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The National
6 days ago
- Entertainment
- The National
Mark Brown: Breaking the bank at Edinburgh International Festival
A co-production between the National Theatre of Scotland, Dundee Rep and the EIF, it brings together an impressive array of theatrical talent. Both Graham and director Andrew Panton (who is artistic director of the Rep) are award-winning theatre artists. Outstanding Scottish actors Brian Cox (as the ghost of Adam Smith) and Sandy Grierson (as the ruinous and disgraced banker Fred Goodwin) lead a cast that is peppered with A-list actors. Grierson is utterly compelling as Goodwin, the working-class Paisley boy 'made good'. Steeped in the slash-and-burn Thatcherism of the 1980s, his dedication to voracious accumulation (including bloating the RBS with a hidden portfolio of toxic assets) is matched only by his ruthless approach to management. Opposite him, Cox's Adam Smith is enthralling in his indignation when he discovers how his views on economics and society have been wilfully twisted to fit the agenda of neoliberalism. He is delightfully humorous, too, in his bewilderment in encountering 21st-century Edinburgh (even if a joke about a certain popular department store is extended beyond breaking point). Excellent though the lead actors are, the production is riven with flaws. Panton likes a play with songs, and this, problematically, is one. The musical dimension of the piece – which is comprised largely of uninspired snippets from pop songs, such as Keane's dreary Somewhere Only We Know – runs in frustrating parallel to the dramatic action. Indeed, so superfluous is the music that one cannot help but feel that the momentum of the play would be enhanced (and the two hours 40 minutes duration of the production reduced advantageously) by dispensing with it entirely. Ironically – given that this is a story of a Scottish bank that overreached itself by seeking to be so much bigger than it needed to be – Panton's production often feels like it is trying too hard to meet the expectations of a large stage EIF show. Consequently, the sound, music and big-screen projections are often bombastic. There are fine performances from such excellent actors as Andy Clark (who inhabits the role of Gordon Brown beautifully) and Hannah Donaldson (as the senior RBS officer with whom Goodwin has an affair). Too often, however, the supporting cast looks like a chorus from a stage musical that has inadvertently wandered into the wrong show. It has long been a complaint from within the Scottish theatre community that the EIF puts our nation's live drama at a disadvantage. Whereas other countries bring tried-and-tested productions to the Edinburgh stage, Scotland's contribution is required to be a world premiere. New work is the lifeblood of theatre, but it is also difficult and uncertain. Once again, the EIF's strictures have led to a disappointing Scottish contribution to the Festival. Meanwhile, in the Fringe programme of Scotland's new writing theatre, the Traverse, there are a number of acclaimed productions from overseas. These include Rift (Traverse, until August 24), a taut two-hander by American writer Gabriel Jason Dean. Given the drama's subject matter – the very occasional prison visits of a liberal novelist to his brother, a convicted murderer and leading neo-Nazi gang member – the 'rift' of the play's title is a massive understatement, akin to the description of the 30-year war in Northern Ireland as 'The Troubles'. The chasm between the siblings is, Dean explains, inspired by his relationship with his own half-brother. The piece is set over a 21-year period, beginning with a visit four years into the prison sentence. The prisoner – played with chilling veracity and troubling humanity by Matt Monaco – is one of the neo-Nazis in US prisons who has not received a presidential pardon from Donald Trump. His brother (performed with sincere progressiveness by Blake Stadnik) graduates, in the course of the play, from alcoholic student to Ivy League academic and successful fiction writer. Dean's carefully balanced script is an exploration of moral complexity. When we first encounter the prisoner, he is in a wheelchair and heavily bandaged after being badly beaten up in prison. When we meet him again, 12 years later, he insists that he is not an ideological Nazi, despite the huge swastika tattooed on his chest and the pair of SS flashes emblazoned on his arms. Rather, he says, his attachment to the Aryan Brotherhood is, first and foremost, a matter of self-preservation. Being a Nazi gang member protects him, he argues, from physical and sexual