Carmen is the tale of a free-spirited working-class woman who finds herself briefly in love with a soldier before tiring of him and choosing another lover. The soldier then murders her out of jealousy and spite. As well as the recommendations I had received, I was eager to see this piece as I had been obsessed with the 1954 film, Carmen Jones, as a teenager, singing “Dere’s a Café On De Corner” for a Musical Theatre Exam. Despite being written in the 1800s, this opera is incredibly current in 2019, where women are not treated as equals to their male counterparts. The gender pay gap in the UK is still a shameful stain on our society, and women continue to struggle to achieve the same level of professional success that men have had for generations. Carmen, a woman who refuses to be owned or controlled, dies for her beliefs, and it is saddening how much I identify with her character over 150 years on from its inception.

The modern, favela-inspired set was an interesting idea, although anyone who has seen a favela will know that they are much less clean-cut than the set for this production might suggest. Moreover, Virginie Verrez’s vocal performance was impressive, however I did not feel that her performance possessed enough sex appeal for such a larger-than-life character who causes a stir because of her sexual appetite. Carmen has little to no money, education or social standing, so her physical appeal and sexual prowess become her way to gain agency in her life.

The other prominent female personage in the piece, Micaela, is in stark contrast to Carmen. She is the woman that women are ‘supposed to be’ – meek and mild, weak and anything but wild. Although she represents an ideal of femininity that Carmen refuses to adhere to, she too is made miserable by Don José’s actions. Micaela’s survival in juxtaposition to Carmen’s demise suggests that women who express sexual desire and independent thought will come to a sticky end. The heartbroken Don José is an embodiment of the consequences of hegemonic masculinity and a male inability to accept rejection from women. When he learns that he cannot possess Carmen, he decides to destroy her, burying any evidence that might question his masculinity. Bizet’s daring orchestral score was masterfully performed by the Orchestra of the Welsh National Opera, with perfect timing and execution from both the musicians and the vocalists. This thrilling production brings Bizet’s masterpiece into the 21^st century, with great performances from Verrez and Pittas, and a charming contribution from young performers too!

With Halloween, Bonfire Night and of course Christmas well on their way, and temperatures dropping to the single digits, now is the perfect time for the circus to come to Birmingham and fill us all with some laughter and cheer. Marking the 120^th anniversary of the Birmingham Hippodrome, originally known as the “Tower of Varieties and Circus”, what better way could the occasion be marked by the circus coming to town? This deliciously magical show showcases a wide range of weird and wonderful acts for all the family, so be prepared to be shocked, amazed and entertained.

As I was transported back to my childhood, the show brought back some wonderful memories of me as a child playing with a baby elephant on stage at the circus in France – little did I know that the baby elephant was in fact a dog in an elephant costume! No matter what your age, this show promises to be a thrilling evening with some audience participation along the way. As the Ringmaster invited numerous children up on stage to try their luck at his tricks and games, the whole audience was in fits of laughter, especially as the adorable three-year-old, Penelope, got stuck in with the other children despite not being asked up on stage.

The technical ability of the performers was spellbinding: two highlights for me were the aerial duet, The Flying Fredonis, and the beautiful African Elephants controlled with astonishing mastery by the puppeteers. Reminiscent of War Horse, it was heart-warming to see the puppets brought to life so effortlessly, playing with the children on stage and making the audience laugh at their naughty behaviour. I should also mention Les Incredibles for their unbelievable display of strength and trust, and The Elastic Dislocationist for making many audience members, including myself, shout aloud in shock and awe at her ability to run around her own torso…

This show is a perfect fun-filled family night out that got the whole audience shouting out, cheering and all-round in a great mood – it created a veritable circus atmosphere. The show is well-balanced and varied, bouncing back and forth between high-intensity acts that keep you on the edge of your seat and the Ringmaster’s tricks and jokes involving the children from the audience. Circus 1903 is a whirlwind adventure in the heart of Birmingham playing until 2nd November, and I can honestly say, I didn’t want it to end!

Dada Masilo is a South African dancer and choreographer, known for her seminal adaptations of traditional ballets such as Romeo and Juliet and Swan Lake. She has now returned to the UK for the tour of her newest piece, Giselle. Having not seen the original, I had nothing to compare this piece to which in some ways made it more of an organic experience for me. This powerful dance production may not be the most accessible of performances, but Masilo’s choreography is extraordinary in its bold and daring nature. Arguably in the style of dance theatre, the use of speech overlapping with music created a sense of chaos in the South African village of Act One.

