Month: October 2024

REVIEW: The Blue Man Group – Bluevolution Tour

Published on by Maria Mădălina IfrimLeave a comment

Rating: 4 out of 5.

Weird, blue and funny 

Attending “The Blue Man Group’s Bluevolution” tour is a truly unique and quirky experience—bizarre yet undeniably entertaining. The iconic trio, with their signature blue skin and mute personas, embark on a curious journey of discovery, delving into themes like the information age, modern plumbing, and the science of color perception. These ideas are woven together with rhythmic music numbers and circus-like antics, creating an intriguing juxtaposition that engages the senses in unexpected ways. 

However, while the show entertains, it also feels somewhat dated. Fans of “The Blue Man Group” will recognize many of their classic elements—their innovative use of plastic tubing as percussion instruments, abstract art performances, and even their zany mime-like clowning, which remains one of the strongest aspects of the show. Yet, there’s a sense that the production hasn’t fully evolved with the times. The absence of new material or musical guests makes it feel like a “greatest hits” compilation, padded out with filler. The spectacle, though visually impressive with dazzling stage effects, lacks the freshness that once made “The Blue Man Group” revolutionary.

One standout element of the show, however, is how brilliantly they handle latecomers—a refreshing break from the usual awkward interruptions. It’s perhaps the best and funniest method I’ve seen in any show, adding a touch of unexpected humor that had the audience in stitches.

Unfortunately, the “Bluevolution” tour feels like a cheaper, scaled-down version of the full-fledged “Blue Man Group” experience. It’s an afternoon well spent if you’re in the mood for surreal comedy and clever musical performances, but it’s hard to shake the feeling that the production is stuck in a time warp. It was probably groundbreaking 20 years ago, but now, it could use a serious update.

The anonymity of the performers, with no credits for the Blue Men themselves or the creative team behind the show, adds to the sense of mystery, though it might leave some viewers wanting more connection with the creators. Still, in their silence, the Blue Men prove to be some of the best clowns around, blending slapstick humour with modern art. It’s an unforgettable, if peculiar, experience—but perhaps not for all the right reasons. If you’re already a fan, you’ll enjoy revisiting their greatest moments; if you’re new to the world of “The Blue Man Group”, prepare for a fun, albeit somewhat dated, trip.

REVIEW: Girls Don’t Play Guitar

Published on by Heather DoquiatanLeave a comment

Rating: 4 out of 5.

This show, first staged in 2019, is maybe the most interesting theatre experience I’ve had all year. I’m not sure I’ve seen a show that more fundamentally felt like a story that needed to be told, with its medium being almost secondary.

This is not a play with especially high stakes or tension, but that’s not the point: the point is to convey – as far as I can see, as authentically as is possible – the story of four girls from Merseyside in the mid-60s, who carved out a place in musical history as the world’s first all-female rock’n’roll band.

The costumes are minimal, the cast rotating and proving to be equally talented as actors and musicians, and the stage is multi-use – amps become benches or sofas, and a well-placed apron denotes a change in character from lead singer to Mum. The static set is pleasingly chaotic: haphazardly piled TVs, amps and speakers frame the onstage instruments, with a gigantic brightly-lit guitar fret as the centrepiece. The music is all performed live on stage, and the first song is ‘filmed’ by turret-lens cameras and ‘broadcast’ in black and white on the onstage TV screens – these are used to great effect throughout the show, with particular mention to the ending’s poignant slideshow of the real life Liverbirds in their heyday.

I saw ‘Girls Don’t Play Guitars’ on its opening night, but there were no apparent first night jitters – the whole cast was seamlessly professional, flitting from role to role and instrument to instrument with ease. The majority of this musical is (surprise, surprise) the music, which had clearly been very well rehearsed by the very talented cast, who were pitch perfect throughout.

While the plot felt a little sparse or even rushed at times, the dedication to telling the story of Sylvia, Pam, Val and Mary and their meteoric rise to fame in mainland Europe is well-conveyed within the relative time constraints – the band never got the fame they deserved in the UK, and it’s especially wonderful and important to tell their story in their home country and, even better, their home city. Playwright Ian Salmon wrote this with input from the surviving members of The Liverbirds (who made a surprise cameo at last night’s performance, which I’m slightly embarrassed to say made me burst into tears), and it’s touching to know that their memories and stories are intertwined in the show’s every word and beat.

‘Girls Don’t Play Guitars’ runs at the Royal Court Theatre until October 26th, and it’s well worth a visit to hear the undertold story of Merseyside’s Liverbirds.

