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Tag: Birmingham Rep

All the latest breaking news on the Birmingham Rep. Browse The THEGAYUK’s complete collection of features and commentary on the Birmingham Rep and the LGBT+ community.

  • THEATRE REVIEW | The Wizard Of Oz, Birmingham Rep

    ★★★★★ |The Wizard Of Oz, Birmingham Rep

    • a marvel spectacle matching the West End

    This seriously was the most fun I’ve had at a theatre for a long time. My jaw dropped countless times at the set, costumes, effects and the talent of the ensemble. The Wizard of Oz by Frank Baum, with music and lyrics by Harold Arlen and E Y Harburg, is a story that has been part of every generation, and The Rep pulled out all the stops with this gem.

    From the start, you were gripped by Dorothy’s plight, and we highly sympathised with her not wanting to give such a cute dog away. The first scenes, our hearts melted with the use of a real dog who just looked adorable as the scenes moved and swished around him. Chisara Agor played Dorothy with much sweetness and love, making for a very heart-wrenching story live on stage. Chisara was very dexterous with her singing and movement abilities; it made for an unstoppable watch.

    The three main characters, Scarecrow (Ed Wade), Tin Man (Dillon Scott-Lewis) and Lion (Kelly Agbowu) were surreally brilliant; sublime in their characterisation. Other than the original film, their portrayal was my favourite, and I felt like a kid again. I was a little nervous that the show may have been more for children, but every generation was in awe and drawn in with the magic and illusion. Ed was superb as the scarecrow with mannerisms being truly identical to the film, but with his own twist, rolling around and walking differently. Dillon was a movement mastermind. His dance ability resulted in a masterpiece performance of Tin Man – the way he walked and moved was an eye-popping effect on its own. I would watch it again purely to watch Dillon as Tin Man. Lion, played by Kelly, though lacking in courage, had vocal chords of an Angel, seriously what a voice! I can see why Lion had many songs as Kelly‘s voice was heavenly.

    The set, designed by Angela Davies, was honestly spectacular. I have seen many shows now, but this show really made me feel like it was my first time experiencing new wonders. I can’t imagine how excited the children must have been in the audience.

    The character of Oz was incredible – a massive head with eyes and mouth that moved as Oz spoke, and it made to appear like it was a real giant’s head. This was worth the wait.

    The highlight of the show for me was the Munchkin dance when Dorothy arrives into the land of Oz and crushes the Wicked Witch of the East. The puppets, designed by Samuel Wyer, together with performers puppeteering them, dazzled the audience, and I just kept hearing ‘wow’ and ‘oh my god’ from all around me. The detail of the characters and the versatile movement of each character was a stroke of genius. I could watch that routine over and over again.

    Never have I wanted to recommend a show as much as The Birmingham Rep’s The Wizard of Oz.

    Running: 24 November – 13 January

  • THEATRE REVIEW | The Lovely Bones – The Birmingham Rep

    ★★★★☆ | The Lovely Bones

    – a chilling and sombre affair

    A lot of people celebrated Halloween dressed up in fancy and harrowing costumes while others chose to visit The Birmingham Rep to watch The Lovely Bones adapted by Bryony Lavery.

    This production was a visual marvel with versatile, complex sets and effects that made you jump. It was 1 hour and 45 minutes long without an interval, so you were drawn to the story and scarcely had a chance to breathe.

    Based on the novel by Alice Seabold, it depicted well the account by Susie Salmon as a ghost, and the frustration of the book though the intensity of the book was way more gripping. Adapting a novel with nail-biting tension and translate it to the stage was always going to be a big ask. This play, however, did a great job with multi scenes going on at once which helped cancel out really drawn out scenes which can happen when an adaptation is too literal.

    Charlotte Beaumont played Susie and she was very believable. Her growing anger and annoyance were superbly achieved. Mr Harvey played by Keith Dunphy was exactly how you would imagine him to be in the book, said my friend. His voice and slow movement made for a very sinister character – the audience felt on edge whenever he appeared on stage as he was getting away with murder, literally. Jack Salmon played by Jack Sandle was very captivating with his passionate and energetic portrayal. Karan Gill was a dexterous multi-part player and was brilliant at playing Holiday, having the whole auditorium in stitches with embodying typical characteristics of a dog. Abigail Salmon player by Emily Bevan performed her last speech with emotion and sincerity, but there was some inconsistency with emotion when finding out about her daughter, or it was perhaps the very fast changes of time that did not allow for Abigail’s grief to be fully explored. Pete Ashmore played Detective Fenerman, and he was brilliant in this role really adding to the frustration of the unsolved murder. As a teenager, it was not as convincing, for his voice was too mature. I struggled to imagine him as Lindsey Salmon’s boyfriend. Susan Bovell brought out the comedy in this dark story with her bad-mother act and stirring issues within the family. Her portrayal of Lynn was a great fete.

