Author: Will Amott

The BE FESTIVAL at Birmingham Rep

On the eve of the EU Referendum, I attended the sophomore evening of BE Festival – that is, Birmingham European Festival. Any review of the event must surely mention the topicality of its content, and the ways in which it interacts with and intervenes in current debates. Its context becomes an intrinsic part of its content. Its subtext is tangible on stage, and in the stalls. . .

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BLACK IS THE COLOR OF MY VOICE at the Old Rep, Birmingham

A woman with uncanny similarities to the legendary Nina Simone locks herself away for three days of cleansing and the audience watch, entranced, as she regales a photograph of her late father with stories not only from their shared past but the things she kept quiet. The premise of Black is the Color of My Voice is wonderful. Fortunately, it is executed well, too.

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Shadowlands at Birmingham Rep

Shadowlands tells the love affair between Englishman C.S. Lewis and magnetic American Joy Gresham. With an age difference of 18 years and Lewis’s strong negative feelings towards remarriage, their coupling surprised the 1950s Oxford scene almost as much as it surprised them . . . this is a good piece of theatre, which soars when its best character is on-stage and occasionally drags when she is not. Younger audiences or those that prefer a little more action may not find so much to love here, but the story at its heart is not only of the heart, but delivered in an commendably heartfelt manner.

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INVINCIBLE at the Birmingham Rep

Haughty, hyper-liberal Emily (Emily Bowker) and fumbling Oliver (Alistair Whatley) are facing financial difficulties and relocate their small family from London to an undefined northern town in order to pinch pennies and live around what Emily so condescendingly calls “real people.” Here they meet their new neighbours – quiet receptionist Dawn (an under-utilised Kerry Bennett) and motor-mouthed postman Alan (Graeme Brookes). Both are true locals. Dawn has never moved street – she was born across the road.

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DeNada Dance Theatre HAM & PASSION at the MAC, Birmingham

The provocation and confrontation inherent in queer (re)imaginings of familiar material is utilised well throughout Ham & Passion. The audience are encouraged to at least acknowledge, if not always overturn their own expectations, and challenged to try to apply a personal logic to the proceedings and their semiotics. What is primal? What is sex? How might masculinity be a performance?

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