PEAKY BLINDERS by Knight, , Writer - Steven Knight, Choreographer and Director - Benoit Swan Pouffer, Music - Roman Gianarthur, Designer - Moi Tran, Lighting - Natasha Chivers, Costumes - Richard Gellar, Rambert, 2022, Credit: Johan Persson/

REVIEW: Peaky Blinders: Rambert

Published on by Claire McArthurLeave a comment

Rating: 3.5 out of 5.

Inventive and visually spectacular

The doors leading into Edinburgh’s Festival Theatre are papered with advice of being “under new management, by order of the Peaky Blinders”, and inside, staff are wearing the unmistakable flat cap uniform immortalised in the eponymous BBC drama series. The Redemption of Thomas Shelby, a stage adaptation by Rambert Dance, leans heavy on the appeal of the source material from the outset. 

Over the course of two acts, we’re introduced to Tommy Shelby (a dynamic Conor Kerrigan), and his Peaky Blinders, as they encounter the horrors of WW1, and their underground operations upon their return. Whilst Steven Knight’s story is heavily involved with the TV show, those new to the Shelbys would still find this enjoyable. For those familiar with the first series of the TV show, we’re given an slightly alternative version of events, at seemingly breakneck speed, where Tommy meets Grace (fittingly graceful Naya Lovell), in a jazz club, and she betrays him, and they marry, and she’s caught in the crossfire by an avenging widow. This act flies by, and whilst dancing is beautifully choreographed by Benoit Swan Pouffer, and performed, we lose a bit of the storytelling, particularly around Grace’s character and her motivation. The characterisation of Arthur (Dylan Tedaldi), Polly (a scene-stealing Simone Damberg Würtz) and Ada (Adél Bálint) also felt lacking in comparison to their screen counterparts.  

Act 2 follows Tommy in an opium fuelled grief, before a tragic end to another of the Shelbys and Tommy’s determination to continue. The There are some lovely repeated motifs throughout the show, such as the coin flips, to showcase Tommy’s decision making, but the abstract and gymnastically balletic opium dreams with Barney (Max Day) felt overlong, in comparison to the pace of the rest of the show.    

Throughout, the staging and lighting is almost cinematic in parts – at any chosen point, it feels like the dancers could be caught in a portrait worthy shot. Use of side lighting, coloured smoke, and almost stadium-esque lighting, adds to the allure of each scene. Playful touches such as the use of carousel horses to illustrate the race-rigging are a innovative notion, as well as the design of the stage itself. A raised horseshoe shaped stage, enclosing a square main stage, with a sizeable gap between the two, used to good effect by the dancers in their depictions of fight scenes, jazz club dancing, and even as a WW1 trench, and leapt across and beyond with agility.  

The band (comprised of musical director Yarron Engler, Joe Downard and Mitchel Emms) were a highlight of the performance, full of swagger, howling guitar riffs, combined with rock and grunge elements. Roman GianArthur’s compositions well befitting the gritty dark underbelly of the Shelby organisation – “Not My Gun”and “Hands to Myself” being personal favourites, along with the addition of curated additional tracks and the signature growly theme song, Nick Cave and the Bad Seed’s “Red Right Hand”. Having the band present at the back of the stage was a bold move, often in moody spotlight and added a sense of electricity to the live and recorded tracks, and having the full list of music credits in the programme is a welcome touch too.  

The use of intermittent narration from Jeremiah (the late Benjamin Zephaniah) provided valuable context to the performance, but whilst the sound in general was of high quality, although some of the voice over intercepts were a touch distorted (whether by intent or not) and that did hamper comprehension at times. It was also unclear why Tom Hardy’s Alfie Solomon was heard saying ‘I’ve heard very bad bad bad things about you Birmingham people” when this character didn’t appear in the show, but this wouldn’t be apparent if you hadn’t watched the show. 

Overall, this is a visually sublime performance, that aficionados of Peaky Blinders will enjoy, as well as newcomers. Given the constraints of time, it’s not possible to fit such a lore-rich show into a neat 2 acts, but I felt the storytelling was slightly too shallow in order to fit so much in, and the accomplished performances from those on stage deserved something a little deeper to work with. Notwithstanding, the impact of the staging and the performance is something to celebrate.    

Rambert Dance in Peaky Blinders: The Redemption of Thomas Shelby is playing in Edinburgh from 01 – 05 October 

In Conversation with Chris Cuming

Published on by Tabitha James1 Comment

We sat down with Chris Cuming, Artistic Director of National Youth Musical Theatre ahead of their relaunch on 21st October. It coincides with the PLATFORM project performance which is designed to provide young artists with a prolonged opportunity to both showcase their talents and express their unique artistic identities.

