunch of us (by “us” I mean listeners to 90s indie rock) didn’t even notice the guys and thought this was a Scottish band and couldn’t figure out why they weren’t in the UK more often “It’s funny you should say that,” she says but Scotland has not really seen us as a Scottish band and England obviously hasn’t seen us as a UK band and they think we’re some kind of transatlantic supergroup Manson with her bandmates Photograph: Joseph CulticeThe 90s were also brutal to women in the music industry “I was so young and I was hungry and distracted I didn’t notice a lot of the micro-misogyny and the micro-sexism at first,” Manson says and I was reading these horrible descriptions of me although primarily the 90s music journalists were male Critique was often lascivious and slavering, but any amount of objectification was supposedly fine because it was always ironic, and that, in itself, was bullshit. But it morphed into a kind of bitterness and resentment, which I never understood. People would tear into Manson – and everyone: Kenickie, Sleeper, even Salad – and I never really got where the anger came from “I think it goes back to the 90s offering a different kind of woman I think they thought it was a marvellous distraction they” – I’m going out on a limb to say “they” are the patriarchy – “were like: ‘Wait a minute these women are getting a lot of attention and taking up a lot of column space and we’re going to crush it.’ Subconsciously But there was a sense of: ‘You can go back to the hole that you crawled out of important statements and important sounds coming from the men.’” It was a lot – endless horrible personal remarks from one direction and relentless “The problem with a lot of success is it comes with a lot of visual accompaniment Your self is reflected back at you on every magazine Some versions are gorgeous and fantastical and you look nothing like yourself – maybe there’s a small semblance of you in the eyes And then there are incredibly unflattering ones … I wasn’t the right personality to deal with that I didn’t get an iota of pleasure out of it so they have to augment it with lights and makeup and hair and stylists and nail manicurists It really did a number on my self-esteem.” Manson was open about her struggles with depression and body dysmorphic disorder but that openness was distorted in the media as fragility I have definitely suffered from bouts of depression I see that as a healthy part of existing in the world I think all this nonsense about us permanently having to feel ecstatic is silly.” On tour with the band in 1998 Photograph: Gie Knaeps/Getty ImagesShe moved to the US in 1996 “Perhaps some other bands might have done well living in different continents,” she says “but I don’t think it was on the cards for us.” By 2001 they were still flying high – Version 2.0 in 1998 had sold well Beautiful Garbage did fine – but “we have to touch on the devastation wreaked by September 11 in the States,” she says and one could argue it’s never really fully recovered since Programming became really conservative: radio would only really play a certain sound – a very reassuring fun vibe – and these very fierce women from the 90s just disappeared That was when we started to see the rise of real mega-capitalist pop We’ve been inundated with those sounds now for 20-odd years.” She loves Taylor Swift: “People make fun of her lyrics because they talk about an experience that they’re uninterested in Taylor Swift is a genius.” She loves Chappell Roan: “There’s nothing better than singing along to Pink Pony Club when you’ve just come off reading the news that mainstream music has been homogenised But only later – it’s hard to feel sad while you are talking to Manson cutting short the tour for their fourth album Watching my mother die was the worst thing I’ve ever seen in my life I had to make a choice to pull myself out and up I just started saying to myself: ‘You are an artist So let’s just go and start writing music and being musical filling it with love and interest and passion and having an idea of where it’s going.’ I never believed I was an artist until my mother died Read moreShe describes a pre-gig ritual Garbage have had since they reformed “We started doing it at the beginning of each show It’s a piss-take of what all these other bands do We look as though we’re about to high-five each other I have a tiny pinch of: ‘Are we being the very thing we’re taking the piss out of Or am I wanting some real connection here?’” “I don’t know if I’ve got the moral courage there was a lot of to and fro before the interview about whether Manson would turn on her camera for our video call and I let it drop because the aforementioned savage 90s media was bound to make a person wary and I really don’t think you would appreciate that.” I didn’t really need to know what she looked like – I just wanted to see her expressions But you can pretty much always hear that she is smiling Let All That We Imagine Be the Light is out on 30 May (BMG) there are no recent results for popular videos Your browser is out of date and potentially vulnerable to security risks.We recommend switching to one of the following browsers: only to find herself accused when the patient dies during the procedure Pauline Collins aired her character’s frustrations about her husband and dissatisfaction with her life in Shirley Valentine It’s one of those movies you might have heard your parents talking about or perhaps you watched it when you were young but if you’re a woman who has never seen Shirley Valentine in your 20s or beyond you should consider it an essential addition to your watchlist Directed by Lewis Gilbert and based on the play by Willy Russell (who also penned Gilbert’s Educating Rita the film is a true testament to going after what you want highlighting the fact that it’s never too late to pursue the life you’ve always wanted When we meet the middle-aged housewife Shirley she tells us how she sometimes speaks to the wall because she’s so lonely doing all she can to keep herself entertained while staying at home all day When we’re introduced to Shirley’s husband we instantly understand the reasons for her unhappiness – he is selfish embodying the stereotypical husband who cannot look after himself having never learned to cook or clean due to his expectation that a wife would do it for him when Shirley agrees to go on holiday with her friend to Greece something she had never allowed herself to do before – going away spontaneously doesn’t exactly fit into her role as a housewife – Joe’s life falls apart and he finally gets a taste of Shirley’s unhappiness her interactions with a former school friend and her neighbour both of whom admire the protagonist for her bravery and courage inspire her to keep heading towards her goals just because we can’t always see our own positive traits and progress Shirley finds a sense of strength in her interactions with these women she realises that there is another world out there that can be hers just as much as it can be anyone else’s It’s on her holiday that she experiences a transformation in herself no longer realising that you must limit yourself in life “I have allowed myself to lead this little life Why do we get all this life if we don’t ever use it Why do we get all these feelings and dreams and hopes if we don’t ever use them?” she initially says when she is left to fend for herself after her friend disappears with a handsome stranger Shirley soon discovers the life within herself that she had previously neglected to use a Greek taverna owner who soon woos her and has sex with Shirley on a boat this isn’t simply a case of a man being the catalyst for Shirley finding freedom it’s one of many instances during her holiday where she starts to feel alive From soaking up the sun on the beach to fulfilling her wildest desire to have passionate sex away from the confines of a bed Shirley realises that there is more to life than routine and simply doing what is expected of you This is further emphasised by the fact that when Shirley decides not to board the plane home and instead goes back to Greece This is a pivotal moment in Shirley’s development; she realises that she didn’t come back for Kostas Gilbert’s film gives us an incredibly powerful performance from Collins reminds us that sometimes