20th-Century Masterpieces is a marvellous programme of three short ballets, so different in nature but united in the way in which they capture the imagination and showcase the skills and versatility of the dancers of Birmingham Royal Ballet.

Against a magical sky-blue background, the rich costumes and beautiful symmetry of the opening moments of Frederick Ashton’s Birthday Offering are a feast for the eyes. Created to mark the 25th birthday of Sadler’s Wells Ballet, and first performed in 1956, Birthday Offering presents a series of individual dances which Ashton choreographed to highlight the accomplishments of the greatest ballerinas of the time. Dynamic male group pieces contrast with the delicate femininity of the ballerinas’ solos, all skilfully woven into a piece which is greater than the sum of its parts. It is a truly mesmerising, memorable spectacle.

The Green Table: A Dance Of Death In Eight Scenes is equally memorable, but for very different reasons. A compelling, stark depiction of the monstrosity of war, we see hideous, masked bureaucrats as they gather to orchestrate a war in which they will never take part. The focus then shifts to the innocent victims of a conflict they did not start, while the looming presence of Death is always in evidence. The strong, dynamic movements of the soldiers, set to powerful, crashing piano chords, grab the attention and create a sense of foreboding. The delicate pastel colours of the women’s dresses emphasise their vulnerability. This is an extremely intelligent piece, choreographed by a pacifist, Kurt Jooss, who aimed to draw attention to the horror of conflict. The ballet had its world première in 1932, but its message is as relevant today as it ever was.

George Balanchine’s Theme And Variations, set to music by Tchaikovsky, ends the evening, and the mood changes once more. Against a backdrop of sumptuous drapes, this is a glittery, sparkling celebration of all that is enchanting about classical ballet. Fast-paced yet beautifully controlled, the precision of the steps is an absolute joy, while the spectacle of a stage full of performers, working individually but in perfect unison, is a wonder to behold.

Theme And Variations is the perfect ending to a programme which leads the audience on a journey through three gems from the last hundred years. At times thought-provoking, at times sheer beauty, Birmingham Royal Ballet’s 20th-Century Masterpieces is pure perfection.

Reviewed by Rachel Smith on Friday 19 June at Birmingham Hippodrome

5 Stars on Sun, 21 Jun 2026

The What's On team were out in force at Birmingham Hippodrome last night, with both Rachel Smith and Diane Parkes reviewing BRB's Sir Peter Wright's Centenary - a celebration of Sir Peter's work in his 100th year. 

Check out both reviews here:

What could be a more fitting way to celebrate the 100th birthday of Sir Peter Wright - Founding Director Laureate of the Birmingham Royal Ballet - than by presenting a programme of highlights of some of the most famous classical ballets to grace the Hippodrome stage? 
The Sir Peter Wright Centenary hit exactly the right note, showcasing the great man’s contribution to the art form over many decades with an evening of exquisite dancing and pointe-perfect performances.
It is 36 years since Sir Peter brought the former Sadlers Wells ballet from London to Birmingham. Under its new name, Birmingham Royal Ballet, the company quickly became integral to the city’s arts scene as it established a country-wide and international reputation for excellence. 
In tribute to Sir Peter, a colleague called him one of the greatest choreographers of classical ballet in history, and this was borne out by the snippets of the four ballet classics presented this evening. Dancers performed excerpts from his productions of The Sleeping Beauty, Coppélia, Giselle and Swan Lake, delighting the audience with the sheer brilliance of their steps. The sets were sumptuous, the music delightful and the dancing impeccable - sheer joy for ballet-lovers young and old.
In sharp contrast was the final piece of the evening. The Green Table: A Dance Of Death In Eight Scenes is a 20th-century masterpiece, premiered in 1932 and the first ballet in which Sir Peter performed. He brought it to Birmingham in 1992, when it challenged both dancers and audiences with its contemporary feel and thought-provoking content. It is no less thought-provoking more than 30 years on, in days when its anti-war themes remain remarkably relevant. 
The evening began with a performance by students of Birmingham’s Elmhurst Ballet School. Their piece, a Grand Défilé to the Polonaise from Eugene Onegin, was beautiful in its understated elegance, and the quiet enthusiasm and pride on the faces of the young dancers was simply charming. This performance by students at the very beginning of their careers was the perfect opening to an event which ended with a reflection on the life of a man celebrating his hundredth year and who has achieved so much. The image of life turning full circle was impossible to miss and added to the sentiment that we were watching something very special indeed. 
Dance lovers from Birmingham can be very happy that Sir Peter had the vision to establish a world-class company on our doorstep. This unique and beautiful event was an apt tribute to a man who has achieved so much.

Reviewed by Rachel Smith 

 

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Back in 1990 Sir Peter Wright had the foresight to bring what was then Sadler’s Wells Royal Ballet to Birmingham and create the new company Birmingham Royal Ballet - and the city and dance enthusiasts have been grateful ever since.