The company’s use of breath was highly affective, and the contrast between the costumes of Act One and Act Two changed the tone of the piece drastically, setting the scene perfectly for the dark intentions of the Wilis/Spirits. Something Masilo spoke about in the post-show discussion after the performance was that she had wanted to make the characters less two-dimensional and more fleshed out, and she achieves this effortlessly as the vengeful Wilis dance full of fire and passion – much unlike the spirits of the original Giselle.

Weaving together elements of comedy, nudity and drama, this piece exposes the shame women all over the world are made to feel about their bodies, their sexuality and their emotions, and the damage that it can do when we as women do not stand up for one another. This sense of female solidarity, however, comes into the piece as the Wilis and the terrifying Sangoma band together for revenge. These vicious spirits performing Masilo’s threatening choreography appear androgynous, playing with gender roles, subverting the audience’s expectations of female stereotypes (especially within the ballet aesthetic), and proving that indeed, hell hath no fury like a woman scorned. This piece challenged my thinking, made me question my own expectations of dance, and has inspired me to see the original.

 

Prism is a beautiful piece of theatre paying homage to the extraordinary life of an extraordinary man. In its naturalistic style, the play allows us to be flies on the wall during the later years of Jack Cardiff’s life, witnessing his wondrous and ephemeral world clashing with family and reality. Johnson’s beautifully crafted script, full of poetry and romance enchants the audience and whisks us away to a world of light, shadow, sunsets and sparkle, seeing through Cardiff’s eyes the beauty of the universe.

The juxtaposition of reality with fantasy is a key trope in the piece, as dementia takes hold of Jack thrusting him back and forth between the present and the past. My own grandmother had dementia and Alzheimer’s in her old age, thus I am aware of what it can be to feel that you are losing the person you love to their memories in which you do not feature. However, as we see in the show, it can also be exciting to jump into those memories with them and see a part of that person you had not known before. Dementia is a difficult illness to live with, for all involved, but this play is a celebration of past experiences and the joy that can be found in remembering.

Robert Lindsay is both funny and moving, encapsulating the flirtatious side of Jack Cardiff, as well as his unrelenting obsession to find the perfect shot at the perfect time. As Jack ages and his ability to discern where and when he is fades, his past loves, regrets and infidelities revisit him again and again as Nicola, his wife, questions her own ability to forgive. This play is a celebration of love and light, and of the love of light. Victoria Blunt’s playful Marilyn Monroe taps into our sense of nostalgia, as we are reminded of old movies we have watched and posters we have seen; she floats across the stage like a majestic butterfly transporting us to another time, Jack’s time. Johnson’s ode to cinematography is a poignant and bittersweet exploration of loss and pain, where beauty is merely a question of light.

This new musical is one of the most uplifting and joyous pieces of theatre I have seen in a long time. Within thirty seconds of the show beginning, I turned to my best friend next to me and whispered “I love it already!” The cuban rhythms along with the phenomenal live band transported the audience straight to Havana. The catchy melodies and complex percussion in the score was infectious, and it was impossible not to find yourself boogy-ing in your seat to Dr Beat! The powerful story of Gloria and Emilio Estefan’s musical and romantic journey is a heart-warming tale of resilience and determination – a story I have to admit I did not know before seeing the show.

Philippa Stefani as Gloria is sensational, with flawless vocals and impeccable dance moves she truly brings Gloria’s character to life spreading joy with every snap of her finger. This show not only entertains us with its energetic soundtrack and captivating choreography, but it also reminds us of the power of music and the profound effect it can have on all of us. We have all, at some time in our lives, been moved to tears by a song, or bobbed our head to the beat of a great track, and this production does just that – it genuinely does get you on your feet!

As family connections weaken and resentment rises, the obstacles that Gloria and Emilio are forced to face become more and more overwhelming. However, their refusal to be defeated by anything – be it a bitter mother, or an ignorant record label –  is why this astonishing couple managed to weather any storm with the love they have for one another. This show is a fun-filled, beat bopping triumph, and I can guarantee that it will not disappoint!