all we can do is laugh and not take things too seriously – because if you can find the courage within yourself to move out of your comfort zone for the greater good of your life Shirley Ayorkor Botchwey is the 7th Secretary-General of the Commonwealth and the first woman from Africa to hold this office Secretary-General on X   Secretary-General on Facebook   Speeches and statements she served as Ghana’s Minister for Foreign Affairs and Regional Integration from January 2017 to January 2024 and was a member of Ghana’s National Security Council Her tenure was marked by significant reforms in foreign policy delivery which strengthened Ghana’s diplomatic footprint and introduced transformative improvements in consular services through digitisation and innovation she chaired the Council of Ministers of the Economic Community of West African States (ECOWAS) from 2020 to 2022 leading strategic responses to security crises democratic transitions and regional institutional reform She played a key role in the passage of landmark UN Security Council Resolution 2667 in 2022 enabling the financing of African Union-led peace operations — a historic achievement during Ghana’s tenure as a non-permanent member of the Council She also helped secure UN Resolution 2634 addressing piracy and maritime security in the Gulf of Guinea and was instrumental in shaping Ghana’s high-profile “Year of Return” and “Beyond the Return” initiatives strengthening cultural and economic ties with the global African diaspora she served as Deputy Minister for Foreign Affairs during President John Agyekum Kufuor’s administration (2001–2009) she was a Member of Parliament for the Weija and later Anyaa-Sowutuom constituencies representing the largest population base in Ghana’s legislature across four consecutive terms Shirley Botchwey led a successful marketing and communications firm and served as a consultant in the tourism sector Secretary-General Botchwey is a qualified Barrister and Solicitor of the Supreme Court of Ghana and holds extensive academic and professional credentials She has also undertaken leadership training at Harvard University’s Kennedy School and the Institute of Paralegal Training and Leadership Studies She is a Fellow of the African Leadership Initiative and the Aspen Global Leadership Network and a member of the Ghana National Association of Alternative Dispute Resolution Practitioners The Commonwealth Secretary-General is responsible for: The Secretary-General is nominated by Commonwealth leaders and can serve a maximum of two terms of four years each about why she can't keep trying for a relationship with Amber As a new compilation with unheard material is released we assess the Cardiff legend’s diamonds and deep cuts Moonraker (End Title) (1979)Shirley Bassey apparently hated this Bond theme protesting that the lyrics were nonsensical It’s certainly not up to previous standards but the disco version that accompanies the film’s end credits is worth hearing – better than her attempt to rejig This Is My Life for the 70s dancefloor Classic early Shirley in that it’s both sexy and powerful a combination that the writer Bob Stanley once brilliantly suggested evoked “the hardest girl in the school taking a shine to you and repeatedly slamming you against her locker door” Another should-have-been-a-hit culled from Bassey’s stock of latterday covers: Slave to the Rhythm’s commanding tone suits her voice perfectly its production far less indebted to Trevor Horn’s original its breakbeat pilfered from Primal Scream’s Loaded Bassey with (from left) Danny Williams Photograph: PAAnyone who felt Bassey was underserved working with British bandleaders and orchestras had their prayers answered by her sixth album recorded with New Jersey arranger Nelson Riddle and his orchestra while they were touring the UK but this is the killer cut: luscious and pillow-soft It was bested in the UK singles chart by Andy Williams’ original soundtrack recording but Bassey’s take on the theme from the film Love Story may be the definitive version She is certainly more intense in her approach to the song than Williams was cutting against the super-slick easy listening arrangement It was inevitable that the 90s easy listening revival would burnish Bassey’s career: it resulted in her biggest hit single in decades a collaboration with big beat duo Propellerheads Big beat wasn’t a subgenre noted for subtlety but History Repeating is impressively respectful in its updating of Bassey’s sound It’s a strong song that fits her perfectly Bassey just before her 19th birthday Photograph: Evening Standard/Getty ImagesBassey’s debut single was a succès de scandale Its hymning of “straight and simple sex” was remarkably frank for the mid-50s and amplified by the 19-year-old singer’s innocent delivery that she simply hadn’t understood the lyrics Of all Bassey’s recent(ish) attempts to tap into modern pop culture, her 2009 album The Performance is the best. Written by James Dean Bradfield and Nicky Wire of Manic Street Preachers The Girl from Tiger Bay is a particularly majestic song worth it just to hear her confidently essay a lyric about situationism as if that were the most normal thing in the world Photograph: ITV/Rex FeaturesThe album Something was a concerted effort to make Bassey more contemporary Rediscovered during the 90s easy listening revival her version of Blood Sweat and Tears’ 1969 hit is great: funky and commanding enough to make you wish she’d tried this approach more often One of Bassey’s weirder hits: a version of the Carpenters’ song clearly influenced by the string-bedecked reggae singles that populated the British charts in the early 70s Whether Shirl was a quiet admirer of the skinheads’ soundtrack of choice remains unknown Performing for the BBC Photograph: David Redfern/RedfernsBassey apparently wasn’t keen on Nobody Does It Like Me a kind of MOR/soft soul crossover that sets her voice against Motown stalwart James Jamerson’s incredible bass playing and a sumptuous arrangement by Barry White collaborator Gene Page A collaboration with Swiss electronic duo Yello co-written by the Associates’ Billy MacKenzie The Rhythm Divine appeared at a commercial low point in Bassey’s recording career It’s a wonderful song that sets her voice amid moody electronics to glamorous effect – a reminder of what she could do Her cover of the George Harrison-penned Something was a hit but the best example of Bassey tackling contemporary rock was her CinemaScope rendition of the Doors’ breakthrough single drenched in strings that aid her transformation of the song from slow burn into high drama On stage in 1975 Photograph: United Archives/Getty ImagesBassey had a line in repurposing Italian-language ballads for an anglophone audience You can see why it pricked her interest: the melody is beautiful Goodness knows how she came across Jezahel – it was a single by an Italian prog band called Delirium – but her version is incredible her voice soaring over a subtly funky backing It was sampled on Public Enemy’s Harder Than You Think Restrained isn’t the first adjective that springs to mind when considering Bassey’s voice – one critic approvingly compared her to a flamethrower – but her version of Till a ballad originally recorded by Percy Faith There’s an affecting tenderness to her delivery This Is My Life is the archetypical Bassey belter: lavishly orchestrated musical melodrama with a lyric so filled with defiance – “and I don’t give a damn for lost emotions!” – it requires a voice that communicates believable passion without slipping into histrionics It’s hard to imagine anyone singing it better making its come-ons more straightforward and forthright There’s ice in her voice – this is still a transactional proposition – but when she offers you a “good time” Co-lyricist Anthony Newley was supposed to sing Goldfinger whose performance was so full-throttle she was forced to remove her bra midway through the recording session conviction and a faint but detectable sense of camp: no wonder it became her signature song the shine was starting to tarnish on the Bond franchise and employing Bassey for the theme song was a deliberate attempt to hark back to its heyday – but Diamonds Are Forever caught John Barry and Don Black at the peak of their powers with an