assault. Those who might be hoping that Rift would shed some light on the rise of the American far-right, and its capturing of the White House for the second time in eight years, should look elsewhere. The play does serve, however, as a resonating indictment of a prison system that fails to rehabilitate and, instead, institutionalises racial separation and gang membership. Director Ari Laura Kreith's tight production engages meaningfully with such difficult and complex issues as education as a tool of moral improvement and recovered memory. Despite its many nuances, the play does put an emphasis on childhood trauma that threatens to become reductive at times. If that is a shortcoming, it is a minor one in a thoughtful and affecting drama about an anguished intersection of family history and political morality. If seen back-to-back – as they were at the Traverse on Friday – Dean's play and Red Like Fruit (Traverse, until August 24) by acclaimed Canadian playwright Hannah Moscovitch are bound to put you through the emotional wringer. In theatrical terms, Muscovitch's piece is the more ambitious, and the more emotionally powerful, of the two. Constructed somewhat like a Russian doll, the work has a metatheatrical dimension that is simultaneously troubling and engaging. On-stage – sitting on a chair on a raised platform – is Lauren (played by Michelle Monteith), a journalist whose current story began with an investigation into a domestic violence scandal within the Liberal Party (the dominant force on the Canadian centre and centre-left). However, the issues raised by the investigation confronted Lauren with a series of instances of predatory and opportunistic sexual abuse in her own life going back to her childhood and adolescence. Through remembering these experiences, she recalled how the prevailing ideas and social atmosphere tended to create guilt and confusion, rather than outrage, within her. In the play, this painful personal history forms the basis of a text written by Lauren, but spoken – at her request – by a male actor, Luke (performed by David Patrick Flemming). In certain moments – sometimes due to Lauren's visible distress, at other times as a consequence of his own discomfort – Luke breaks from his narration to interact with the writer. What emerges from this deliberately discomfiting set-up is a fictional testimony that rings horrifyingly true as a traumatic strand in one woman's life history. In certain moments Lauren realises that – such was (and, by implication, still very much is) the normalisation of abusive behaviours by men against women and girls – that she struggled (and still struggles) to differentiate abuse from healthy and consensual experiences in her sexual life. The seemingly counter-intuitive choice to have this testimony read by a male actor is explained by Lauren in terms that carry a frightening and devastating social truth. Director Christian Barry gives the reverberating material the glass-sharp, perfectly wrought and superbly acted production it to the Summerhall venue, which always has the most diverse and fascinating offering of theatre and performance on the Fringe. With such a substantial programme, it is inevitable that a few disappointing productions will slip through the curatorial net. Sad to say, Julia. 1984 (Summerhall, until August 11) fails to deliver on the promise of a piece that seeks to imagine the life of the titular heroine in the period immediately after the end of Orwell's famous novel. We meet Julia (played by Sofia Barysevich) – a rebel against the Big Brother dictatorship and lover of Orwell's protagonist Winston Smith – as she is being subjected to torture (both psychological and physical) and sexual abuse by the hideous state functionary O'Brien (Michael Tcherepashenets). Julia endures, feigning compliance in her efforts to find out what happened to Winston. Sadly, however, this young company never succeeds in generating the atmosphere of Orwell's novel. The blinking eye of Big Brother peers out from a triangular screen, but the scene it observes looks like an under-resourced student circus. Creating a sequel to 1984 is either brave, foolhardy or both. Little surprise, then, that Karina Wiedman's text doesn't measure up to the demands of Orwell's novel, either in complexity or coherence. Tcherepashenets's high-octane, microphone-grasping performance (which seems to borrow from Joaquin Phoenix's performance in the film Joker: Folie À Deux) has a certain charisma. Ultimately, however, although this production has its heart firmly in the right place, its attempt to complement Orwell's opus has all of the resonance of a cracked bell.