As NYMT approaches its 50th anniversary, how do you envision the future of the organisation, and what are the key priorities you’re focusing on in this new chapter? 

NYMT prides itself on being ‘in tune’ with our young company members. We are guided by them and their aspirations. They tell us that NYMT offers them a positive, enjoyable opportunity to do what they love. However, in recent years, they have started to explain that their experiences with us also allow them to benefit from the best pre-professional training they can get because they work with industry professionals.  We are therefore becoming more focused on giving them the tools and insights into an industry that is complex to navigate. We are also clear that NYMT is leading the leading the industry and not following it. 

With the relaunch and the reveal of the new branding, how does this fresh identity reflect the evolution of NYMT and its mission to support young talent in musical theatre? 

The new branding better reflects the energy of our Young Company Members. It is vibrant and dynamic, but still reflects a professional image. We have also emphasised the word “youth” because that’s at the heart of what we are all about.

NYMT has a legacy of shaping the careers of many successful artists, some of whom are here today. How do you feel the PLATFORM project continues this tradition, and what excites you most about its impact on young performers?  

PLATFORM allows our older, Young Company Members to take that next step into the industry. It not only gives them a voice in the creation of the work but also builds the wider skills of being part of a company, seeing the project through from inception to public performance. 

Given that NYMT has historically focused on actors and musicians, are there any new or expanded areas of training and development that the organisation will be exploring in the coming years? 

Yes, this is a key and very exciting part of NYMT’s future. Nurturing our musicians and actors will always be a big part, but developing our creative and production pathways is a major focus for us. Giving young directors, designers, choreographers, costume makers, lighting and sound designers, musical directors and stage managers more opportunities to have courses but also practical experience is much needed. We’re also very proud to now offer courses for young writers. 

How important do you think it is for organisations like NYMT to provide a space for young artists to express their unique artistic identities, and how does NYMT ensure that individuality is nurtured in its programs? 

NYMT celebrates and encourages our Young Company Members to be themselves. We don’t audition for productions we audition to appraise a Young Company Member’s potential at that moment in time. We match that potential to an opportunity that will allow them to progress and develop in their unique context.  Our Young Company Members enjoy meeting and working with other like minded people, which allows them to feel a strong sense of belonging and confidence.

REVIEW: One Small Step

Published on by Ben BreenLeave a comment

Rating: 3 out of 5.

A thoroughly modern morality play

It’s predicted that approximately 1,000 humans will be living on the Moon by 2040, with another 10,000 regularly commuting back and forth. Ostensibly, One Small Step is about this speculative leap towards establishing a moonbase. In reality, however, this is just the backdrop to a much more grounded and human story about pregnancy, sexism and exactly who deserves a say in an unborn child’s life.

The action unfolds over a single day in the near-future, with Scientist couple Narumi (Susan Momoko Hingley) and Takashi (Mark Takeshi Ota) awaiting a conference call with their colleagues already on the moon. When this meeting is delayed, Narumi reveals something she had been saving for after work: she’s pregnant. The couple’s plans to join their colleagues on the moon are thrown into jeopardy, setting up the moral debate at the heart of One Small Step: “I think we need to decide what we’re willing to give up”.

The resulting discussion shifts between argument and debate, not pulling any punches. Both Narumi and Takashi speak bluntly, lending a brutality to their exchanges: “To give birth or not to give birth? Baby or no baby?”. Initially, this stilted delivery makes it difficult to connect with the characters or their relationship, but when emotions do break in, they’re all the more powerful for their rarity.

Bolstering this difficulty connecting with the characters is the fact that each is quite unlikeable. Narume has a tendency towards neuroticism, and frequently derails concrete discussions by seeking out hypothetical problems. Takashi is guarded and distant, but then arbitrarily seizes control of a situation without checking if everyone is on board.

The script, whilst thought-provoking, doesn’t help the audience root for the relationship either. An interesting and characterful conversation about artificial sunlight on a moonbase – should it simulate day/night cycles? Does it need to look like the sun? – feels out of place, languishing in the middle of the story instead of serving as an introduction to the characters and their interests. As a result, much of the audience’s enjoyment is intellectual rather than emotional.

This discordance extends to the show’s staging. Performed in the round, a raised wall separates the audience from the performers, while two cameras project live footage above the set, adding another layer of distance. Although live video has become a popular device on the West End this year, it is used effectively here. Shots often linger on intimate close-ups to reveal a nuanced facial expression, and at one point a key object is revealed solely through one of the screens.

The best science fiction often uses a fantastical premise to explore universal human experiences, and One Small Step seems to have taken this message to heart, focusing heavily on the humanity at the expense of the excitement of its setting. This feels like a missed opportunity, although things do come together as developments on the moon nudge the couple toward their final decision: “I’ll still regret it, but it’s better this way”.

