One could say heavy-handed, one can say hard-hitting. To describe this production as a mixed bag is both a disservice and an understatement. It re-imagines the story of the final days of Jesus Christ in the localised context of the Birmingham riots—or should that be – it reimagines the Birmingham riots in terms of Jesus’ death and resurrection.
A Passion for Birmingham is difficult to describe; one’s religious orientation and political position bear more weight in forming one’s opinion of this Old Joint Stock production than perhaps any other this year.
The central conceit, to move around the city centre of Birmingham, can be slow but is well worth it. The Big Brum Buz is fun – a lot of fun! The locations chosen are nigh on perfect and make the success of this variable show. The guides are warm, full of life and strive to maintain the audience’s engagement, particularly Deepa Bose.
This is not the Nativity, the story of which has become so commercialized and embedded in a frame of mulled wine, mince pies and primary-school bliss. This is the death and resurrection of Jesus (Davidson in this version) himself. One is confronted by the impassioned mania and level of celebrity that followed him, and by levels of sincerity that can be perceived as contenting or discomfiting to equal but massive degrees. An enforced Communion could disturb certain patrons, yet songs about God and his work make us glow and grin.
There is some muddying of the narrative waters, as the audience are led to believe this is not only a reimagining, but also a retelling or even a new story in itself: that of the Second Coming. Mr. Davidson (Seabert Henry) appears to live in our world, he is a Brummy who loves Birmingham, and he has a working knowledge of our modern city, yet much of this world is entirely unrecognisable.
The idea that a mayor would allow the Church to “handle” a renegade preacher is ludicrous, and this scene—in a locale that curiously most smacks at the Passion being an exercise in conversion—is the most convoluted. Pilate (Alex Nikitas) is convinced by big money and voter favour, true to form as a modern politician. Nikitas, well cast, does his best with the material, but there is a huge sense of disconnect with reality here. This is not our Birmingham, yet we are told again and again that it is.
Henry is a charming and attractive speaker and settles more comfortably into the role as the night goes on. The Peter (Benjamin Thorne) and Judas (Harpreet Jhutty) to his Jesus ground the production. Their friendships are brightly realised and recognisable in their easy love and contemporary patter.
Maz/Mary Magdalene (Emma Swann) refers to Jesus as her friend, though there is a sense that may not be the whole truth. Magnanimous, casual, and in parts mercurial, Swann’s performance is the one that holds your attention. There is a magnificent calibration in her emotional journey late in the story.
The villains, in particular the Head of Security (Richard Nunn), are straight from a fairy tale, a Disney film even (if there was a moustache to be twirled, it probably would have been); this unsettles the emotional realism of some scenes. Church, state and hired guns all come off here as being too fantastical. They seem to be taken from a different story to Jesus, Peter, Maz et al. Where are the police? The real police? What have they done? That’s the story of the Birmingham riots.
Preaching to the unconverted is often a problem paramount to the most adroit dramaturgy, but A Passion for Birmingham maintains a commitment to immersive storytelling and boasts enough strong central performances and great music to impress. Will Amott 25/03/15
