International Dance Festival Birmingham – Get Ready for a Month of Dance Shows!

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From now until Sunday 25th May, a series of exciting dance events will be taking place in venues across the city as part of this year’s International Dance Festival Birmingham.

Jointly produced by the Birmingham Hippodrome and DanceXchange, the IDFB ranks among the world’s biggest dance festivals, and aims to showcase a diverse array of talent in styles and settings ranging from ballet to urban fusion, traditional Maori to circus skills, pop-up street performances to seated theatre shows. Whether you’re a die-hard dance fan or simply interested in finding out more, you’re almost guaranteed to find something to catch your interest on this year’s jam-packed schedule!

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Having already kicked off with a collection of short works by the Birmingham Royal Ballet at the Crescent Theatre, the programme of events continues this evening with the Midlands Youth Dance Festival, organised by Dance4 in collaboration with DanceXchange.

On Tuesday, I’ll be attending Sideways Rain, a contemporary dance performance by Genevan company Alias and the first of several shows taking place at the Hippodrome over the next few weeks (watch this space for my review). Other shows coming up at the Hippodrome include Kidd Pivot’s Tempest Replica, Sylvie Guillem’s 6000 Miles Away, New Adventures’ The Lord of the Flies, Sadler’s Wells’s Breakin’ Convention and Sidi Larbi Cherkaoui’s M¡longa. The theatre’s Patrick Centre will also be taken over at different points during the festival by Murmur & Inked, a double bill from the highly sought-after Aakash Odedra Company; the world premiere of Company Decalage’s Match & Halfway to the Other Side; Aerites’s witty, hip-hop fusion piece Planites; and Protein’s Border Tales, a satirical blend of dance, dialogue and live music.

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Elsewhere, Symphony Hall will play host to the world premiere of Concert Dansé, a unique collaboration between Birmingham’s Ex Cathedra choir and Québécois dance troupe Cas Public, while at the Birmingham REP, you’ll be able to catch some spectacular circus skills in Séquence 8 from Les 7 Doits De La Main. The IDFB will even be extending its reach beyond Birmingham’s borders to Coventry’s Warwick Arts Centre with Fabulous Beast Dance Theatre‘s sharply contrasting Petrushka and The Rite of Spring shows.

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If you don’t have much cash to splash this month, though, you needn’t miss out on the festivities: there will also be plenty of free outdoor shows taking place at Village Green, Cannon Hill Park and throughout the city centre. These include Corey Baker Dance‘s mobile, audience-led Headphones (follow @IDFB #headphones on Twitter to find out the exact locations on the day, and send in your dance styles and music genres choices); traditional Maori Haka demonstrations; Denada Dance Theatre’s “duel of seduction”, Young Man!; Candoco Dance Company’s Tennesee Williams-inspired duet, Studies For C; and various freestyle and urban shows from professional and community groups. Work by students from Birmingham City University’s School of Architecture will also be displayed in an exhibition at Millennium Point titled “All of Birmingham is a Stage” .

For more information on times and locations, and to book tickets for indoor shows, visit the IDFB website.

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“Delivered From Madness” – The BSA’s Equus at the Patrick Centre

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Sliding in an instant from in-depth philosophical musing one moment to total nudity the next, Equus is far from an easy choice for training, undergraduate actors, making the BSA’s recent production at the Birmingham Hippodrome’s Patrick Centre all the more impressive.

cmsproxyimageWith professional-standard acting ability all round, the cast tackled the play’s difficult and disturbing themes with ease, gauging the tone just right and providing their characters with real psychological depth. From the beginning, the lead actors were thoroughly compelling: Harry Russell maintained a commanding presence as Dysart throughout, while Jack Whitehurst effortlessly conveyed the complex and turbulent inner life of the troubled Alan Strang.

The supporting cast, too, were excellent, with Gareth Adams and Vivian Glaskin convincingly downtrodden and desperate as Alan’s pitiable parents. Grace Bussey, meanwhile, underwent a complete transformation between her two roles as Jill Mason and the Nurse. Had the play allowed for it, it would have been great to see more from this actress, but in spite of her characters’ limitations, her talent nevertheless shone through. As Nugget and the Horseman on the beach, Mikael Froman’s energy was utterly tireless, and with the help of some beautifully made horse-head props, reminiscent of the skeleton-like structures used in The National Theatre’s War Horse, the rest of the cast joined him to create an amazingly effective herd of horses, capturing the creatures’ subtle movements and raw animal pain.

Though minimal, the set was well designed, making the best possible use of the space available which became, at various points, hospital, home, stable, beach, cinema and bus stop. Even when not performing, the full cast generally remained on stage, something which could easily have become distracting had it not been so well done.

Overall, the production demonstrated a great deal of promise, ability and professionalism from its young actors, who, based on this, should be proud of their achievements and confident about their future careers.