Audiences lured by marketing emphasising the science fiction are in for an unpleasant surprise. But for someone who knows what they’re getting into – a thoughtful duologue grappling with complex issues – One Small Step is a compelling and nuanced story which engages with an important political topic in a novel way.

One Small Step plays at the Charing Cross Theatre until 9th October, with Wednesday and Saturday matinees. Tickets can be purchased here.

REVIEW: Chicos Mambo: TUTU

Published on by chelseajinaLeave a comment

Rating: 5 out of 5.

Giddy, absurd, grounded, Chico Mambo’s TUTU is everything you didn’t know you needed

The dance world has a propensity to take itself perhaps a little too seriously. A typically stoic art form, whether it be ballet, contemporary, modern, or Graham, we revel in the sombre beauty of dance. While musical theatre itself succeeds in drawing out the joyful silliness of dance, through tap, Fosse, and so forth, more classical styles still find themselves wary of humour. TUTU arrives to turn this notion on its head. 

Choreography and artistic direction by the ingenious Philippe Lafeuille, TUTU revels in the unexpected. The production features a group of expressly male presenting dancers, clad in dancewear typically associated with female dancers. The show cycles through a variety of dances, each referencing a specific dance style. Each dance packs its own surprise; at no point could one anticipate what comes next. The dances are both choreographically beautiful and performed with insatiable skill, while also being genuinely funny. The dancers expertly mix slapstick humour with technical excellence, astonishing the audience with their multifaceted performance. The performers extend beyond the typical expectations of their chosen artform – they are comedians, actors, characters of note, all packaged within dance. To reveal much more would be to inhibit the delightful surprise that awaits any TUTU audience member.  

While silliness may be at the crux of this production, the overarching messaging brims with thematic groundedness. Gender socialisation, masculinity and its potentially toxic ideations, and the perception of male dancers by the public are among the themes that drive the production forward. This is especially relevant in the dance world. Professional dance, ballet in particular, traditionally abides by very strict and specific rules of gender. Men do not dance en pointe. Men and women wear very specific costumes, and men would most certainly not wear tutus. TUTU references and subverts these norms, disrupting the conventions of the Western dance industry. This act is not only accomplished through absurd humour, but additionally highlights how absurd these very conventions are. In TUTU, men dance en pointe, both with elegant precision and wincing in exaggerated pain. In TUTU, partners are not gendered, and roles ascribed to specific genders are not abided by. In TUTU, costumes surprise and delight, pushing back against socialisation. TUTU thematically achieves so much in a mere hour and twenty minutes, leaving an audience not only amused and delighted, but perhaps imbued with a new perspective. When you leave the Peacock Theatre, TUTU remains within you. You have been “TUTU-fied.”

REVIEW: Chitty Chitty Bang Bang

Published on by kizzydvdsnLeave a comment

Rating: 4.5 out of 5.

A fabulous night of flawless dancing and flying cars. You won’t want to miss it

The cast of ‘Chitty Chitty Bang Bang’ UK tour are performing at the New Theatre Oxford from the 2nd – 6th of October. I was lucky enough to be invited along to the Press Night and what a show it was! Huge ensemble numbers, fabulous costumes and brilliant comedic timing. The show tells the story of Caractacus Potts, an inventor, who is forced to raise money to afford to make his inventions such as “Toot Sweets” and “Chitty Chitty Bang Bang”. It all takes a turn when the Vulgarians try to steal Chitty and the Child Catcher tries to capture Caractacus Pott’s children, Jeremy and Jemima. Will Chitty Chitty Bang Bang be able to save them? I loved this show, it was so bright and fun with lots of memorable tunes and a fantastic audience to accompany it.

“Toot Sweets” was the first large ensemble number with complex dancing it was flawless and the main ensemble partner work was inspiring to watch. The costumes were pink and white and the lights matched the colour of the costumes which worked really effectively and created a really immersive experience. Lots of the songs in the show were very uplifting and joyful but ‘Hushabye Mountain’ was a beautiful contrast to the rest of the numbers. It was soft and sung by Callum Train who played Caractacus Potts. His vibrato was clean and his tone work well with the song.

Charlie McGuire and Isabella Manning who played Jeremy and Jemima Potts were extremely talented and both have bright futures ahead of them. Their acting was truthful and they were a force to be reckoned with as a duo. They conveyed such a strong, lovable sibling bond which was lovely to watch and at song a young age they had powerful voices that commanded the stage completely. The set changes were smooth and incredibly clever, as the set was simple and consisted of boxes that moved around the stage to create different locations. The car was such a mesmerizing thing to watch, I was baffled by how they could make it fly on stage. The backstage team for costumes, set, props and lighting outdid themselves in so many amazing ways. It really created a spectacle.