    The set, designed by Ana Inés Jabares-Pita, really was the highlight for me with chalk becoming luminescent and the ingenious mirror effect, so it looked as though Susie was looking down from heaven as the scenes unfolded.

    Running: 30 October – 10 November 2018

  • THEATRE REVIEW | The Messiah, Birmingham Rep

    ★★★★☆ | The Messiah, Birmingham Rep

    a naughty nativity that goes wrong\

    Hugh Dennis, John Marquez and Lesley Garrett present a hilarious version of the birth of baby Jesus with pleasurable modern references. The Messiah by Patrick Barlow gave Birmingham a night of gut-busting entertainment. The comedy and writing was really intelligent and versatile for the audience age-range – fantastic!

    The premise is a small theatre company puts on a nativity play, but the two main characters Maurice Rose (Hugh Dennis) and Ronald Bream (John Marquez) break out of character to deal with personal issues and have a full-blown domestic.

    Hugh was very clever with his comedy, the jokes landed, and his contrast to John’s foolish character, was sublime. The dryness of Hugh’s humour complemented his character perfectly. The tremendous energy of multi-part playing was very captivating.

    John Marquez was one of the funniest actors I have seen this year. His role as Mary was comedy genius; every time he put the cloth over his head the audience went wild with laughter, and every word he spoke was mirthful. Even though each character had very similar traits, John’s natural flair made each one comedy magic.

    Lesley Garrett was amazing with her heavenly vocals interluding between the madness of the two other characters. Lesley added a new layer of comedy singing when she wanted to and interrupting scenes with Hugh and John. It was incredible to see Lesley live like that.

    The Messiah is certainly a feast for the ears and eyes. Through revolving stages, versatile props and clever lighting, as well as the comedy mastery of Hugh and John, and with angelic Lesley, this show is one worth watching time and time again.

    Running: 18-27 October

  • THEATRE REVIEW | All You Need Is LSD, Birmingham Rep

    ★★★★☆ | All You Need Is LSD

    A bonkers performance by the cast of Told by an Idiot and the Birmingham Rep. I am not sure how to describe this show, other than trippy?

    It was a historical, educational, thought-provoking play through deranged comedy and insane multi-part playing, with hallucinogenic elements.

    Turns out that LSD is the least dangerous form of abuse with alcohol being number 1, so you can imagine that this performance was a socialist fete where politics around drugs took a lead role. The constant changing of characters with accents and costumes was formidable, a very dextrous cast. Especially, Jack Hunter who must have spoken with the greatest number of accents, that I was not sure what Jack’s native accent was. George Potts was insanely brilliant, with effervescent energy with speech, movement and action – playing Doctor Who was genius, and that was when this show really picked up. Even though I am not a Doctor Who fan, it was great to see the portrayal by George. Annie Fitzmaurice played the author Leo Butler with such relish that when she spoke it was just comedy gold. My favourite line was: “If tripping off your tits is a sin, let him cast the first stone.”

    Sophie Mercell did a great job at playing Dr Hoffman the creator of LSD, who happened to come about it by accident. Her Helen Mirren impersonation was outstanding too.

    What was really fresh about this production was the gender-neutral casting, almost intentionally the opposite – dad was played by a female actor and mother played by male actor, and so on. It was great to delve deep into your imagination to see this as a possibility and it was a great achievement.

    I’ve never done hard drugs, but this was a very good sell – my plus one had actually tried LSD and said it was very relatable what he saw on stage.

    All You Need Is LSD plays at the Birmingham Rep

  • THEATRE REVIEW | Rebus: Long Shadows

    THEATRE REVIEW | Rebus: Long Shadows

    ★★★☆☆ | Rebus: Long Shadows

    Ian Rankin’s novel series came alive on stage via the adaptation of Rona Munro. It was an atmospheric and sombre affair.