arrangement that is atmospheric to the point of being almost eerie and Black’s lyrics are a fabulously cynical melding of eroticism and materialism Always good with songs that suggested wealth had more value than love Bassey was the perfect fit: she sounds utterly authoritative as if bitter experience has led her to mean every word Dame Shirley Bassey: The Singer (Classic and Undiscovered Gems from the EMI/UA Years 1962-79) She is the first African woman – the second African overall – to lead the association of 56 countries which make up a third of the world’s population and more than a quarter of the United Nations membership Speaking at the Commonwealth Secretariat’s headquarters in London on 1 April 2025 the Secretary-General acknowledged the scale of the challenges confronting the world “The world we woke up to today is unlike any we have seen in our lifetimes and a frayed multilateralism will affect our pockets directly reduce social protection and weaken our resilience to shocks “The value of our Commonwealth stands in bold relief the Commonwealth has been a unique and powerful force for good Now we must seize the moment to realise the transformation our societies seek.” The Secretary-General highlighted the power of Commonwealth unity in uncertain times “The challenges we face are real and serious,” she said “Sustained by the values that bind us - democracy and equal opportunity - we will build a future in which dignity The Secretary-General outlined three strategic priorities for her leadership calling them the foundation for a “Commonwealth built on all talents” she pledged to equip women and young people with the skills tools and opportunities they need to thrive in a rapidly changing world the Secretary-General vowed to revitalise trade investment and connectivity across the Commonwealth describing it as a pathway to industrial development calling climate change “the greatest challenge of our time,” she pledged to mobilise stronger action and advocate for reforms of the international financial system to help small and other vulnerable Commonwealth states access the support they need The Secretary-General also committed to accelerating the Commonwealth’s modernisation by delivering faster and smarter partnerships to meet the needs of all its people “It is a great honour to be the first African woman to serve as Secretary-General No matter where in the Commonwealth you come from The Secretary-General concluded her address with a message of shared resolve and with an unshakable commitment to a Commonwealth that truly thrives together.” Shirley Botchwey was appointed by leaders at the Commonwealth Heads of Government Meeting in Samoa on 25 October 2024.  Follow updates from Secretary-General Hon Shirley Botchwey on X and Facebook Read Secretary-General Shirley Botchwey’s profile Secretary-General on X   Secretary-General on Facebook   Secretary-General photos Snober Abbasi, Senior Communications Officer, Communications Division About  Advertise  Contact Willy Russell’s classic one woman show has endured the passage of time as it still resonates with audiences and takes them through a gamut of emotions from the perspective of the female protagonist who is attempting to make sense of how she got to be a woman who exists purely for others Mina Anwar has reset the play and this production is set in Lancashire with the permission and blessings of the writer I think this is because I have seen countless stage versions set in Liverpool and it was all I knew so it always felt linked to this place as Willy Russell intended Director Lotte Wakeham and Mina Anwar respect the material as much audiences and therefore there are no drastic changes here So nothing jars and let’s face it – we all know or knew a Shirley Valentine And the Lancashire settings works well because as a Northern character once she steps out of the kitchen and there’s something she has got to say to you Shirley is looking back in order to try and look forward she is so chatty and interesting that you cannot believe she is ‘stuck’ in the same spot she exists to prepare and cook his tea and he expects the same thing on certain days of the week And today he is expecting mince but Shirley has given this to a vegetarian bloodhound Shirley has planned and booked a holiday with a friend to a Greek island Shirley’s wisecracks rise to the surface like ash in a volcano which has been bubbling for years and what about her daughter Malandra who has left home Shirley Valentine is set in the late 1980s and as Mina Anwar says: “Women like Shirley are everywhere within the world Although this is a woman who experiences life in her house without any internet or access to many influences we have now these women still exist.” And she is right they do and likewise men like Joe exist too Willy Russell’s writing is filled with a love of language and celebrates how words can bounce out of an actor’s mouth and land at your feet When you hear Shirley repeat the items she needs to leave the house with for this dream holiday you realise that the prize at the end is worth it as she is fretting but has hours before she leaves it’s as if this lost soul is escaping from prison with nothing but Tim Robbins’ Shawshank spoon and a poster of Rita Hayworth Mina Anwar never misses a beat as this complex and beautifully drawn character She locks eyes with members of the audience and she knows how to deliver these killer lines and make them land But she also gets right underneath the many layers of Shirley Valentine and the effect is poignant and heartbreakingly familiar James Blakeman’s lighting almost acts like another character from the supposed safety of the kitchen which is essentially a prison to the sun soaked Greek island which brings out Shirley’s smile and a butterfly emerges Su Newell’s set and costumes highlight the contrast of the frustrated and under appreciated Shirley of the first half with the blossoming new woman of the second act She begins the play in the jumper and feels boxed in and watching her glide across the stage in sunnies and floppy sun hat is empowering The Lancashire setting does not dilute the meaning of the play in any way and Mina Anwar has reset this play with love and admiration for Willy Russell’s text Lotte Wakeham’s production of Shirley Valentine is funny And it still packs a punch but leaves you feeling optimistic and we need that right now Shirley Valentine is at the Octagon Theatre until 8th March It tours to The Dukes Lancaster from 12th – 22nd March and the Blackpool Grand Theatre from 1st – 5th April You can get tickets here Did we miss something? 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And if you want to come at me for this, because I’ve never told anybody. Not once. I’ve never told anybody…You guys, I’ve kept my mouth shut for 17 years. I went through everything that I went through everything that I could to keep this at bay. Even though other people knew about this, okay?” Teen Mom: The Next Chapter is currently airing on MTV on Thursdays at 8 p.m. ET. Link to XLink to InstagramOpt-out of personalized ads A DIVISION OF MYSTIFY ENTERTAINMENT NETWORK INC Registration on or use of this site constitutes acceptance of our Terms of Service People may receive compensation for some links to products and services Offers may be subject to change without notice Bob Dylan’s songs fuelled a tale of 1930s America revisits one of its most electrifying numbers in this extract from his oral history of the show Todd Almond (actor in Broadway transfer): The song Like a Rolling Stone arrives at the end of Act One of Girl from the North Country and although different from the majority of the show’s songs in that it was a recognisable Dylan hit it stands as a great example of how the music functions in the show overall Shirley Henderson (sang the song in the original London production): I knew some of the songs but I had never listened to them the way I finally listened to them The melodies are so beautiful but you don’t always hear it because of the style of the singing To have been able to work with this material and discover the beauty of the songs and the stories they tell I have come to it a bit late in life and I came with no preconceptions but I have been moved by the brilliance of Bob Dylan TA: The dramaturgy of the