We all adore the age-old tale of two star-crossed lovers – even more so when it involves singing along to some of our favourite ballads – but what makes this piece resonate with audiences year after year? Although many of us may know the plot of West Side Story, and all of us will know Romeo and Juliet, this show never ceases to capture our hearts and imaginations and take us on an emotional rollercoaster where we nonetheless hope for a different ending. The performance was such fun, moving me to tears and making me laugh out loud as the Jets and the Sharks laugh and joke, their naivety leaving a bitter sweet taste in the mouth. I felt proud to be from the Midlands as I watched this group of young performers take to the stage and sing their hearts out to an audience of almost two-thousand people with such skill and confidence.

Alex Cook, only 16 years of age, was outstanding as Tony, and his performance of ‘Maria’ made the hairs stand up on the back of my neck; how someone who has just finished their GCSEs can sing with such tenderness and control was breath-taking. Aside from a couple of clunky scene changes and the orchestra sometimes overpowering the vocalists, the show was flawless and full of grit. Such a universal story brought to life by these fantastic young performers was such a joy to experience, and I am certain that they will go on to do even bigger and better things as they grow and continue to perform.

Despite young love being the driving force of the show, West Side Story is in fact a rather disheartening musical, as I couldn’t help but think how little has really changed since it was first made. With the rise in xenophobia and anti-immigrant rhetoric from the likes of Donald Trump, the world appears to be fast becoming a less welcoming place. Despite all the so-called progress we have made, racism, prejudice and imagined superiority still play a huge part in our society, with the rise in hate crimes since President Trump’s election and the widening of the rich-poor divide, these inequalities are a stark reminder of our inability to learn from our mistakes.

 

 

 

This impressive production follows the life of the orphaned redhead, Annie, a young girl in a 1930s New York orphanage run by a mean and spiteful Miss Hannigan. As Annie finds herself in exceptionally lucky circumstances entirely by chance, she embarks on an adventure to be reunited with her parents after her time at the orphanage. This fun-filled family show is a must-see for adults and children alike with its iconic soundtrack and heart-warming plot, it is truly an irresistible production. The young performers are incredibly talented and their well-rehearsed songs and flawless choreography are a pure delight for the audience to watch! Not to mention Freya Yates as Annie, who plays the protagonist so brilliantly and with such vigour that she deserves a special mention for her fantastic performance.

Despite the cheery tone of the piece, it does however touch upon some rather difficult topics and political issues. Set during the American Great Depression where the USA’s financial and social landscape had changed drastically after the hedonism of the roaring ‘20s, we encounter the down-and-outs of the New York City slums where people struggle to make an honest living to feed themselves, and where we see the consequences of capitalist behaviour and greed that must come to an end. The rich/poor divide represented onstage is still a harsh reality for cities such as New York, and we must not be naive in thinking that this is a thing of the past that we read about in history books – where there is extreme wealth there is extreme poverty.

Although the show explores some difficult political questions, I find the message, optimism solves all, to be rather naive and unrealistic – will optimism reduce the rates of homelessness crippling Britain today? Nevertheless, the beautifully crafted set is highly effective and adds texture and vibrancy to the piece, and the costumes are not just historically accurate but they also cleverly reiterate the class divides between the different characters. Annie is a thoroughly enjoyable show playing at the Birmingham Hippodrome until 11th August, and I can promise that it’s not just for kids!

Based on Alice Walker’s iconic novel, and later turned into a film featuring the likes of Whoopi Goldberg and Oprah Winfrey, The Color Purple is an energetic and profoundly moving musical that everyone must see! As we follow Celie’s journey through abuse, loss and hope, her inspirational story lifts the audience into a state of mind where we are reminded of the power of determination and of the human capacity for endurance. This show is neither a comedy nor a tragedy, but something in between, or both. We are taken into twentieth-century USA where black people had little rights or freedoms despite the Transatlantic Slave Trade having supposedly ended. The legacy of Western slavery, racism and prejudice seep into every nook and cranny of this piece, demonstrating to the audience how such horrific events did, and still very much are, have damaging consequences.

As the young women in the piece struggle against their many oppressors, the outstanding vocals of the cast and the slick and subtle choreography not only compliment the scenes but embellish them, bringing them to life and adding colour to an already vibrant piece of theatre. As a singer in a Gospel choir, I was truly blown away by the vocal performances in the show, with their flawless harmonies and stunning solos, the cast of this show are spectacular. The set was cleverly constructed and highly effective, with its huge towering wooden beams alluding to the old plantation houses you still see in the Caribbean and USA, as well as the shabby wooden houses poor black folk often had to live in at that time. Karen Mavundukure as Sofia is sublime, and it was so wonderful to see an all-black cast on stage directed by a young black female director! The audience reaction was truly overwhelming as the show received a standing ovation, and all throughout the piece the audience didn’t stop laughing, gasping and crying. Be warned, this show really is an emotional rollercoaster.