Scottish Sun
26-07-2025
- Entertainment
- Scottish Sun
Win a copy of Somewhere Only We Know by Cathy Bramley in this week's Fabulous book competition
UPLIFTING Win a copy of Somewhere Only We Know by Cathy Bramley in this week's Fabulous book competition Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) SIX months after the death of her daughter, Maggie is struggling. So when she discovers Bronte's travel journal, she decides to honour her by taking the trip she never got to go on. Sign up for Scottish Sun newsletter Sign up 1 10 lucky Fabulous readers will win a copy of this new novel in this week's book competition Armed with memories of her own blissful summer in Bali years ago, Maggie sets out on the adventure of a lifetime. The perfect uplifting read. 10 lucky Fabulous readers will win a copy of this new novel in this week's book competition. To win a copy, enter using the form below by 11:59pm on August 9, 2025. For full terms and conditions, click here.
The Sun
26-07-2025
- Entertainment
- The Sun
Win a copy of Somewhere Only We Know by Cathy Bramley in this week's Fabulous book competition terms and conditions
T&CS Open to United Kingdom and Republic of Ireland residents aged 18 or over only, except employees of the Promoter, News Corp UK & Ireland Limited, and their associated, affiliated or subsidiary companies, their families, agents or any other person(s) connected with the competition, including third party promotional partners. Competition closes at 11.59pm on August 9, 2025. Entries received after the Closing Date will not be counted. One entry per person. Bulk, automatically generated or third party entries are void. To enter you must click the 'click to enter' link on Somewhere Only We Know page before the Closing Date. There will be 10 winners. The winners will be selected at random from all valid entries for this competition received before the Closing Date. Winners will be notified by email or phone or using the other contact details provided by the winner within fourteen days after the Closing Date. All reasonable endeavours will be made to contact the winner during the specified time. If a winner cannot be contacted or is not available, the Promoter reserves the right to re-draw another winner from the valid/correct entries that were received before the Closing Date. The prize is a copy of Somewhere Only We Know in hardcover, paperback or e-book format, at the discretion of the Promoter. The prize is non-transferable and there are no cash alternatives to the prize in whole or in part. The promoter of this competition is News Group Newspapers Ltd (publishers of The Sun) (the 'Promoter'). General terms and conditions for competitions apply*. *GENERAL TERMS AND CONDITIONS FOR COMPETITIONS These terms and conditions apply to all competitions (unless and to the extent that) the competition states otherwise. The winner is responsible for ensuring they are able to accept the prize as set out and in accordance with these terms and conditions, in the event they are unable to do so then the Promoter reserves the right to redraw the prize. Entry is free but entrants should be aware that they may be subject to data charges depending on their own individual arrangements for Internet access if entry is online or by email. An eligible entrant must be an individual, must enter on their own behalf, and must submit an entry in the form requested by the Promoter under this promotion including their name, address and e-mail address. By entering, all eligible entrants agree to abide by each and all these terms and conditions. Misrepresentative or fraudulent entries will invalidate an entry. Where a competition involves a voting process: offering or receiving any incentive for voting is not permitted and will invalidate the vote, and may disqualify the recipient of the vote. The Promoter reserves the right, with or without cause, to exclude entrants and withhold prizes for violating any of these terms and conditions. The Promoter reserves the right to amend these terms and conditions. Any amendments will be published on the Promoter's website (the 'Website'). The Promoter reserves the right to publish entries (including parts of entries) other than the winning entry and publication does not necessarily mean the entrant has won a prize. Entrants will retain copyright in their submitted entries, however, by entering, all entrants licence the Promoter a worldwide royalty-free perpetual licence to edit, publish and use each entry in any and all media (including print and online) for publicity and news purposes. The Promoter reserves the right to publish entries (including parts of entries) although publication does not necessarily mean the entrant has won a prize. There is no cash or other alternative to the prize stated and the prize is not transferable and no part or parts of the prize may be substituted for other benefits, items or additions. Winners may be required to submit valid identification before receiving their prize. The Promoter's decision is final and binding on the entrants. No correspondence will be entered into. The Promoter will not be liable for technical, hardware, or software failures of any kind or lost or unavailable network connections that may limit or prohibit an eligible entrant's ability to participate in the competition. Other than death or personal injury arising from the acts or omissions of the Promoter or its employees, the Promoter will not be liable for any loss or damage arising out of the winner's (or their guest's) enjoyment of the prize. By entering, any subsequent prize winners agree to allow the free use of their names, photographs and general locations for publicity and news purposes during this and future promotions by the Promoter or any associated or subsidiary company of News Corp UK & Ireland Limited. Uses of personal data received by the Promoter in the course of the promotion are subject to the privacy policy found on the Website. Winners' names may be published on the Website. Completion and submission of a registration slip or e-mail will be deemed acceptance of these terms and conditions. The Promoter reserves the right at any time to cancel, modify or supersede the competition (including altering prizes) if, in our sole discretion, a competition is not capable of being conducted as specified. The Promoter reserves the right to substitute a prize of equal value in the event that circumstances beyond their control make this unavoidable. For a list of winners please send a stamped envelope to News UK, Competitions Department, 1 London Bridge Street, London, SE1 9GF stating for which competition you would like winners' details. Competition rules published in publications of the Promoter (including social media if applicable) or on the Website form part of these rules.