Like a Rolling Stone moment is bizarre [Henderson’s character] Elizabeth Laine is a hard woman scraping by during the Great Depression and suffering early onset dementia The 60s lingo in the song stands firmly outside the period of the play to say nothing of the rock beat in the drums right in the middle of the Laines’ kitchen The plot is not pushed forward by what is lyrically revealed in the song It is a sudden crash into Elizabeth’s mind via one of Dylan’s – one of the world’s – best known songs Simon Hale (musical arranger/orchestrator): Intimidating Pre workshop and then rehearsals I was thinking Watching [Dylan] talking about himself as an artist Thinking about him as a young man coming to New York getting up on those stages with the guitar and telling stories Not actually thinking about what would Bob do – because that’s not something for me to contemplate – but how does he feel about his art it was just getting over that hump of this huge responsibility and privilege and everything else of working on this catalogue what do I think is the right thing for this point in this play and this piece of art Bob Dylan in 1965 the year Like a Rolling Stone was released Photograph: Mirrorpix/Getty ImagesMatthew Warchus (artistic director of the Old Vic where the show premiered): If you go right back to the origins of musicals book-musicals where you’re talking about text and then singing you’re in a very similar situation to a Greek play and also to a religious ceremony like a church service or even pre-church religion where there would be readings and text and little bits of story and then singing and sometimes some dancing and then more one part of it evolved into book-musicals and this felt like it was part of an ancient tradition So I did think [the show] was much more of a ritualistic thing kind of a bit Greek and kind of reminded me of a church service as well Conor McPherson (playwright and director): Matthew Warchus [had] said to me “It’s a church service with hymns.” And I thought SH: Originally the musical was meant to be just a play where you walked to the front of the stage to sing a song It was meant to have the feeling of a radio play MW: The weird thing about hearing Shirley sing [Like a Rolling Stone] is that without functioning in any literal way it was a sort of abstract poetic overlay between the song and the narrative rather than trying to literally tailor a narrative around a song or forcing the song to fit the narrative But it became apparent that the songs would really amplify the emotion of this story that Conor was writing MW: It was very revealing how a song, in a drama, a song in a story, is a vehicle for feelings, emotions, ideas, and pre-existing songs sometimes aren’t good vehicles for those things. They weren’t built to be a vehicle within a narrative. And so when you have a jukebox musical, sometimes it’s kind of hard for the songs to further the narrative or to character development. They weren’t designed to do it. SH: I don’t think that was all fully worked out by the time we started performing it … “Shall we do it fast? Shall we do it slow?” We did it slow. We tried it really slow. And some people loved it and some were like: “Oh let’s see it fast.” So we tried it fast and then it went crazy fast where I was reaching out for them – the girls – doing a rock’n’roll thing and lifting my skirt, just making stuff up. Anything to try to feel like Elizabeth. Read moreMW: The first time I heard Shirley sing Rolling Stone was in the first workshop Lucy Hind (choreographer): Shirley’s Elizabeth was unreal unexplainable; Elizabeth was this creature There was a moment in rehearsals with Shirley where she cut her hand and … she kept going and the blood was everywhere And she’d come to rehearse and she had this black anorak on This is an edited extract taken from Todd Almond’s Slow Train Coming: Bob Dylan’s Girl from the North Country and Broadway’s Rebirth “This Is Me” is a unique show that pays homage to one spectacular performer and her sixty-five year career The rags to riches story of the inimitable Girl From Tiger Bay “This Is Me” features hits spanning eight decades – “I Am What I Am” “Big Spender” and “Goldfinger” to name just a few the show reveals the highs and lows of a life spent in the spotlight from the respectful perspective of lifelong fan with numerous costume changes and all of the feathers and sequins and sparkles “Diamonds Are Forever” indeed and this personal homage to the wonderful Dame Shirley Bassey is a show not to be missed In a preview from Thursday’s episode of Teen Mom: The Next Chapter Leah Shirley– daughter of Amber Portwood and ex Gary Shirley– opens up to Catelynn Lowell about her complicated relationship with Amber revealing that she’s “done” with Amber’s lack of consistency and Amber’s habit of blaming Gary for their estrangement.  Leah confirms to Cate and Maci Bookout that she hasn’t seen Amber in about nine months and that aside from reaching out once after finding out that Leah had been diagnosed with asthma Amber hasn’t attempted to make contact with the 16-year-old While Cate tells Leah that she and Maci are friends with Amber she also acknowledges Amber’s shortcomings as a parent.  “Me and Maci have told her if she wanted to ever have a relationship with you that she needed to start showing consistency,” Cate says Leah goes on to explain that it’s “too much” on her to have Amber coming into her life sporadically only to act like “everything’s perfect.”  “She tells me that she loves me and hugs me and stuff and I can’t do that,” Leah explains and then when you do see me– for purposes of there being a camera in your face– you try to act like you’re the best mom ever.”  while she doesn’t “hate” Amber and understands that she “has her own issues,” she “just can’t handle it myself.” Leah also clarifies that while Amber may claim that Gary is to blame for the status of their relationship “ … I think that she thinks it’s my dad’s fault so I kind of want to clear that up because it’s not fair for her to blame my dad for something that I want,” Leah says Leah notes that her dad has always pushed for her to have a relationship with Amber even encouraging her to invite her mom to celebrate her birthday a few years back When asked if Amber being a no-show to her party hurt her feelings as she’s used to this sort of behavior from Amber.  While discussing the topic of complicated mother-daughter relationships Cate tells Leah that it took her well into adulthood to get to a place where she finally enforced boundaries with her mom and she commends Leah for being able to do that with Amber at such a young age.  making those boundaries to protect your own mental health and your peace As Cate continues discussing her situation with April she confesses to Leah that she doesn’t think the relationship between her and April will “ever be normal.” too,” Leah says of her relationship with Amber.  Cate goes on to point out that Leah is “doing hard work”– even if she doesn’t realize it– and tells the teen she’s proud of her.  A post shared by Destiny (@teenmomshaderoom__) “Woahhh lol 😂 well I guess she’s gonna be big mad when she sees what me and Maci said to Leah later this season,” Cate commented “Truth will always be truth and facts are facts!”  In the comment section of the post to the ‘Teen Mom’ Instagram account several of Amber’s co-stars had something to say about what they just watched “So proud of Leah & thank the Lord she has Gary and Kristina,” wrote Jade Cline (who has been outspoken in her criticism of Amber in the past.) ” They are always there for her and I just love seeing the support they give to her.” “Leahhhh❤️❤️❤️❤️,” wrote Briana DeJesus. New episodes of ‘Teen Mom: The Next Chapter’ air Thursdays on MTV.  Watch Leah and Cate’s full conversation below.  