Something I remember thinking to myself when leaving the theatre was, “I wish I had seen that as a young girl”. This piece is tremendously powerful, full of joy, heartache, pain and longing, and it forces us to confront ourselves about our own privilege and how things have changed for us in 2019: if Celie can triumph after all she has been through, then so can we. And as a black woman this is particularly important for me as although our history of slavery, racism and exploitation in the West is not something to be proud of, I am reassured that, like Celie, my ancestors endured profound suffering so that I could be where I am today and have the opportunities they were never granted. Congratulations to Tinuke Craig for her magical production so that people like me can be reminded of this.

So, BE (Birmingham European) Festival has returned for another year and to kick it all off the Forman Brothers have brought their new whacky and wonderful show to the brummuie stage. As I was watching this piece, I was picking my brains how on earth I would write my review for it as it is truly like nothing you have ever seen before… Imagine a Western that pays homage to silent film with a bit of circus thrown in and that’s what you get! This show is the perfect piece to launch BE Festival as it is high energy and fast-paced, taking the audience on an extraordinary journey to the Wild West like they’ve never seen before.

When I read up about the show before going to see it, nothing could have prepared me for what I saw; the performers were exquisite, making us all laugh constantly throughout the show, as well as showing off their acrobatic, musical and physical theatre skills. Although this show contains no dialogue, the use of song and a few cleverly-placed subtitles was more than enough to keep the audience up to speed on what was happening and the ingenious scenes mimicking old silent movies spoke for themselves. When the show was over the audience were invited up onstage to join the cast for a drink at the saloon bar while listening to the sweet sounds of the musicians and vocalists. This was such a fantastic feature to the show that really solidified the tone of the piece, as the audience then became part of the production and crossed the fourth wall to be able to engage in the piece on another level.

It is always such a pleasant surprise to have a live band onstage, as all too often these days pre-recorded sound is used in productions instead. However, Deadtown featured a magical live band that brought so much vigour, energy and fun to the show, featuring of course a harmonica and other traditional instruments from the time period to create an authentic setting for the Western extravaganza. I enjoyed this piece so much that I would see it again, and I am so pleased that the Forman Brothers came all the way from the Czech Republic to open up BE Festival with such a wonderous piece of theatre. If this piece is anything to go by, this year’s BE Festival is going to be something very special indeed!

 

Based on a true story, Calendar Girls follows the members of the Women’s Institute in a small town in Yorkshire who, after the tragic and sudden loss of a loved one, decide to spice up their annual calendar with a bit of bare flesh to raise money for the local hospital. Best friends, Annie and Chris, set out convincing the more reserved members of the WI to whip their clothes off in the name of charity, however it proves more difficult than they had anticipated. Littered with vibrant vocals and a joyous soundtrack, Calendar Girls the Musical is not one to be missed.

Tackling themes of loss, self-doubt, confidence, and friendship, Calendar Girls reminds us that beauty is not lost with age, but develops with age, and that the beauty a woman possesses is all about her self-respect and her self-confidence. As Annie struggles to come to terms with her loss, her comrades at the WI show her how taking risks and stepping out of your comfort zone can be an enlightening experience, and a lot of fun along the way! This laugh-out-loud comedy is a fantastic night out, full of feel-good songs and hilarious awkward teenagers, demonstrating that anything can be achieved if you have the will and determination (and some great friends) to see it through.

This display of female solidarity and women’s strength is an uplifting tale of the possibilities that are out there if we can see the light at the end of the tunnel and find a way through our tragedy and despair. The stunning set was evocative of the majesty of the Yorkshire countryside, changing and shifting with the moods of the characters and their experiences, and with minimal props the cast perfectly painted every location in the audience’s mind with rich colour and detail. This brilliantly funny show is a joy to watch, full of heartfelt moments, fist-pumping victories and exhilarating surprises, while at the same time raising awareness for blood-related illnesses. The show received a standing ovation as the crowd cheered and whooped, and after it had finished I couldn’t stop smiling – the positivity is infectious!

Calendar Girls is on at the Birmingham Hippodrome until Saturday 8^th June 2019.