Daily Mirror
21-07-2025
- Entertainment
- Daily Mirror
11 of the best summer reads to pack in your suitcase or staycation at home
From thrillers and romances, to autobiographies and historical fiction, we've rounded up 11 of the best new books to read this summer - wherever you're spending it You might have packed your sun cream, bikini and hat for your summer holiday – but no holiday is complete without a stack of good books. Whether you're jetting off to a picturesque beach, an intriguing city or simply enjoying a staycation at home, there's a wealth of novels to help you unwind. Summer 2025 is the season for page-turners that will have you sitting up into the small hours of the morning to read just one more chapter. We've pulled together our list of our top recommended reads to pack in your luggage or curl up on the sofa with. The Woman In Suite 11 by Ruth Ware A decade later, this gripping sequel to the New York Times bestselling author's The Woman In Cabin 10 – adapted into a Netflix series featuring Keira Knightley – is set on the stunning shores of Lake Geneva where a terrified woman is confined in a suite owned by the hotel's billionaire proprietor. It sees the return of journalist Lo Blacklock, now married with children, who is invited to the grand opening of the exclusive Swiss hotel, only to find herself being asked for help by the wife of the billionaire, who alleges she is being held captive in her marriage. Somewhere Only We Know by Cathy Bramley The bestselling author of The Lemon Tree Café presents a woman mourning the loss of her daughter, but when she discovers her late child's travel journal, she embarks on the gap year journey the 23 year old had dreamed of undertaking. Memories of a romantic summer in Bali soon resurface, along with an old flame. Great Big Beautiful Life by Emily Henry The TikTok sensation and bestselling romantic novelist, whose books have sold over 10.5 million copies worldwide, presents readers with this fantastic beach read. It follows journalist Alice Scott as she tracks down former heiress and party girl Margaret Ives on a remote US island, eager to write the reclusive star's memoir. However, when a rival journalist arrives, things heat up both professionally and personally. Great Big Beautiful Life is out now. A Particularly Nasty Case by Adam Kay For those planning a late summer getaway who enjoyed former junior doctor Adam Kay's hilarious and heartbreaking memoir This Is Going To Hurt, his debut novel is a must-read. Described as 'hilarious, macabre and heartrending in equal measure', it kicks off when a hospital consultant dies of a heart attack and a fellow doctor suspects foul play. But when another doctor dies under similar circumstances, an investigation begins. My Other Heart by Emma Nanami Strenner Female friendships are at the core of this coming-of-age story that spans continents and generations, penned by a journalist who has spent much of her life living in southeast Asia, Australia and the US. Starting in 1998, the story follows Mimi Traung who tragically loses her toddler at Philadelphia Airport and is hastily sent back to Vietnam, seemingly losing her daughter forever. Fast forward 17 years, she returns in search of her child. Simultaneously, two best mates, both part Asian but from vastly different backgrounds, embark on a journey to discover their roots. Eventually, these three women's paths cross, forcing them to confront their true identities. My Other Heart is out on July 17. For more stories like this subscribe to our weekly newsletter, The Weekly Gulp, for a curated roundup of trending stories, poignant interviews, and viral lifestyle picks from The Mirror's Audience U35 team delivered straight to your inbox. The Compound by