A post shared by Teen Mom (@teenmom) RELATED STORY: Gary Shirley Suggests That Tyler Baltierra & Catelynn Lowell Frequently Talking About Bio Daughter Carly’s Parents May Be the Reason the ‘Teen Mom’ Stars Were Cut Off From Carly  I wonder if Cate and Ty can see that they are doing exactly what Amber is doing They are bad mouthing Carly’s parents every chance they get until they hear if it is Carley’s decision to not see them Gary has taken a hit to protect his daughter Brandon and Teresa are probably doing the same thing I think everyone can agree that the parents have their faults some obviously more than others but we do need to stop pretending other parents don’t as well for me it’s the disgusting comments being made body shaming and picking apart their appearances I can’t get over how UGLY & huge Cate has become She just looks like a fat slob who has no motivation to do anything in life Tyler has just turned into some creep who is in everyone’s business & always has to take over the conversation like bro shut up let someone else talk we don’t want to hear you complain about Carly’s parents over & over It’s funny the shows producer didn’t acknowledge Amber instead she said Gary & Leah for the photo shoot Guess what Amber manifesting & crystal rocks don’t actually work so your going to have to peel yourself off that couch you love so much if you actually want a functioning relationship with your daughter she is better than having to talk about her life with Catelyn I hope Gary gives the cash from this episode directly to Leah to make up for having to sit down and have that conversation They just want to get airtime and publicity and will use any means necessary to get it When Bentley and Leah are forced to be at the center of this bs Chelsea/Cole and Brandon/Theresa were smart to try to distance their kids from this clown show as much as possible The push to have Aubree’s personal life be at the center was why Chelsea left Gary and Kristina need to get off of this show for Leah’s sake That would be the smart thing for Gary to do but Gary doesn’t have any work ethic or skills to support his family I wouldn’t be surprised if it takes the entire houses paychecks for MTV in order for him to stay in that house I believe it was 8 when Amber was with Matt Honestly Leah is more mature than I was in my 20’s Gary is a good dad and we all know who the problem is When everyone else’s story is so boring this season that they need to exploit Leah by having her talk to all of the adults about Amber……it’s truly time to cancel the show It’s sad to see the awkwardness is making her talk to Catelynn Cheyenne ( in another episode) about Amber It’s hard enough at her age to express yourself to family and even friends let alone people you see every once in awhile with cameras in your face this is exactly why i’m ok if we don’t see the shirley family on the show anymore leah’s still in high school yet she has to continuously talk about her strained relationship with her immature mom and that’s the only thing we know about her Is anyone else grossed out by these adults having overline conversations on camera with these children but at the end of the day they are still children I don’t get why production is pushing the other cast members to ask lead questions push conversations that probably shouldn’t be happening on camera or should at least have their parent involved in Because this a job they get paid handsomely for this is the money that pays for these kids schooling dont get it twisted these kids have had lives they would never have had only for MTV! It’s not their fault that their parents were deadbeat teenage parents Money doesn’t make it any less gross It’s incredibly shallow to think kids should have to endure being exploited because in return they will get paid handsomely I didn’t know being financially compensated excuses poor behavior that It is acceptable to do unhealthy things as along as the money is good The kids and parents would still get paid without these stories lines Instead of these awkward scenes just have the parents talk about issues without the kids being the ones to ask The kids also; can’t have semi-normal lives can’t go anywhere without being recognized have to watch everything they do and say anywhere and everywhere they go get treated completely differently than most of their peers…..and let’s not forget the most IMPORTANT part can’t legally consent to any of this but have it foisted upon them by others with no way to opt out How about you don’t get it twisted and realize this sort of limelight lifestyle is far more damaging than it will ever be beneficial and there are literally studies to prove it Laws have been put in place (sadly not everywhere) to protect children who appear on tv BECAUSE of all the issues they face (and not just from a financial point of view) The benefits nearly never outweigh the negatives Often times kids who grow up in the limelight end up being not so well adjusted adults lacking a whole lot of life experience and with social awareness skills being nearly non-existent but then thy get thrown into the deep end of life without so much as water wings I am willing to bet at least some of these kids but kids who have been on tv-or in the limelight at all- regularly in general would much rather be able to go to school events parties in general and have a more normal-ish (subjective Even kids who are easily locally recognized struggle with these issues This reminded me of CA house hunting scenes of Farrah and Sophia ala Farrah throws a book at Sophia tells her to read it after she fired the on set teacher and Sophia says There is no point of the teacher.” The irony was not lost that 9 year old Sophia was still barely able to speak a sentence in her weird baby voice Sophia had to have an “on set teacher” because she was on film and CA law requires 3 hours/day of schooling I can understand why that might upset Farrah because the tutor really wasn’t doing anything with Sophia because Sophia was in school at the time and it was just more a compliance issue/CYA CA has really strict laws about what kids can and can’t do But TN where Maci lives has no laws about children and film industry MI (C&T) has limited laws like you have to fill out a form which is why we are seeing the kids more now and in a lot of these state 16 is somehow at 16 they throw out child labor laws for the entertainment industry it’s like an 18 year old dating a 40 year old Financially benefiting doesn’t absolve all the negatives of it It makes sense states like CA have labor laws for kids That goes back to some kid actors in the 1930s where the parents took all the money the kids made I thought it makes sense that TN would not have such laws but then there is Nashville which is a big entertainment hub We’re finally to the point that the “babies” can tell us how they feel about their parents I’m proud of Leah for being such a mature and well-spoken young lady Gary and Kristina have done a fantastic job raising her The big difference is Leah is being authentic about her feelings what right does she have to do that when we all see Cate all over the place giving nasty interviews about Carly’s parents and trying to say how she and her idiot husband were practically “tricked” by adults to give up Carly Cate exploits anyone and everyone to get her “story” told which is pretty much the same thing that Amber does It’s almost funny Catelynn can talk with Leah about establishing boundaries with her mom but yet can’t understand Carly’s parents putting boundaries in place with her and Tyler… The time has come for Teen Mom: Last Chapter If you want it to end why do you even watch it.If you stop watching it will frizzle out and will be dropped The cow & the drunk want to try and put their bullshit on Leah I love the way you refer to Cate and Maci!!! Anytime I’ve ever called either of them names and website in this browser for the next time I comment Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" Amber Portwood was NOT happy when her TikTok Live was taken over by comments from fans claiming she had “abandoned” her daughter Leah The ‘Teen Mom’ star lashed out at her TikTok Live partner for bringing up the topic of her not living with her kids Amber Portwood and Gary Shirley’s daughter Leah has been a fixture on MTV since birth and while she didn’t initially have a say in appearing on TV the 16-year-old says the experience has “been a blessing.”  