The children’s chorus were brilliant and ‘Teamwork’ was such a heartwarming song filled with so much power and enthusiasm by the kids. Their voices worked so well together and had obviously worked extremely hard on their performances ready for the show as there was no faults.

Overall, this show was a really lovely show aimed at a younger audience. The quality wasn’t any less because of it and it was still was an insanely talented cast. I had a fabulous night watching flawless dancers and flying cars.

In Conversation with Suzann McLean

Published on by Tabitha JamesLeave a comment

We sat down with Suzann McLean MBE CEO/Artistic Director Theatre Peckham to discuss Theatre Peckham’s Young, Gifted & Black season.

The theme of this year’s Young, Gifted & Black season is “Reclaiming Narratives” in alignment with UK Black History Month. What inspired this particular focus, and how do you feel it resonates with Theatre Peckham’s ongoing mission?

The theme this year is inspired by the urgent need to recognise and correct the narratives surrounding Black history and culture. It’s an opportunity to amplify the voices of unsung heroes from the Black community whose contributions have often been overlooked.

This focus resonates deeply with Theatre Peckham’s mission to advance education through the promotion of the performing arts and build an inclusive society. For too long, narratives about our identities and achievements have been shaped by those who don’t share our lived experiences. This year’s theme is a powerful call to action, encouraging us to assert our identities, reclaim our stories, and challenge the stereotypes imposed upon us. 

During Young, Gifted & Black our community can engage in meaningful discussions about identity, representation, and social justice whilst celebrating Black British brilliance on stage at Theatre Peckham.

The season opens with the Roots and Riddim event by Young Producers to launch Theatre Peckham’s heritage exhibition, why was it chosen to kick things off?

Roots and Riddim beautifully champions heritage and legacy. As we prepare for our 40th anniversary in 2026, we wanted to launch Young, Gifted and Black with a special look at how our Theatre Peckham community has evolved over the years.

The event features an installation by artist Tara Fatehi, which responds to both archival materials and the oral histories that we have collected over the past 6 months. The installation will allow audiences to learn more about the people who have influenced what Theatre Peckham is today.

One of the highlights of the Roots and Riddim event is the inclusion of clips from the film Hard to Let, created back in 1984 when we were still known as New Peckham Varieties. This film is a powerful reminder of the importance of giving voice to those who have been historically marginalised. It emerged from the experiences of women in the Sumner Women’s Drama Workshop, and it highlights their stories of struggle and resilience.

Our group of Young Producers have really taken the lead with this Roots and Riddim event. It sets a tone of empowerment and connection to our past. There will be amazing poetry, music and good vibes. Plus, there will be free food for early arrivers, so what’s not to love!

You’ve highlighted the importance of amplifying the voices of young Black creators and performers. How do you ensure that Theatre Peckham remains a platform for underrepresented stories in today’s rapidly evolving cultural landscape?

There is a lot of protective work that we do to ensure that Theatre Peckham continues to platform underrepresented stories. We actively prioritise diversity in our programming and outreach efforts and in the case of Young, Gifted and Black it’s all about lifting up the voices of young Black creators and making sure underrepresented stories shine. 

Our Young Producers programme is a fantastic way to tackle the lack of Black arts producers. Similarly, with Lara and Joshua engaged as co-producers of the season they gain invaluable leadership experience to lead and shape narratives that reflect their lives. By ensuring that the individuals producing artistic experiences share these contexts with the artists, we instil a sense of safety, legitimacy, and belonging for everyone involved.

The relationship with our community is integral to staying relevant and we maintain an open culture that values ideas and welcomes fresh perspective. Through all these efforts, Theatre Peckham remains a venue that champions diversity every step of the way. 

The collaboration between young co-producers Lara Grace Ilori and Joshua Aketse-Entsie is a key part of this season. How do their personal backgrounds and artistic visions enhance the season, and what does their partnership signify for the future of Black theatre in the UK?

At Theatre Peckham, we are dedicated to giving young creatives the opportunity and support they need to lead and succeed in the arts. The collaboration between co-producers Lara and Joshua is a shining example of this commitment. They are both alumni of the Poetic Relief Cultural Leaders Project – a partnership between Poetic Unity, Black Cultural Archives, and Theatre Peckham, and are responsible for liaising with artists and ensuring community engagement.