Aisling Rawle For those who view reality shows with a healthy dose of scepticism, this debut novel from an Irish ex-bookseller is a must-read. It offers a literary take on Love Island and Big Brother, focusing on Lily who finds herself in the titular compound surrounded by other stunning girls, all awaiting a group of men who have crossed a desert to escape a war-ravaged world. Initially, it appears to be a typical shallow setting until the producers start demanding contestants undertake disturbing challenges, leading to horrifying outcomes. While dark humour is plentiful, the underlying message of this literary gem highlights the perils of materialism and the extremes some will go to for fame. The Compound is out now. The Treasures by Harriet Evans The first in The Sevenstones Trilogy – a fresh family saga spanning 50 years and three generations, penned by the bestselling author of The Beloved Girls – is set in 1965. It tracks Alice and Tom as they mature in New York and Notting Hill respectively, their lives eventually intertwined by a misplaced treasure, an overlooked letter and a life-altering phone call. Amidst the tumultuous backdrop of the Vietnam War and counterculture movement, Sevenstones – a house brimming with history and secrets – remains a steadfast presence. The Treasures is out now. Whistle by Linwood Barclay Bestselling thriller writer Linwood Barclay ventures into horror for the first time with this narrative about successful children's author Annie. Following the sudden death of her husband and a scandal sparked by one of her books, she relocates with her young son Charlie to a small town in upstate New York. However, when Charlie discovers a forgotten train set in a locked shed at their new home, things take a chilling turn. Annie starts hearing a train at night despite no railway line for miles, and begins sketching a menacing new character who has no place in her children's books. Whistle is out now. Dream Count by Chimamanda Ngozi Adichie For those who might have overlooked this release in spring, grab a copy of this distinguished author's first novel in 12 years, focusing on the complex female experience shaped by race, wealth and shame. It delves into the lives of four African women residing on both sides of the Atlantic, under vastly different circumstances, yet somehow interconnected. One is an affluent travel writer in search of love, while her best friend, a lawyer, is acutely conscious of her ticking biological clock. The narrative also includes a housekeeper and a high-flyer trying to figure out her life's desires. Dream Count is out now. You Are Here by David Nicholls Freshly available in paperback for those without an e-reader or room for a bulky book, this love story carries all the signature wit, heartbreak and optimism of Nicholls' work, from One Day to Us and Starter For Ten, all of which were adapted for screen. The plot throws two solitary individuals together on a coast-to-coast walk, often amidst driving rain and damp anoraks, courtesy of a mutual friend. Gradually, through their personal struggles – he's a geography teacher grieving his failed marriage, she's a divorced copy editor – they discover friendship, solace and hope in each other. You Are Here is out now. Men In Love by Irvine Welsh For those who prefer more hard-hitting narratives, this follow-up to Trainspotting sees the return of Renton, Spud, Sick Boy and Begbie as they abandon their heroin habits in search of happiness on the dance floor during the twilight of the Thatcher era. Their path to salvation leads them through Edinburgh, London, Amsterdam and Paris – culminating at Sick Boy's wedding day. Help us improve our content by completing the survey below. We'd love to hear from you!