News and snark about your favorite guilty pleasure reality TV shows Buy the Ashley’s Book: Inside AGT Buy The Ashley’s Teen Mom Secrets & Scandals Book Privacy Policy  Get your reality TV news and gossip sent right to your email inbox You are viewing your 1 free article this month The Shirley Hughes Estate has signed with Jessica Hare at The Agency to “conserve the legacy” of the author-illustrator and Dogger creator The deal for representation was inked with Hughes’ three children Clara Children’s author Clara Vulliamy is currently represented by Hare after a career that spanned nearly eight decades in which she authored and/or illustrated more than 250 books She generated worldwide sales of over 11 million units and won numerous awards including the Kate Greenaway Medal for Illustration twice which features thousands of illustrations and drafts has been classified as cultural heritage as part of the UK’s Acceptance in Lieu inheritance tax scheme This collection is worth £2.4m and has been allocated to the Oxford University’s Bodleian Library Hare said: “Shirley’s books bring so much joy to readers with her unique way of capturing the ordinary with her extraordinary touch – and for the many grown-ups who grew up with Shirley’s books (including me) her books unlock core childhood memories… I am sure Shirley’s books will be known and loved by many more generations to come.” The Agency represents other classic children’s estates such as Paddington Bear author Michael Bond and The Snowman creator Raymond Briggs Its contemporary authors and illustrators include Malorie Blackman and Lydia Monks vision and plans for the future and how we deliver our services We do more than tackle fires and rescue people Catch up with all the latest that we have been involved in We’re proud to support and protect the wonderfully diverse community in which we serve We’re committed to keeping our communities safe well and informed and our prevention and protection work plays a large role in this Behind every firefighter there are specialist support teams all playing their part If you need to get in touch or find a form Multiple crews attended a fire at a derelict shop on Shirley high street last night The initial call came in at around 16:45 with more than 10 emergency calls made into the HIWFRS Control Room reporting the blaze There were six fire engines from St Mary’s supported by water carriers and aerial ladder platform vehicles coming from Southsea Firefighters wearing breathing apparatus used jets to put out the fire which affected the ground floor of the property with the two floors above suffering smoke damage Crews then used fans to remove any remaining smoke and cut away some of the ceiling to dampen down Residents were asked to avoid the area due to the number of emergency vehicles on scene One crew returned to reinspect the scene and check for any hotspots Fire Investigation Officers attended the scene in the morning to undertake a joint investigation with police comes home to the Liverpool Everyman as part of our 60th birthday celebrations Originally commissioned and staged by the Everyman the role of Shirley will be played by Liverpool actor Helen Carter in a revival directed by Stephen Fletcher Shirley Valentine is a life-affirming story of one woman’s journey of self-discovery an emotionally distant husband and only ‘the wall’ for company When her best friend offers the trip of a lifetime to Greece can Shirley’s dreams of a life less ordinary finally come true Event Date: Saturday 1st March 2025 - Monday 31st March 2025 Join us for a live performance in our galleries by Joanne Masding See new work created by Liverpool-based artists from the African Diaspora: Ithalia Johnson Ithalia.. Join us as we explore this photographic printing process in a family friendly workshop... BBC Radio 1’s Big Weekend 2025 is coming to Liverpool from Friday 23 May.. National Museums Liverpool is a step closer to realising its ambition for the city’s.. A mountain of rainbow-coloured foam will be taking over part of Liverpool city centre.. National Museums Liverpool announce local residents discount for stunning exhibition Bees: A Story of.. Some Council services will be closed for the bank holiday on Monday 5 May 2025 Solihull Family Hubs have opened an outreach centre at Shirley Heath Junior School on Coombe Road in Shirley the centre is another support and activity destination for children the outreach centre is available to all Solihull residents not just the parents and carers of children who attend the school The activities and support on offer range from music sessions and seasonal crafts to family support drop-ins and links to both professional and community-led groups Similar to the four dedicated Family Hub buildings of Elmwood the first outreach centre at Shirley Heath is a one-stop-shop for fun activity sessions and helpful support services Whilst the dedicated Hub buildings are open during weekdays the outreach centre is only available to the public when scheduled sessions are taking place Two more outreach centres are expected to open in Solihull Town Centre and Meriden in the following months Access to the centre is via Coome Road only Please note that parking on Coombe Road is restricted to homeowners and blue-badge holders only Deputy Leader and Cabinet Member for Children and Education at Solihull Council “I couldn’t be happier to have the first Family Hubs outreach centre open here in Shirley “We want to improve the lives of children and parents across the borough and this centre is a great example of our commitment to do so “I’d really like to encourage people in Solihull to visit – if you or someone you know could benefit from visiting a Family Hub or outreach centre even if just for a short stay and play with their little one - please do come along “The feedback we’ve received about the Family Hubs so far has been really positive It’s often the case that those who go out of their way to make that first trip enjoy their visit and want to come back and visit again in the future “Our staff and partners are incredibly helpful and friendly and will always go out of their way to help you in any way they can Shirley Heath’s full address and activities timetable can be found on the Family Hubs website: www.solihull.gov.uk/children-and-family-support/family-hubs/local-family-hubs Visit the Solihull Council website to view the full list of services and providers: www.solihull.gov.uk/children-and-family-support/family-hubs/family-hub-services For organisations interested in setting up a session at Shirley Heath outreach centre or one of the Family Hubs, please email familyhubs@solihull.gov.uk © 2025 Solihull Metropolitan Borough Council LiverpoolBack at the theatre where it premiered in 1986 Willy Russell’s play about a midlife voyage of self-discovery retains both its local and universal appeal Shirley has told us about her irritating neighbour Gillian when unexpectedly she receives a gift from her Far from thinking herself superior to Shirley but she fully believes the lie that the 42-year-old mother of two is about to elope with a lover Equally marvellous is the way Helen Carter plays this twist As she takes on board the way the other woman perceives her Some of the weight of midlife drudgery lifts The comedy premiered at the Everyman nearly 40 years ago and has now been revived to round off the theatre’s 60th anniversary year the playwright remembers the terror of driving past a gigantic sign reading “Opening March 86 – new play by Willy Russell” before he had written a word Becoming herself … Carter in Shirley Valentine. Photograph: Andrew AB PhotographyDuly, the jokes about finding a squat in Childwall, meeting Liverpool poet Adrian Henri (or Henry Adrian and suffering culture shock on a trip to Chester get a happy laugh of recognition And Carter has the absolute measure of Russell’s Merseyside rhythms Jokes are a survival tool but laughing is a sign of weakness the play reaches far beyond it in its humanist appeal This is a play for anyone who has felt their youthful ideals slipping away “Why do you get all this life if it can’t be used?” says Shirley In Stephen Fletcher’s finely calibrated production Carter draws the audience towards her in a warm majestic not only in its big laughs but in its contrasting moments of vulnerability and tender sentiment – followed At the Everyman, Liverpool Liverpool actor Helen Carter makes a strong case for a modern Shirley Dear members – The Everyman has just announced that due to overwhelming demand it will be extending its run of Willy Russell's critically acclaimed Shirley Valentine the show is now on until