Review: Rambert Dance Peaky Blinders: The Redemption of Thomas Shelby at Sunderland Empire

Review: Rambert Dance Peaky Blinders: The Redemption of Thomas Shelby at Sunderland Empire

Rambert Dance Peaky Blinders: The Redemption of Thomas Shelby

Sunderland Empire – 29th October 2024

Invited| Review by Stephen Stokoe

First there was the phenomenally successful BBC drama, which spanned some six seasons, there is also an eagerly awaited big screen movie but in the meantime Rambert Dance has put their spin on the Shelby legacy with particular emphasis on the second eldest, one Thomas Michael Shelby.

Written by original series creator, Steven Knight, this interpretation acts as a prequel to the TV series and explores how ‘dangerous man’ Thomas Shelby turned into the man he is.  As the curtain rises on act one it is unmistakable that we are in the fetid and torturous trenches of World War One where Thomas is serving as a sergeant major alongside his brothers and others who will return to form the titular Peaky Blinders. As the prophetic soundtrack alludes these are “… young men of the tunnelling brigade, you are all dead, not counted among the dead because your bodies were not buried with the dead, but dead inside…”

The journey continues as the men return home from war to a crime ravaged Small Heath in Birmingham where the Peaky Blinder operate. The first act is almost like an episode of the TV show with a storyline which follows the well-travelled trials and tribulations of the Shelby family. Thereafter, following a particularly harrowing event towards the end of Act One, the narrative turns inward to explore Tommy Shelby’s inner demons and dilemmas as he battles the horrors of war with the new horrors of life beyond it and his insatiable appetite for wealth and power.

There are many things to recommend this dance production of Peaky Blinders and none more so than the incredible soundtrack that accompanies it. Composed and supervised by Roman Gianarthur, the music quintessentially ‘Peaky Blinders.’ Gianarthur deftly guides the viewer through his encyclopaedic musical knowledge with nods to several rock styles along the way. As the soldiers approach the end of World War One you can briefly hear a strain of ‘Jerusalem’ almost echoing on the wind as the guns fall silent. I found this particularly moving. I cannot leave the music without mentioning the simply outstanding musicians who are visible on the stage and, in some cases, become involved in the action. Mitchel Emms on guitar, keys and lead vocals was clearly living his best life while performing an intricate score encompassing multiple musical styles and themes. 

In addition to the score, some familiar voices are heard including the poet Benjamin Zephaniah who acts as the narrator and appeared in the original series. He adds a local gravitas to the proceedings as a native Brummie. Zephaniah was taken from us in 2023 and there is a touching tribute to him from Steven Knight in the brochure which accompanies this production. 

Another stand out feature is the attention to detail which has gone into the costume design by Richard Gellar and his team. It is simply wonderful and has to be seen. For this alone, I would heartily recommend the production. The set construction, lighting and sound are all superb and despite a show stop this evening which was quickly resolved, left this audience member awe-struck. 

The choreography is, as you would expect, outstanding. Provided along with direction by Benoit Swan Pouffer, I could write a whole separate review about it were I not sworn to ‘… keep the secrets but spread the word…’ by order of the Peaky Blinders. 

Following another production I saw earlier in the year and this moving and occasionally humorous prequel to the TV series, I seem to have developed an understanding and appreciation for contemporary dance that I would have hitherto never admitted. It does help if you have a prior knowledge of Peaky Blinders to appreciate some of this production but it is perfectly accessible and coherent for those who have no experience with The Shelby’s or Peaky Blinders. The finale set piece which inevitably includes ‘Red Right Hand’ by Nice Cave and the Bad Seeds is incredibly satisfying and concludes a wonderful evening of performative art, music and some theatrical ingenuity.

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