    Rankin’s novels first featured the character of John Rebus in Knots & Crosses where he was merely 40 years old, and he grew older, bitter and more cynical as his life progressed in the subsequent novels, Black and Blue, Exit Music, In A House Of Lies, etc. Putting Rebus on stage was not Ian’s original conception but a fan of his books, producer Daniel Schumann’s. Ian chose Rona as he wanted her take on this robust and clout-packed character.

    Not an adaptation of any of the 19 novels, Rebus – Long Shadows is a unique story bringing together the three protagonists of his series: Rebus (Charles Lawson), Clarke (Cathy Tyson) and Cafferty (John Stahl). The promise was to excite the book fans while giving the newbies a real taste of whodunnit. Centred around two murders that happened ten years apart, but a vivid haunt for Rebus, physical ghosts, and on the ground too, make for an unsettling mystery.

    Charles Lawson, who most will know as Jim McDonald in Coronation Street (ITV) really embodied Rebus in a sombre, tired portrayal, but with spouts of energy in a man who had decades of unfinished business. I never read the books, but Charles portrayal is the image I would have had in my mind. His multi-faceted performance created powerful moments as the murder mystery unravelled. In some parts, Lawson was like Lear of the murder realm.

    Cathy Tyson did a good job as Siobhan Clarke, but as a whole it was not a totally captivating performance. Her portrayal of Clarke was not a secure one, and I am not sure her decades’ bond with Rebus was consistently convincing. John Stahl was exactly what Cafferty was described as, and it was very enjoyable watching his dangerous and playfully performance.

    Neil McKinven played everyone else, but most importantly, murderer Mordaunt, and Andy. It was a very energetic multi-role play, and Neil used comedy very well. However, sometimes it was hard to distinguish between characters, and I think it was due to costume changes that didn’t change much and how quick he was back on stage. The murdered ghosts of Angela and Maggie by Dani Heron and Eleanor House respectively was a well synchronised vocal and physical performance adding more mystery to the narrative.

    The set was fairly simple. The furniture for Rebus’ home was always seen in other scenes which took away from the illusion. However, there was a really nice moment with purple lights shining against the wall of Cafferty’s home making his apartment look very ostentatious, very different from Rebus’.

    Charles portrayal of Rebus is well worth the visit of die-hard fans, but perhaps you had to read the books to be fully immersed.

    Rebus: Long Shadows is on at Birmingham Rep until the 6th October 2018

  • THEATRE REVIEW | The Comedy About A Bank Robbery, The Birmingham Rep

    ★★★★★ | The Comedy About A Bank Robbery, The Birmingham Rep

     

    Mischief Theatre did it again! Masters of comedy and experts in dropping jaws, The Comedy About A Bank Robbery was another side-splitting hit.

Set in Summer 1958, Minneapolis City Bank has been entrusted with a priceless diamond. An escaped convict is dead set on pocketing the gem with the help of his sidekick who has a crush on him, his con girlfriend, and her con lover. A recipe for hilarious disaster.



    Liam Jeavons, Sean Carey, and Julia Frith did a sterling job at multi-role playing while showcasing dexterity in movement, voice and perfect comedic timing. Particularly stealing the show was Julia as Caprice whose constant tricking of lovers and the incessant charade playing to get out of sticky situations uplifted the very already funny production. Sean as Sam was a mastermind in roleplaying, switching from characters in a matter of minutes and fast changes of costume while never giving up the ‘act’ doing everything for his love, even spanking her boyfriend while they make love – it’s hard to explain; you have to watch it to see what I mean.



    Ruth was another shining gem, playing the mother of Sam, with an angelic voice and superb acting ability full of foxiness. Her energy was effervescent and though was not a key role, she always enhanced the scenes with her character. A very agile performance was seen by George Hannigan who played Caprice’s three lovers – in one scene, it was just George on stage portraying the three men at the same time, changing between each character with such fluidity that each one was clearly distinct.

    All other actors were subliminal too, for instance Damian Lynch who played Bank owner Robin Freeboys had a true command of each scene with intelligent comedic timing. His sidekick Warren Slax played by Jon Trenchard was a formidable entertainer too grabbing the audience by the heartstrings as he was always butt end of a joke or something going wrong.