Saturday 5th April so you still have time to grab tickets if you haven't yet The one-woman play is now almost as old as its titular character a disillusioned housewife first brought to life in 1986 we began to wonder: might this material be growing a little stale – in terms of both the play's style and its presentation of class gender and relationships – or does it still have something to say to modern audiences So we sent theatre critic Matt Barton to find out A memorial playground honouring the victims of the Southport attack will now be built after a fundraiser met its £250,000 goal The playground will be set up in Churchtown Primary School — where both Alice da Silva Aguiar attended — and will include a performance stage and a library in tribute to the two girls told the BBC it was a “beautiful way to keep her spirit alive” adding: “I can picture Alice on that playground’s stage and leading everybody else.” “We are incredibly grateful to everyone who made this playground possible,” Bebe’s parents added thank you for your generosity and kindness.” Drag star The Vivienne died from a heart attack caused by taking the drug ketamine, their family has now revealed better known by their drag name The Vivienne was found dead at their home in Cheshire earlier this year The performer had previously spoken publicly about their struggle with addiction specifically to ketamine — a dissociative anaesthetic that can be taken recreationally said the family felt it was important to share the circumstances of their death adding: "I hope by us releasing this information we can raise awareness about the dangers of ongoing ketamine usage and what it can do to your body." And a series of projects to help reduce social isolation for people over 65 have been launched in Sefton Over 1,000 people in the region are set to benefit from 13 new schemes with cabinet member for health and wellbeing Mhairi Doyle saying the activities are meant to be “enjoyable and fun" to promote inclusion and get older people active in their communities Each session will take place at a location in the borough including sessions specifically for men at Sean's Place in Bootle and sessions designed for women at Swan Women's Centre in Litherland This is Shirley Valentine the character – and Willy Russell’s one-woman play is all about her working-class Liverpudlian housewife introduces us to a husband friends and acquaintances – but all are unseen Can her life really be interesting enough to sustain a whole show But that’s the point – the assumption of her unremarkable worth The play begins with Shirley rustling up chips and egg for her sullen husband Joe’s dinner are when he eats chips and egg; Thursdays are for steak But she’s already fed the steak to the neighbour’s dog and Joe chucking the dinner down her clothes Having previously scoffed at her friend’s invitation to join her on an impromptu getaway to Greece And there’ll be much more reconsidering to follow when the trip throws her life into a new perspective Shirley is 42 years old; the play is now almost the same age one of Liverpool’s most famous playwrights wrote it to celebrate the Everyman’s 21st birthday in 1986 It came on the back of his comic play Educating Rita – about another dissatisfied working-class Liverpudlian woman – and the tragic musical Blood Brothers before Pauline Collins stepped into her shoes when the play opened in the West End two years later where it won Olivier awards for best new comedy and best actress.  But it went down with critics like that plate of chips and egg with Joe “artifice” and “staginess” in an object lesson of the perils of stage-to-screen adaptations The slight hokeyness of Russell’s stage play seemed magnified on the big screen The New York Times laid into what it called “hackneyed writing” with “simplistic slogans” and “one tired punch line on top of another” Comparing the film to the play’s Broadway transfer a critic wrote: “on screen the strength of [Collins’] performance is shattered by being chopped into discrete little bits” It’s fair to say one of the film’s flaws is it diluted the role of our heroine by sharing attention across the other characters who are on-screen in the film as opposed off-stage and unheard in the play it becomes overinsistent about the grimness of Shirley’s life when the play is about everyday frustrations mounting to trigger a major wake-up call Instead of Shirley reporting Joe’s slights to us we have to watch her sit silently while being upbraided by him But this story was never really about Joe and the other characters; it’s Shirley’s name in the title The inclusion of these surrounding characters also exposed their two-dimensionality used as various sticks with which to poke her rather than existing as richly drawn people Both a Time Out and Empire review accused the film of stereotyping with the latter concluding: “you can’t help feeling you’ve seen and heard everything here somewhere before.”  Already have an account? 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Sign In Liverpool actor Helen Carter makes a strong case for a modern Shirley The father of two tells PEOPLE about navigating a difficult coparenting situation with TV cameras rolling The Liverpool Everyman Theatre is thrilled to announce the extension of its critically acclaimed production of Willy Russell’s Shirley Valentine Originally scheduled to run until 29th March the production will now continue until Saturday 5th April in response to unprecedented demand and glowing reviews for Helen Carter’s captivating performance as Shirley Announced alongside the extension is a special fundraising event Taking place on Wednesday 2nd April at 7:30 pm The legendary playwright will sit down with director Stephen Fletcher to discuss his career and the enduring legacy of Shirley Valentine The current production marks a fitting finale to the Everyman’s 60th anniversary season with Russell having been closely involved from the start As one of the most celebrated and widely produced writers of his generation Russell’s connection to the Everyman runs deep originated at the theatre before transferring to the West End and winning numerous awards Other Everyman productions include Breezeblock Park (1975) and Stags and Hens (1978) After the global success of Blood Brothers and Educating Rita Russell returned to the Everyman in 1986 with Shirley Valentine Mark Da Vanzo (CEO) and Nathan Powell (Creative Director) said:  “There’s been such a phenomenal response to Shirley Valentine’s homecoming we’re thrilled to announce these additional performances Helen Carter’s astonishing performance as the iconic Shirley under the wonderful direction of Stephen Fletcher We’re incredibly grateful to Willy Russell for his support of this revival and for his generosity towards our fundraising campaign: An Evening with Willy Russell will be a very special night Today’s announcement is a fitting finale to the Everyman’s 60th anniversary year.” Tickets for An Evening with Willy Russell are priced at £20 with all proceeds supporting the Everyman’s Everyone Starts Somewhere fundraising campaign dedicated to nurturing the next generation of theatre-makers The additional performances of Shirley Valentine will take place on Thursday 3 April at 1.30pm and 7.30pm, Friday 4 April at 7.30pm, and Saturday 5 April at 2.00pm and 7.30pm. Tickets for both Shirley Valentine and An Evening with Willy Russell are available now at everymanplayhouse.com Set in a family-run Caribbean takeaway in Liverpool Katie Erich and Hayley Sheen will star in the.. Beyond Van Gogh: The Immersive Experience is set to return to Liverpool this summer.. A brand-new stage version of Malorie Blackman’s novel Pig Heart Boy comes to Liverpool.. Donny Osmond recently made one fan’s 60th birthday an unforgettable experience a lifelong admirer of Donny Osmond’s music received the surprise of a lifetime when her family orchestrated a heartwarming birthday celebration Shirley’s 60th birthday was already shaping up to be a special occasion Little did she know that her family had something extraordinary in store for her As she sat watching a custom birthday video from Donny Osmond In a heartwarming TikTok video that has garnered over 645,000 views The video begins with Shirley engrossed in the personalized video message