Daily Record
06-05-2025
- Entertainment
- Daily Record
British Airways air hostess given 48 hours to live after shock brain haemorrhage
Summer Clarke mimed the lyrics to "Don't Look Back in Anger" by Oasis and "Waterfall" by The Stone Roses as she emerged from a coma after suffering a stroke. For Summer Clarke, life is a melody to be sung. After waking from a coma induced by a stroke, she could sing before she could talk. Initially, she just mimed to "Don't Look Back in Anger" by Oasis and "Waterfall" by The Stone Roses, along with Taylor Swift's popular tunes, but soon she was singing them out loud. Her mum, Linda, shared a poignant moment: "She sang a very emotional Lilly Allen song - Somewhere Only We Know - which was used in the John Lewis Christmas advert. It was our special song, which we sang together. As she sang it she cried. That was heartbreaking because I knew she knew something was not right but she didn't know what had happened to her." Summer's life took an unexpected turn one day in May 2023 when, as a flight attendant for British Airways, she was grilling burgers in the garden with pals. She recalls feeling off: "I started to feel a bit dopey. I knew how to cook but was asking if I was doing things right. I felt strange." That day progressed to an evening at a pub, where severe headaches escalated, resulting in her being violently ill and seeming to experience a seizure, reports the Manchester Evening News. Summer was just 24 when she was urgently taken to Tameside Hospital after suffering a spontaneous brain haemorrhage. She was unable to breathe independently and was placed on life support upon transfer to Salford Royal Hospital, known for its neurosurgery expertise. Linda, her mother, recounted: "The doctors did a draining procedure but the pressure on her brain was immense. I was told that she might have 48 hours to live and we should maybe say our goodbyes. She was given a ten percent chance of survival – it was terrifying." After two weeks in an induced coma, Summer began to show signs of life by moving her little finger. Linda shared: "We were being warned that she might never talk or walk again and be in a vegetative state. "Eventually she started moving her little finger. Then she opened her eyes. But for a good few weeks she was non responsive. Then she started following people around the room with her eyes and slowly it improved from there. She was in the ICU for about six weeks." Summer spent time at Salford Royal from May until November 2023, followed by a stint in a rehabilitation unit at Rochdale hospital from November through to the end of February 2024. Reflecting on her recovery, Summer said: "Before I could even speak to anyone I started to sing. I don't know how. It was like being a baby again, I had to learn everything from scratch." Remarkably, she could sing her favourite songs perfectly before she was able to speak clearly or even recognise her own mother. Linda shared her daughter's incredible journey: "Summer suffered with so many cognitive problems but singing just came naturally to her. "She could sing to music when she came out of the coma. She would start by miming songs and then she could sing anything on her playlist." Summer, 26, reflected on the uncanny phenomenon saying: "Anything we played I remembered the lyrics to, even if I didn't recognise my own mum, it was all very strange." Linda recounted the early signs of recovery: "She was even trying to sing when she had a tracheotomy - it is hard to speak with that in. She was miming the words. From day one of her being put in a coma we had been playing Summer's playlist." Detailing an emotive moment, Linda said: "It was songs from it that Summer began to sing - including my wedding song, Waterfall by the Stone Roses. She had aphasia, and could not get her words out to talk, but she could sing, which is very strange. I was crying when she was singing, it was very emotional." As for Summer's current state, she revealed: "Now I can walk, I can pretty much do everything, the only thing I struggle with is reading. Also for the first time since this I recently rode a bike - which was a bit hard." They credit Summer's remarkable progress to a combination of sheer determination and resilience, along with her passion for music and singing. A survey conducted by the Stroke Association charity, involving 1,000 stroke survivors to commemorate Stroke Awareness Month in May, revealed that over a third of survivors in the North West (37%) lost their ability to speak following their stroke. Interestingly, over a third (35%) reported an enhanced ability to sing compared to speaking in the days, weeks and months post-stroke. In fact, a quarter of respondents (26%) could hum or sing before they regained their speech. In the UK, strokes affect 100,000 individuals annually, with a third of these survivors suffering from aphasia - a language and communication disability that hampers abilities to speak, read, write or comprehend language. Studies have indicated that singing post-stroke can improve communication and spoken language for those afflicted with aphasia. The Stroke Association's survey discovered that more than half of stroke survivors (54%) stated that activities such as