With Sir Peter celebrating his 100th birthday this year, the company threw him one hell of a party with this gala at Birmingham Hippodrome.

The evening brought together favourite pieces from the former BRB director’s productions, Sleeping Beauty, Swan Lake, Giselle and Coppélia, followed by a work which the company hasn’t performed for decades The Green Table by Kurt Jooss.

The first ballet in which the young Sir Peter performed, The Green Table has remained one of his favourite works ever since. Created in the aftermath of the Second World War, the piece is a bitter satire on the politicians who talk peace and yet prefer war, and a reflection on the horrors of conflict.

Striding across the ballet is the terrifyingly mechanical figure of Death which at the gala performance was danced by current BRB director Carlos Acosta. Gathering both fighters and innocent victims to him, Acosta’s Death was both impersonal and imperious - no-one can defeat Death.

The stark message of The Green Table was a huge contrast to Sir Peter’s romantic ballets which had gone before, works which have become staples in the BRB repertoire.

Sleeping Beauty was represented by a series of excerpts from Act III including the gorgeous pas de deux between Princess Aurora and Prince Florimund. Its choreography asks a great deal from its dancers and the challenge was more than met by Momoko Hirata and Mathias Dingman who mastered the most intricate of steps with seeming ease.

From Coppélia we were treated to the wedding pas de deux from Act III with Beatrice Parma and Tzu-Chao Chou delicately capturing the romance of that scene.

So too there was a real connection between Max Maslen as Albrecht and Miki Mizutani in the tragic Act II pas de deux from Giselle - the sense of lost love infusing every movement.

And then on to Swan Lake with the lively Czárdás, Neapolitan Dance and Spanish Dance from Act III leading into the final bewitching of Prince Siegfried by the deceptive black swan Odile. Céline Gittens packed Odile full of character - as the temptress determined to capture the heart of the prince, she smiled triumphantly as she saw success within her grasp. Yasiel Hodelín Bello’s Siegfried didn’t stand a chance, falling for her guile and leading to the ballet’s dramatic conclusion.

Sir Peter’s pieces were given plenty of aplomb by the Royal Ballet Sinfonia conducted by BRB music director Paul Murphy while The Green Table was accompanied by pianists Jeanette Wong and Yen Lee who balanced the score’s harsh edges and hugely lyrical moments so the music felt like an additional character.

The choice of programme not only reminded the audience of the breadth of Sir Peter’s expertise, it also gave BRB a chance to showcase dancers from across the company. Furthermore, the students from Elmhurst Ballet School also had their moment, performing a Défilé to the Polonaise from Eugene Onegin.

Huge credit to the backstage team for some hefty scene changes but the pauses these created would have been the perfect opportunity to play some recorded excerpts of interviews with Sir Peter or other members of BRB sharing memories of the upcoming pieces.

But this is a minor point on an evening which was a celebration of Sir Peter, his immense contribution to the world of dance and the company that BRB have become. Every step on the stage was a testament to Sir Peter’s willingness to take a chance on Birmingham.

The gala concluded with a short selection of photos and tributes from Carlos Acosta and David Bintley who was BRB director between Sir Peter and Acosta. Then the curtain rose on Sir Peter, who was made BRB founding director laureate four years ago, sitting on a throne, surrounded by former and current colleagues. Met by a standing ovation, this was a beautiful way to end an evening and shine a light on a truly marvellous career from a much-loved member of the dance community.

Reviewed by Diane Parkes

The Green Table also features in the
5 Stars on Fri, 19 Jun 2026

Fee fi fo fum, panto’s back in Birmingham! 
So begins this year’s offering of Jack And The Beanstalk at Birmingham Hippodrome - and having checked out last night’s performance, it’s clear that panto is not only back in Brum, it’s back with a vengeance! 

A stellar cast telling the tale of poor Jack, tricked into swapping the family cow for a handful of magic beans while on a mission to destroy the evil giant, leads to a five-star evening of fun and frivolity, with dance, song, laughs and visuals delighting children and adults alike. 

The cast’s enthusiasm and joy are infectious. Local treasure Alison Hammond is clearly thrilled to be entertaining her home crowd, together with Birmingham panto royalty in the form of Matt Slack as Jake Trot and Doreen Tipton as Doreen the Cow.

Much is made of the fact that this is Matt’s 10th year as a star of the Hippodrome panto, and with good reason. He both steals the show and holds it together, with a first-half medley of songs full of innuendo that makes not only the audience but also his co-star laugh, and a second-half alphabet of impressions that can’t fail to make even the most Scrooge-like of theatre-goers raise a smile. His interactions with a hapless ‘victim’ in the front row and younger members of the audience onstage at the end of the show prove his worth as an entertainer for all ages.

Alexanda O’Reilly is a wonderfully youthful and enthusiastic Jack, and Billie-Kay a perfect Princess Jill, two young sweethearts separated for a while by evil and yet destined to live happily ever after. 

Andrew Ryan (Dame Trot, mother to Jake and Jack) is the epitome of a panto dame, with costumes which are both spectacular and outrageous, and corny jokes to match! 