from Donny Donny Osmond Crashes Fan's 60th Birthday Party She laughs and covers her eyes briefly in disbelief as she watches him sing and greet her clearly delighted by the unexpected birthday treat Donny Osmond himself was quietly sneaking up behind her he watched her watch the video he had recorded as she realized that her musical idol was standing right there “No way!” Shirley exclaimed as Donny wrapped her in a warm hug Her joy and surprise were evident as she embraced the man whose music had been a constant in her life Donny Osmond breaks down his biggest songs | Gold's Hall of Fame The video was first uploaded five years ago and has had over 1 million views on YouTube known for hits like 'Puppy Love' and 'Go Away Little Girl' had become a cherished part of Shirley’s memories Donny’s surprise visit to Shirley’s 60th birthday celebration exemplifies the genuine connection between him and his fans His gesture left Shirley with memories to cherish forever Paul McCartney Hall Of Fame Rod Stewart Song Lists The Beatles Botchwey supports calls for reparations for transatlantic slavery and colonialism Commonwealth members have appointed Ghana’s foreign minister, Shirley Ayorkor Botchwey, as the new secretary general, on the final day of the group’s summit in Samoa a former lawmaker who has served as Ghana’s foreign minister since 2017 has supported calls for reparations for transatlantic slavery and colonialism – a position that was also shared by the two other candidates who had vied for the position Botchwey said on social media that she was “truly humbled” to have been selected as the incoming secretary general Botchwey was appointed on the closing day of the Commonwealth heads of government meeting (Chogm), which has been dominated by calls for the UK to pay reparations for its role in the transatlantic slave trade and by issues relating to the climate crisis In a communique released on Saturday heads of government noted “calls for discussions on reparatory justice with regard to the transatlantic trade in enslaved Africans and chattel enslavement” and “agreed that the time has come for a meaningful truthful and respectful conversation towards forging a common future based on equity.” such as restructuring financial institutions and providing debt relief At a debate at London’s Chatham House last month and that the Commonwealth could have a role to play if the member states request a “common voice” on the issue She said reparatory justice was not only about financial payments but also support to tackle the climate crisis and build countries’ economic resilience Botchwey has also backed the drafting of a free trade agreement among Commonwealth member states she chaired the council of ministers of the 15-member economic Community of West African states (Ecowas) and steered Ghana’s two-year tenure on the UN security council Free weekly newsletterNesrine Malik and Jason Okundaye deliver your weekly dose of Black life and culture from around the world The secretary general is nominated by Commonwealth leaders and can serve a maximum of two terms of four years each Botchwey takes over from Patricia Scotland Scotland was born in Dominica and was its candidate for the post at the Commonwealth heads of government meeting in Malta in 2015 Dame Shirley Bassey left a crowd astonished with her sublime vocal prowess at a ‘surprise’ show in Monaco she surprised her global army of fans when she reappeared on stage at Salle Des Etoiles at the Sporting Club Monte Carlo on February 27th 2025 singing ‘Diamonds Are Forever’ to the attendees of Forbes Travel Guide’s event “The Summit” And she certainly proved she can still hit the high notes at the show in Monaco where she now lives giving both barrels to a wonderful rendition of one of her most famous songs Watch the video HERE A post shared by Dame Shirley Bassey Archive (@dameshirleybasseyarchive) Back in January when Dame Shirley celebrated her 88th birthday we marked the occasion by ploughing the depths of YouTube to unearth a rare gem in the form of the rarely seen video of the singer’s first ever TV appearance Performing her debut single ‘Burn My Candle’ aged 19 on the BBC The single released in 1956 included the word ‘sex’ in the lyrics was deemed too suggestive and salacious at the time and was subsequently banned by the BBC It obviously did little to harm her career if the last 70 years are any measure Bassey has sold over 140 million records worldwide making her one of the best-selling female artists of all time She is the first woman in history to claim a Top 40 album in seven consecutive decades in the United Kingdom Δdocument.getElementById( "ak_js_2" ).setAttribute( "value" Herself and Tom…King and Queen… Connect with Nation.Cymru on Facebook and Twitter If you would like to donate to help keep Nation.Cymru running then you just need to click on the box below it will open a pop up window that will allow you to pay using your credit / debit card or paypal Enter your email address to receive instant notifications of new articles All information provided to Nation.Cymru will be handled sensitively and within the boundaries of the Data Protection Act 2018 In 2017 Nation.Cymru was launched after raising £5000 from a crowdfunding campaign Today it is one of the fastest growing news sites in the UK attracting over 1.5 million visitors a month We are not backed by 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If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information I first met Sheila Shirley when we moved to Washington state 20 years ago The city’s Public Works department is inviting public input on a new site plan Jury service is the most likely role residents will have in our justice system Shirley gets a 10 for her CBeebies Bedtime Story which airs on Friday to celebrate the Strictly Come Dancing Grand Final Strictly Come Dancing head judge Shirley Ballas will have children dancing off to bed when she reads a fab-u-lous CBeebies Bedtime Story glitz and glamour of Strictly to CBeebies Bedtime Stories as she encourages young audiences to ‘keep dancing!’ a story about the freedom to be yourself and the fun of joining in who watches her friends express themselves through their special dance moves and wonders if she will ever find the dance in herself Pippa discovers that it's all about taking the first step Shirley Ballas says: “I hope I can help children watching at home to find the special dance inside themselves I’m delighted to read a CBeebies Bedtime Story I practised by reading Big Dance over video call to my one-year-old grandson Banksi and it was fabulous to see his delighted reaction.” CBeebies is set to reveal a sparkling stellar line-up of stars who will bring families together to enjoy stories over Christmas and the New Year Shirley Ballas’ CBeebies Bedtime Story airs on CBeebies and BBC iPlayer on Friday 13 December at 6.50pmThe Strictly Come Dancing grand final airs on BBC One and BBC iPlayer on Saturday 14 December from 6pm CBeebies Bedtime Story is on each weekday at 6.50pm on CBeebies and BBC iPlayer bringing families together and has been a daily family favourite since the channel launched in 2002 It continues to get the nation reading with its star-studded guests meaningful partnerships and brilliant stories that inspire a passion for the shared experience of reading A digital library of over 300 archived episodes is available on BBC iPlayer CBeebies channel Spice girls Mel C and Geri Halliwell-Horner England football captains Harry Kane and Leah Williamson Tom Hiddleston have all read stories that are now available for audiences to relive on BBC iPlayer CBeebies Bedtime Story has seen many other landmark firsts This includes Strictly Come Dancing champion Rose-Ayling Ellis reading the first ever story in British Sign Language Rugby champion Rob Burrow reading the first story told using an eye controlled computer Lora Fachie with the first ever braille story Princess of Wales becoming the first ever royal to read a story cricketers Katherine Sciver-Brunt and Nat Sciver-Brunt becoming the first LGBTQ+ couple to read a story and astronaut Tim Peake as the first to read from space Hides preview environment warning banner on preview pages Select a theme and theme mode and click "Load theme" to load in your theme combination.