    What was a real marvel was the set design which contained versatile/multipurpose sets mesmerising the audience. One piece was so jaw-dropping, which speaking to my plus one – thought the same, was the scene on the wall, where Jon and Damian were suspended from the ceiling and acted as if they were grounded! This just shows that Mischief Theatre continues to be bold, unique and dangerous! I hope they are writing the next one!

  • THEATRE REVIEW | The Kite Runner, Birmingham Rep

    ★★★★☆ | The Kite Runner,  Birmingham Rep

    Gritty, raw and a history lesson like no other.

    The Kite Runner, by Khaled Hosseini, is a sensational book and it made critical acclaim as a film too, so expectations were always going to be high. Adapted by Matthew Spangler, The Rep play version created a new window to look through the melodrama and tragedy surrounding the life of Amir.

    The story centralises itself around Amir, a well-to-do Pashtun boy, and Hassan, a Hazara who is the son of Ali, Amir’s father’s servant. Hassan is the fastest kite runner the town has ever seen, and he teaches Amir the art, all so Amir can impress his stone-faced father.

    This must have been a hard concept to attempt to translate from a novel page to a main house stage, but Barney George’s design painted a very raw picture. The set moulded itself to suit outside and indoors with little effort. Fluid scene changes via media projections, and a curtain in shape of a kite which was used to shield viewers from hard-to-watch moments. Live percussion, performed by Hanif Khan, brought a mystical layer to the melodrama. The sound effects were also harrowing in parts.

    What made this production special was the cast of The Kite Runner. Raj Ghatak, as Amir, really helped us see the character come to life through language, enacting young and older Amir, as well as punchy speeches with sincere conviction. Jo Ben Ayed stole the show, with his portrayal of Hassan, formidable dexterity in playing a young boy while showing mature emotions. Jo’s characterisation contributed to the emotional experience felt in The Rep auditorium. The unrelenting loyalty to Amir was masterfully achieved by Jo. The boys’ fathers Baba and Ali played by Gary Pillai and Rez Kabir respectively, enhanced the sense of tradition and honour. Both actors shone, adding a darker tone to the narrative. Assef was a sickly and revolting character, played expertly by Soroosh Lavisini.

    Soroosh’s movement and speech was skin-crawling and made it hard to watch, but this was a true depiction of the nasty and malevolent personality.

    This production is close to three hours long, but through gripping action, efficient set, light, sound and everything else involved, The Kite Runner left us with the feeling we could have watched more.

    The Kite Runner runs at the Birmingham Rep until the 24th March 2017

  • THEATRE REVIEW | The Hundred and One Dalmatians, Birmingham Rep

    ★★★★ | The Hundred and One Dalmatians, Birmingham Rep

    REVIEW | The Hundred and One Dalmatians, Birmingham Rep

    tail-waggingly brilliant.

    The Hundred and One Dalmatians, a childhood favourite, presented by the Birmingham Rep, had fun, laughs and tasty treats of darkness. The puppets, designed by Jimmy Grime, were a show-stealer. The way in which they moved and looked was so real – you had to blink to realise they were not real.

    A very commendable performance for all the artists who held/manoeuvred the animals. The dogs looked bizarrely realistic, with the heads at the right scale of the real species – most realistic was the Afghan Hound. The puppetry/dog handlers were incredibly agile, mixed with exquisite acting and singing really enhanced the narrative. Oliver Wellington (Pongo) was particularly impressive with his dextrous movement and voice. The way he showed the jovial and clumsy nature of Pongo was a good connect to pet owners in the audience, receiving many laughs. Equally, Emma Thornett (Missis) did very well with the emotional scenes with the movement adding superbly to the drama. The astute projection of the dog’s feelings by Emma onto Missis was incredibly captivating. You could hear the emotion in the artist’s voice and felt naturally compassioned while watching the puppet.

    The second duo who really entertained were the Badduns: Jasper (Lewis Griffin) and Saul (Luke Murphy). The two men hired to do the deed with the puppies were hilarious and really lifted the show. The actors’ mastery of comedic timing, audience interaction, and versatility of movement raised the level of brilliance. Lewis, in particular, gave every bit of himself with Jasper, leaving no stone unturned in making the kids and adults laugh.

    Cruella De Vil (Gloria Onitiri) was excellent and as cruel and devilish as I had hoped. I am sure Glenn Close would have really enjoyed her performance too. Her appearance was perfectly fitting to the role; her voice was harrowing and malevolent, creating darkness so subliminally. My favourite moment of the whole show was when Cruella sang ‘Skin It’ and hitting the last note with such deep and menacing tones really was a goosebumpy moment.