singing, listening to music or playing an instrument had a positive influence on their recovery from stroke. Furthermore, two out of five respondents claimed that music had a significant impact on their recuperation. From a practical standpoint, nearly two-thirds of stroke survivors asserted that music aided in enhancing their communication skills after their stroke. Over half of them also reported improvements in memory and hearing due to music. From an emotional standpoint, nearly half (45%) of stroke survivors reported that singing along to music post-stroke helped them unwind, and over a third (34%) found hope in singing as they could vocalise better than they could speak. Additionally, two out of five (43%) felt it brought positivity back into their lives. The organisation also conducted a survey with 2,000 individuals from the general public, revealing that many in the UK are not aware of the significant communication challenges faced by stroke survivors, with over a quarter (28%) oblivious to the fact that such difficulties are a common aftermath of a stroke. Those with aphasia often experience a decline in wellbeing, battling with decreased confidence and social withdrawal. Linda said: "Even when Summer was in the coma I was playing her favourite music, I really think it helped in her recovery and her Dad, Keith, Fiancée, Lewis and Sister, Courtney were all by her side too! The therapist said they were amazed by her progress and resilience which was all down to Summer's attitude." Summer reflected: "While I still struggle with certain things like reading, I look back and think how have I done this? My walking now is near perfect and back to what it was and my memory is sometimes good and bad but I don't let my stroke stop me doing things." "My motto during my recovery has been, 'If I can't do it today, I'll do it tomorrow' and that's what I'll keep living by. " During her recuperation, Summer found immense comfort in the song "Proud Mary" – initially brought to life by the American rock ensemble Creedence Clearwater Revival back in 1969. It was, however, Tina Turner's rendition of the song that greatly aided her recovery journey. This month marks a crucial period as the Stroke Association urges individuals to lift their voices in solidarity, aiding stroke survivors who require essential support after the life-changing ordeal of a stroke. Spearheading the cause, they've unveiled Sing4Stroke, an innovative drive for fundraising. The initiative empowers people to sing in any setting they prefer – be it from the comfort of their homes, during a live stream, within office precincts, school premises, or while hosting a bespoke event – all with the aim of gathering indispensable funds to aid stroke survivors and their families. Professor Mark Tarrant, spearhead researcher from the University of Exeter, elaborated on the study findings: "Singing-based rehabilitation may have positive effects on both social confidence and wellbeing, providing social and emotional support for people with aphasia and their loved ones." Furthermore, Juliet Bouverie OBE, the CEO of the Stroke Association, commented: "There are now over 1.4 million stroke survivors in the UK, and this number is growing. The impact of a stroke can be completely life-altering. We believe everyone deserves to live the best life they can after a stroke but to do this, we need your support. "Singing can be a powerful tool in stroke recovery for those who experience communication difficulties. Because music and singing are processed in a different part of the brain to spoken language, some people with communication problems find that they can sing easily, even though speaking is difficult. "Now we need singers to show their support to stroke survivors and their families. If you're part of a choir or singing group, you could dedicate a song to stroke survivors and donate some of the proceeds. Children at school could vote for a song to prepare and come together to sing at a special assembly for Stroke Awareness Month. You could even hold a 'sponsored sing' and sing 31 songs in a row – one for every day in May to highlight Stroke Awareness Month. By taking part in Sing4Stroke, you'll help make a lasting difference to stroke survivors and their families." Every day in May, it's estimated by the charity that 240 individuals in the UK will confront the devastating effects of a stroke. This condition can leave survivors unable to move, see, speak, or even swallow. However, with resilience, determination and the right support, recovery is achievable. The Stroke Association stands as the sole charity in the UK offering lifelong assistance to all stroke survivors and their families. The organisation provides bespoke support to tens of thousands of stroke survivors annually, funds crucial stroke research, and advocates for the best care and support for everyone impacted by stroke. Linda praised her daughter's resilience, stating: "She is amazing, she goes to the gym twice a week. The gym and the music have played a huge part in her recovery. The experts actually don't know what caused the bleed on her brain. "The doctors did say 'you will get your daughter back in five years. It has not even been two yet, and she has been amazing."
