Thursday 16 March 2023

BALLET REVIEW: Peaky Blinders: The Redemption Of Thomas Shelby - The Lowry Theatre, Salford.

 

It is interesting to note that Ballet Rambert was actually formed, around a century ago, as a classical ballet company but is recognised today as one of nation’s greatest exponents of contemporary dance, re-branded as Rambert Dance. Even so, ‘Peaky Blinders’ is a very intriguing and bold production. It is certainly ballet in that there is no dialogue or singing by the dancers; the story conveyed solely through movement, sets, music and costume aided by occasional narrations but this show challenges several norms of the genre.


Even if you’ve never seen the popular TV series you probably know that ‘Peaky Blinders’ explores gang crime in Birmingham around the turn of the twentieth century. This show started a little later during the First World War, quickly and graphically establishing that many who returned alive from the trenches were spiritually dead, permanently damaged by the unspeakable violence they have both endured and inflicted. The story then moved back to ‘Peaky Blinders’ territory, following the subsequent lives of certain Brummie gangland conscripts, in particular that of Thomas Shelby, alternating with between decadent high society living, the grime of factory working and the street violence which was an integral element of the lives of the Peaky Blinders.


There were three key elements to this grandiose production, each deserving of special attention; the first naturally being the dancing. This was powerful from the outset, displaying a considerable amount of physical violence that remained an on/off theme throughout. For the most part, the majority of the twenty or so dancers were all in action together with even the scenes of decadent partying displayed a kind of aggression, lusts and debauchery being the primary motivating factors. There were some calmer and indeed more joyful scenes but this show was essentially displaying a particular world-view. Credit must also be given to the superb costuming, which showed great attention to detail and complimented all the action.


The second key item was the music. This was the composite work of several writers, covering a remarkable variety of genres somehow seamlessly blending into each other. Of the around forty individual pieces of music, two thirds came from the pen of Roman Gina Arthur but notable other writers included Nick Cave and Radiohead. The styles echoed the 1980s and '90s with the music, including vocals, varying from New Romantic to New Wave, even touching at times on Heavy Metal. There was also a strong element of Irish music, reminiscent of Clannad, with the bodhran much in evidence. Musicians at the back of the huge stage area performed all this music live but in addition, a good half of the second act included recorded music that sounded very much like a film score. This very eclectic mix of sounds ensured that the music mirrored the constantly changing moods and emotions of the story.


The third key element was staging. A trough created slightly back from the front of the stage was used to full effect for the dancers to jump on and off throughout the show. This was a practical device but also echoed the trenches of the First World War that had shaped the lives of the main protagonists. There was still a huge open stage for cast to perform to the full. The effects used to transform the set from, amongst other places, a heavy engineering factory, a palatial club and the ‘underworld’, were remarkable with no blackouts or any time-outs required.


‘Peaky Blinder: The Redemption Of Thomas Shelby’ had the feel of an ensemble show but it was nevertheless the story of one character, Thomas Shelby, who certainly went on quite a journey taking the audience with him. This was an extraordinary production and received a rapturous standing ovation at the end.


Reviewer - John Waterhouse on - 14.3.23


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