    Mr and Mrs Dearly played by Morgan Philpott and Nadi Kemp-Sayfi respectively were great too. Morgan showed good variety with playing the Sheepdog. I think the puppets drowned them out a little though, and sometimes the puppet actors speaking for the dogs, mixed with Mr and Mrs Dearly talking, created a distraction and was not always sure who was talking, or where to look.

    This show has to be watched, and though there were heavy Christmas overtones, it is a classic I would watch all year around.

  • THEATRE REVIEW | I Knew You, The Rep

    ★★★ | I Knew You, Birmingham Rep

    I Knew You, written by Steven Camden, aka Polar Bear – the renowned spoken-word artist, comes to The Door with a delicate yet powerful domestic tale.

    Growing up in a non-nuclear family is more custom in this generation, but what is not often seen, is the repercussions of a family break up. Through the stories of Angela (Lorna Laidlaw) the mother; Nathan (Brenton Hamilton) the son; Patrick (Roderick Smith) the father, we see the nucleus of the family drama.

    The writing is sublime with poetry ringing alongside the emotional speeches. Lorna showcased comedy and emotion very well, carrying the story – very good crescendo of emotions as the story progressed. Brenton did a great job with anger, but a little one-dimensional with the less climatic stuff. Roderick was a good choice for the sullen Patrick, giving the audience a good look-in to the other side of the argument, but a little lacklustre in the final speech. What was nice about the production was the feeling of provenance with actors hailing from Birmingham, with local accents adding to the comfort.

    The play was only fifty minutes long, and I am wondering if story beat opportunities were missed as the story appeared to be presented in chunks, in places, and the build-up of the drama was lost with a very sudden ending at Patrick arriving in the house.

     

  • THEATRE REVIEW | Jane Eyre, Birmingham Rep

    ★★★★ -Jane Eyre, Birmingham Rep

    A rollercoaster of emotions that kept on plunging.

    Charlotte Bronte’s Jane Eyre is plagued by circumstances from which she has no power over; from childhood abuse, to later mistreatment in the Lowood School for orphaned girls, Jane suffered for the greatest part of her life. The National Theatre and Bristol Old Vic came together to create a haunting masterpiece that was seen last night at The Birmingham Rep. The rawness of emotion and the simplistic style of setting captured the audience’s attention and tugged on heartstrings.

    The acting and the synchronicity of movement were astonishing in Jane Eyre. The ensemble pieces were performed to such a high standard, even the breathing was in sync. Nadia Clifford, who plays Jane Eyre, was formidable in her captivating portrayal of Jane’s life. Nadia embodied Jane Eyre with so much sincerity and passion, it was as though Nadia had been through similar tribulations. Her movement and voice, as well conveyance of emotions throughout the play, were so strong and authentic. Nadia stole the show.

    Every cast member showcased uniqueness and dexterity with multipart playing, while acting, moving and singing. I particularly enjoyed Paul Mundell’s representation of Pilot, Mr Rochester dog. Paul used a device which he smacked against the side of his leg to simulate tail wagging which was a fresh take to a human portraying a dog without costumes or gimmicks. Paul’s canine mannerisms and movements really contributed to the sophisticated and brilliance of this production. Evelyn Miller was a fierce multipart player, portraying different characters so uniquely that, if it was not for the small-ish cast number, I don’t think I’d recognise her. She was soulful and powerful in delivery and the characters were really earnest. The queen of playing a plethora of characters was Hannah Bristow. Hannah played five characters and she was brilliant with everyone. Her portrayal of Helen Burns was very touching and emotional. Lynda Rooke was really great at playing the revolting Mrs Reed and then playing a sweet and homely Mrs Fairfax – great contrast of characters. The music trio were not only pleasing to the eye, but they were supremely talented both vocally and with playing different instruments – and acting too! I also really enjoyed Melanie Marshall’s angelic and demonic vocals as Bertha, creating an eerie and surreal atmosphere.

    Jane Eyre is a powerful novel, and seeing it live on stage is an experience that is unforgettable. Thank you, National Theatre!

  • THEATRE REVIEW | The Play That Goes Wrong, The Birmingham Rep

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Birmingham Rep stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at The Birmingham Rep until 24th June