Lara, an actor and writer from South London with Nigerian heritage, is passionate about storytelling that reflects African diaspora experiences. She is the co-founder of creative laboratory ILXIAH – home to live performance events and private creative forums. 

Joshua, with his Ghanaian and Swedish roots, infuses our season with fresh, dynamic energy. His innovative approach to theatre, such as producing the sold-out play Brother’s Keeper, highlights his dedication to pushing boundaries and championing diverse voices.

Their partnership signifies a hopeful future for Black theatre in the UK, serving as an inspiring model for other young creatives. By working together, Lara and Joshua are laying the foundation for a sustainable future where diverse creatives can thrive.

In your view, what impact do you hope this year’s season will have on both the performers involved and the wider community, particularly in terms of sparking conversations and reclaiming Black British stories?

I hope this year’s Young, Gifted & Black will see Black creatives take pride and ownership over their stories, celebrate their cultural experiences, and connect with the audiences they engage. 

Each play/event has the power to provoke critical conversations about identity, representation, and the ongoing struggle for equality. Corey Bovell’s 32 Peak Street humorously navigates the challenges of millennial life, prompting discussions about economic disparities and housing issues. The Immortal Henrietta Lacks, directed by Larry Coke, confronts the ethics of medical exploitation and highlights the contributions of Black women in science, demanding recognition and accountability.

Our Scratch Night will serve as a platform for emerging Black artists to explore innovative and boundary-pushing work. None of The Clocks Work focuses on collective responsibility, calling for reform of societal systems affecting social care and criminal justice. The Poetry Foyer: Black Panthers Edition celebrates the legacy of the Black Panther Party, encouraging a dialogue on the importance of activism and community empowerment.

Alison Ray Dance Company’s The Unknown Soldier intertwines performance and history to honour the unsung contributions of Black people during wartime, while Cleopatra’s Antony, directed by Mo Korede, challenges colonial narratives and explores themes of decolonization, identity, and empowerment.

My aspiration is to have a season that is more than just entertainment. I want to leave a legacy for Theatre Peckham, reinforcing our commitment to a society where everyone can participate in, lead, work in, and enjoy creativity and culture. This season is a significant step toward inclusive arts sector for generations to come.

PEAKY BLINDERS by Knight, , Writer - Steven Knight, Choreographer and Director - Benoit Swan Pouffer, Music - Roman Gianarthur, Designer - Moi Tran, Lighting - Natasha Chivers, Costumes - Richard Gellar, Rambert, 2022, Credit: Johan Persson/

In Conversation with Simone Damberg-Würtz

Published on by Tabitha JamesLeave a comment

Rambert presents Peaky Blinders: The Redemption of Thomas Shelby at Festival Theatre from 1 October – 5 October, as part of the company’s UK and International tour.

Rambert dancer Simone Damberg-Würtz talks about performing in the daring and dynamic show, and embodying Peaky Blinder’s Polly Gray. Simone Damberg-Würtz is a dancer with Rambert. Rambert’s Peaky Blinders: The Redemption of Thomas Shelby written by Steven Knight with choreography and direction by Benoit Swan Pouffer is currently on tour across the UK, ahead of it International premieres and future touring. For information and dates visit:
https://peakyblindersdance.com/

As a dancer at your level of your professional career, what has it been like to bring such an iconic story like “Peaky Blinders” to life through dance, and how does this experience differ from more traditional ballet or contemporary performances?

As a dancer, it has been quite special; from the first moment in the studio where we didn’t know what to expect, to our current return tour across the UK.

On a personal level, I am a fan of the TV Show and was always enamoured by Polly. She was my favourite character so to be able to bring her to the stage, and find out how she moves, has been very interesting. Sometimes I am completely embodied by her as a character because she is so powerful. This can be quite physically demanding, but I do really enjoy dancing in her role.

With Peaky Blinders: The Redemption of Thomas Shelby, the big difference in comparison to contemporary performances is that we had to learn so many new skills. From acting to dancing, fighting to performing in heels and with props such as carousel horses. The set is like nothing I have danced on before so it’s been a whole new world to learn about.

The difference also come in the audiences. I love that people get dressed up in full Peaky gear. It’s amazing and I love it!

Peaky Blinders: The Redemption of Thomas Shelby weaves together dance, drama, and a live band with a powerful soundtrack. How has performing alongside live music and the intense energy of the Peaky tracks influenced your performance on stage?

To have Yaron (drums), Mitch (singer, piano, guitar) and Joe (bass and cello) on stage with us is amazing, as we riff on each other’s energy. Dancers are fuelled by the music they are performing to so it energises us in that way.

Sometimes I just want to stop and turn around to watch and listen to the band as it’s like being at a rock concert. It can be angry, loud and soft so it feels very Rock n Roll in that way for me.

