DanceNorth WestReview

The Redemption of Thomas Shelby – The Lowry, Salford

Reviewer: Clare Boswell

Writer: Steven Knight CBE

Choreographer/Director: Benoit Swan Pouffer

Rambert’s The Redemption of Thomas Shelby at the Lowry Theatre in Salford offers an intriguing blend of dance, theatre, and music, bringing the gritty world of Peaky Blinders to the stage. Written by the TV show’s creator Steven Knight and choreographed by Rambert’s Artistic Director Benoit Swan Pouffer, this production presents Tommy Shelby’s journey through a unique fusion of choreography, a live band, and atmospheric stage design. However, despite its ambitious scope and some mesmerising moments, the show struggles to fully deliver on its potential, leaving behind an uneven impression.

The production opens with a powerful depiction of the First World War trenches, where the Shelby brothers’ fates are sealed by the horrors of battle. This physical, visceral scene sets the stage for Tommy Shelby’s post-war rise in the streets of Birmingham. The seamless transition from the war zone to industrial Britain draws the audience into Tommy’s (Conor Kerrigan) world of power, betrayal, and personal struggle. The performance focuses on his complicated relationships, particularly with undercover agent Grace (Naya Lovell) and brothers John (Tom Davis-Dunn) and Arthur (Dylan Tedaldi).

Visually, the show excels. Moi Tran’s set design incorporates trench-like structures that the dancers’ manoeuvre with precision, and Natasha Chivers’s lighting adds a dark, moody atmosphere that perfectly captures the industrial grime of early 20th-century Birmingham. The choreography has dynamic moments, reflecting Tommy’s inner turmoil with a blend of tenderness and aggression. Yet, despite these visual and atmospheric strengths, there is a sense that the choreography doesn’t always fully showcase the exceptional technical abilities of the performers. Much of the second half consists of sequences where the dancers meander around the stage, occasionally engaging in brief confrontations, but without the intricate or powerful movement that audiences have come to expect from Rambert. For purist fans of the company’s traditionally high-calibre technical work, this may feel like a departure.

One of the production’s highlights is Tom Davis-Dunn’s performance as John Shelby, who stands out with his charismatic portrayal, displaying both his acting and dancing skills. His presence on stage provides a mesmerising focal point, effectively blending drama and movement. However, elsewhere in the production, there are moments where the reliance on theatrical elements over dance feels misplaced. There are scenes where long stretches of walking and shouting replace Rambert’s renowned nuanced physical storytelling, which could have been conveyed more effectively through dance, leaving certain emotional beats feeling underwhelming. The abstract moments where the dancers are allowed to dance without worrying about conveying the narrative are more effective. The opening sequence of Act 2 is one of these moments; a poignant personification of Tommy’s PTSD and subsequent opium addiction is a chilling reminder of the demons’ young men lived with post-WWI.

Musically, The Redemption of Thomas Shelby is a treat. A live band heightens the experience, performing a pulsating soundtrack that includes specially composed music by Roman GianArthur alongside iconic tracks from artists like Nick Cave and The Bad Seeds, Radiohead, and Anna Calvi. The music certainly energises the performance whilst making the quieter moments all the more evocative. This thrilling mix of theatre, dance, and concert elevates the atmosphere but also underscores the production’s tendency to favour spectacle over substance at times.

The Redemption of Thomas Shelby is undoubtedly visually striking and musically dynamic, and fans of Peaky Blinders will likely appreciate the homage to the TV series, but those expecting Rambert’s signature level of technical dance precision may be left wanting more.

Runs until 26 October 2024

The Reviews Hub Score

Spectacle over substance

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The North West team is under the editorship of John McRoberts. The Reviews Hub was set up in 2007. Our mission is to provide the most in-depth, nationwide arts coverage online.

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