When a ballet opens with the line “no phones, no photos and no fighting. By order of the f*cking Peaky Blinders” you know you’re in for one hell of a night.
I have never really watched Peaky Blinders, and don't really know the stories or the characters, but this interpretation by Ballet Rambert, was spellbinding. Even if, like me, you've never seen the TV series, the story and characters come through the staging and movement. It is a wonderful interpretation.
From the familiar reverberating opening drum-beats and clanging, to the curtain call with the cast’s poses and attitude, and its standing ovation, this show is sensational.
The TV show’s creator Stephen Knight has worked alongside Rambert Dance Creative Director Benoit Swan Pouffer to bring Birmingham’s infamous gangsters to the stage. They describe it as “dance for people who didn’t like dance”, but looking around the audience at the New Theatre last night, I would say that it’s also a treat for those who do like their dance and ballet.
Ballet Rambert was formed in 1926 just as the Shelby's would have been at their peak - excuse the pun! They have always had a reputation for edgy but exceptional contemporary dance and this production excels.
The action starts explosively in the trenches of WW1 Flanders, as we see some of the backstory of the Shelby boys before their return to the metalworks of Birmingham. We see first hand their experiences of the trauma of war, and we hear narrator Benjamin Zephaniah tell us they are “dead, but still alive”.
The dancers are simply stunning to watch. Standouts are Connor Kerrigan as Tommy Shelby who is outstanding, particularly as his dark, troubled character makes his dissent into opium addiction; the stunning Simone Damburg-Würtz as Aunt Polly, who looks every bit as classy and dangerous as the wonderful late Helen McCrory; and Tommy’s wife Grace, Naya Lovell, whose death at the hands of widow Changretta, signals Tommy's world becoming more and more chaotic, as his grief becomes all consuming. But every member of this cast, and that includes the three onstage musicians, wrings every element out of their characters, and the audience is totally engaged throughout.
The chilling opening chords of Nick Cave and the Bad Seeds’ 'Red Right Hand' sounds out, and the audience is there. In fact, the music is as much a part of this production as the dance. It is a stunning mix of live played music, and pre recorded music, played alongside dialogue from Zephaniah and original lines from the TV show. It works really well.
Costume Designer Richard Gellar has captured the 1920s perfectly, and lighting Designer Natasha Chivers and set designer Moi Tran also recreate the look of the TV show.
Hats off (sorry!) to the wonderful front of house crew at the New Theatre who were decked out in peaky caps, flapper dresses, and pearls, and had gone to town in dressing the piano bar beautifully!
But it is the choreography and concept from both Steven Knight and Director Benoit Swan Pouffer, that make this show such a dazzling, dark, sexy, athletic, mesmerising show. And one not to be missed!
This show was reviewed on the 15th October 2024 at the New Theatre Oxford where it runs until the 19th October 2024. For details of the show please visit: Peaky Blinders: The Redemption of Thomas Shelby Tickets | New Theatre Oxford in Oxford | ATG Tickets
Review written by Ruth Hawkins
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Photo credit: Johan Persson
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