The story explores complex emotions, from Tommy’s personal battles to heartache and revenge. How do you approach expressing such deep and layered emotions through your movements as a dancer?

There are indeed lots of layers of emotion in the show – from love, heartache, family love, family feuds, power, grief and loss.

The choreography that Benoit Swan Pouffer (Rambert’s Artistic Director and the Choreographer / Director for Peaky Blinders: The Redemption of Thomas Shelby) has created is great, and the Acting Coaching we received helped us to further convey the emotions and the storyline through the dance and movement.

The music helps us to find the various states of mind as well.

Working under the direction of Benoit Swan Pouffer and bringing Steven Knight’s vision to life must be an exciting challenge. What has been the most rewarding part of collaborating with such a talented creative team on this production?

The show as a whole has been extremely rewarding. It may sound cheesy but getting to work with both Benoit and Steven, and the full creative team, has been very empowering and liberating because we have learnt so many new skills. I think it has allowed me to learn a lot about myself as a performer and a person.

Our work and collaboration is what makes the show, so it’s rewarding when it all comes to together to form the performance. It’s also very rewarding getting to play Polly and embody such a strong female character on stage.

What’s more? The audiences are fantastic. They aren’t solely dance audiences but they may be Peaky fans too, so it’s great to meet people who may not have connected with theatre beforehand.

For many fans of “Peaky Blinders,” this adaptation offers new insights and plot details never shown on screen. How do you think the dance production adds to the Peaky Blinders story, and what do you hope audiences take away from seeing this unique adaptation?

I think it adds more layers. I always find when I have watched a TV series or read a book I find myself wondering what happens next, or what would happen if that option was available.

I think this offers some of that to the audience, and I hope they enjoy our show and being brought into the world we have created.

In Conversation with Jamie Eastlake

Published on by Tabitha JamesLeave a comment

We sat down with theatre director Jamie Eastlake, whose journey in theatre hasn’t seen a simple upward trajectory, with loss, debt and having had to work multiple jobs including fixing boilers just to see his theatre dreams come to fruition..

Jamie founded The Laurels in Whiteley Bay (the only producing house in North Tyneside). It’s first in-house production, Gerry & Sewell, opened to acclaim, and is now coming to Newcastle’s Theatre Royal this October, who have joined Jamie as co-producers, recognising Jamie’s work and this exciting new adaptation.

  1. Your journey to establishing yourself in theatre has been anything but conventional, including facing bankruptcy and working multiple jobs. How have those experiences shaped your approach to theatre and storytelling, particularly in a traditionally inaccessible industry?

I’m a massive advocate for artists living before they start making work. Or living as they are making work. Working class creatives have a necessity to have to live to survive while making work, and that’s why the stories they tell feel as rich as they do and have a whole load of heart. I’ve had a ridiculous number of jobs since I was a teenager, and have had the joy of being able to meet and work with a stack of different people from different places. The amount of young people I meet who come from privileged backgrounds who want to “change the world” with their work whilst not really knowing about the world is astonishing. I sound like an old man saying this! But there’s a reason why some parts of society can’t engage with bigger issues – because they have big issues closer to home to them. I think that’s an issue right now. Everything is so polarised and black and white and there’s little conversation about the complexity of this. It’s a cliché, but if you haven’t walked in someone else’s shoes, how do you know how they would feel? I weirdly feel privileged about the fact I come from my background. I’ve had setbacks and struggles, and it has given me clarity in the stories I want to tell. It’s also made me hard as nails when taking rejection and knowing I’m not owed anything. Nobody is. It’s an utter privilege to work in this industry. (Hence why the privileged majority get to the top quicker than the rest of us.) 

  1. Theatre N16 had a profound impact on the arts community, programming 300 new pieces of work. What drove your decision to create a space with no hire fees and full support for emerging artists, and how do you see that ethos continuing with your work at The Laurels?

It really came from how difficult it was to get a starting point, having anything staged on the fringe. So many fringe theatres – that were no frills – either were charging ludicrous hires or had guarantees which meant people like myself and others just couldn’t get in. The risk was all on the artists. So, at the time with youthful 20-something energy, I thought I could cut these costs for the artists by taking on risk myself. Looking back, it was shortsighted and foolishly ambitious and definitely led to me having health issues – but still it was all worth it. It led to so much brilliant work getting seen which would have just disappeared. Laurels is similar in the sense we are trying to break down barriers for class again, but the model is different this time. We are trying to find pots of money to give to artists no matter if a show sells to get them seen and heard. It’s then about saying “go and have some ambition and aim for the stars”. The risk is mitigated this time, with us having a full nighttime operation, but that comes with its own stresses. The nighttime operation is linked with the theatre, to try and coerce people who’ve had a dance on a night out with their pals to stumble into a black box space and see some magic play out. 

  1. The loss of your business partner Richard Jenkinson was a pivotal moment in both your personal and professional life. How did that tragedy, along with the financial challenges you faced, influence your resilience and your vision for theatre moving forward?

It made me take a long long look at myself. I won’t beat around the bush, it really did nearly kill me. It was a culmination of things. Theatre N16 lost a lease with very little notice at the same time Richard was poorly and my mental health was really struggling. Everything happened over a very short period and left me with a stack of debt. The company I had set up to help theatre artists was owing money to theatre artists. It really swallowed me up at the start, but it was either fight or flight and I chose fight. I knew if I had to bankrupt myself, I would never work in the industry again and all of the hard work would be tarnished. So I did what I was taught – I worked stacks of jobs, in an Italian restaurant, selling boilers and then running the bar at the local golf club. I paid it all off and it was the biggest relief ever. Then, during the pandemic, I decided to open a tapas bar with a small stage to try and start mounting theatre work on a very small scale with more solid revenue streams. This eventually became the business plan that became Laurels. Now, we have work being made with national organisations, a stack of artists who’ve been supported and a scheme under Richard’s name giving out £20k in cash a year to theatre makers. I think to sum it up I can say “my best work comes from adversity”. Both off and on stage. 

  1. Gerry and Sewell has already gained acclaim and is now set to open at the Theatre Royal Newcastle. What inspired you to bring this particular story to the stage, and how has your personal journey informed the direction and production of the play?

I wanted to adapt the novel back when I was in London running Theatre N16 but the rights weren’t available, so it made sense when they did to use it as Laurels’ first full production. Reiterating again, I think the fact that I had more life experience meant I had a better understanding and clarity of how I would do it this time. The backdrop of the piece is football and Newcastle United which was my first love. However, it is really about a couple of lads from nowt chasing a dream. It really echoes my own story and I think that’s why I love it so much and have such a bond with it. I can’t thank Jonathan Tulloch, who wrote the novel, enough for trusting me with his characters. And I can’t thank enough the audiences and theatres who have taken the punt on getting it to where it is now. Going from near bankruptcy to a number one stage in five years feels incredibly special and, again, is an utter privilege. Stories like Gerry and Sewell’s very rarely get on these big stages. Being a Geordie is hard enough to be seen in theatreland, but being poor as well? It’s very rare. I hope it acts as a bit of a lightbulb moment for artists in the region and other similar regions to begin to say out loud that their stories deserve to be told on these stages.

  1. You’ve been vocal about wanting to make the arts more accessible to working-class communities. What steps are you taking at Laurels and in your broader career to break down the barriers that often prevent people from entering or engaging with the theatre world?

Firstly, cash and space. They are the two main factors that hold artists back (obviously). It does feel tougher than ever right now to be a theatremaker, with so many artists going for the same pots. We’re trying a bit of a dual method – to find commercial support at the same time as support from trusts and foundations. We’ve done lots of good stuff so far, but want to do so much more. It’s obviously a daily battle to keep the lights on, and at the same time, find the means of support for the artists. The other thing is trying to instill a bit of a mindset change with artists and companies. This is again two-fold. First is this really heavy narrative going on that it’s artists versus organisations right now. I think artists need to have a better understanding of how a lot of organisations are genuinely run by artists, and that everyone is in the same boat. Once this has been communicated, I think better partnerships can be built and venues can work side by side with artists and other companies. But this is more of an education strand: artists make art and don’t necessarily know the ‘business’. We are currently working on how we can train individuals and make this more apparent. A full-time rep is being discussed, which is my dream for Laurels: a real old-school, warts-and-all one where the company members do every aspect of what the building has to do to survive. But we will wait and see if we can figure that out. The other strand is being bold on ambition. I’m still working out if this is a class thing or a regional thing very apparent in the Northeast. I want us to change our tactics, and instead of aiming for mid-scale, aim our work for bigger stages. When you’re beaten down, whether that be because of your call or geography, no wonder you don’t want to reach for the stars. But we want to change that completely. I said on the opening of Laurels that I promise within 10 years, a show you had seen on its stages would be in the West End. Gerry and Sewell is on a number one stage in three years, and we have plenty more where that came from.

I’m bored of seeing middle class whinging being played out in every theatre. The time for our voices is now. And we’ll be as loud as we are at the footy on them. We will spend more money on your bars that will in turn support the artists. Or that’s the plan, in black and white.