Samantha Womack is the quintessential panto villain, on a mission to destroy the happiness of the poor simple village folk, but whose evil intentions are, of course, thwarted by the forces of good.

Visual highlights of this year’s show include a beanstalk climbing to the roof of the theatre from the middle of the stalls and the menacing figure of the giant looming over the first few rows. Numerous costume changes, pyrotechnics and a spectacular set create a visual marvel, and yet the simpler elements of the show are equally impressive; a routine of pure slapstick involving a frying pan, a rolling pin and a duster - which seems poised to descend into disaster at any second - leaves the audience on the edge of their seats and is one of many hilarious moments. 

There are, of course, contemporary references woven into this traditional tale, with a Just Eat delivery of a burger to the giant and comic references to Hammond’s roles on This Morning and Bake Off...

All in all, then, it’s fair to say that the Hippodrome is yet again presenting a panto masterpiece - one that’s sure to entertain and delight in equal measure. Be sure to bag yourself a seat to enjoy this real giant of a festive treat! 

5 stars

Reviewed by Rachel Smith at Birmingham Hippodrome on Tuesday 19 December.
Jack And The Beanstalk runs at the venue until Sunday 28 January

5 Stars on Tue, 02 Jan 2024

The Play That Went Wrong - Reviewed by Stephen Spinks on Tuesday 26 October

I can safely say that I have never laughed so hard or for so long as I did last night, in all the years that I’ve been alive. 

Sitting in the Birmingham Hippodrome watching a performance of The Play That Went Wrong, I had constant tears streaming down my face as I delighted in the experience of a truly brilliant work of theatre. I was not alone either when it came to thoroughly enjoying the occasion - one look at my fellow audience members and it was clear that fits of laughter were very definitely the order of the day. 

From beginning to end, Mischief Theatre’s hit production boasts more thrills than a theme park. Written by Henry Lewis, Jonathan Sayer and Henry Shields, the award-winning comedy is liberally peppered with perfectly timed killer dialogue and positively awash with all manner of bumbling buffoonery. A play within a play, in the style of Michael Frayn’s Noises Off, the show’s premise sees the entirely fictitious, utterly incompetent and seriously accident-prone Cornley Polytechnic Drama Society doing their very best to stage a 1920s’ murder-mystery entitled Murder At Haversham Manor. Cue all manner of laugh-out-loud disasters - from missed cues and misplaced props, to repeated dialogue and collapsing scenery.

The acting from the entire cast is superb. Everyone plays their part to sheer perfection, turning ‘the happening of disasters’ into a satirical art form. My favourite performance - and it was hard to pick just one - has to be that of the wonderful Robert Grove in the role of Thomas Colleymore. His character, so calm and full of perseverance, is the glue to which everyone else attempts to stick. Channel the voice and presence of General Melchett in Blackadder Goes Forth and you’ll have a good idea of how he played the part. His straight face and timing was everything. 

The set design on this production is very clever indeed. Haversham Manor reflects the kind of location beloved of Agatha Christie. A 1920s-style Edwardian country pile naturally ripe for murder, its walls came crashing down, its mantlepieces failed to hold, its doors stuck and its floors gave way, all bang on cue and to spectacular effect. There’s nothing more visually impactful than a malfunctioning set to convey a sense of theatrical disaster, and in this way, the dramatically collapsing Haversham Manor very much acted as the show’s ‘12th man’, inspiring its fair share of laughter from the thoroughly amused audience. The skill and vision that must surely go into making such disaster seem effortless is without doubt an act of genius. A round of applause, therefore, for the duo behind the magic, Roberto Surace and Ric Mountjoy. 

Brilliantly blending a variety of genres, from murder-mysteries to pantomime, Mischief Theatre’s gobsmackingly superb The Play That Went Wrong offers something for everyone. As such, it provides the kind of family-friendly entertainment that could well go down a treat with youngsters during this week’s half-term holiday.       

Looking back on the performance now, I can’t help but wonder what Agatha Christie would’ve made of it all. Probably much the same as we did. An absolute must-see!

PS: Let the cast know if you find Winston...! 

Five stars Reviewed by Stephen Spinks on Tuesday 26 October

The Play That Went Wrong continues to show at Birmingham Hippodrome until Sat 30 October. Click HERE for tickets.

on Wed, 27 Oct 2021

‘Welcome back, Birmingham’ was the powerful message last night delivered at the city’s Hippodrome theatre, as the Hurst Street venue’s main stage was finally brought back to life by hit musical Priscilla Queen Of The Desert - a perfect choice to get the post-pandemic party started.
Packed to the rafters with toe-tapping anthems and boasting an explosion of colour that extended to every corner of the stage, Priscilla not only took its audience on an adventure into the Australian outback but also whipped them into a frenzy of cheers and laughter.
For those not familiar with the narrative, the show tells the story of drag queen Tick (Mitzi Mitosis), who, having set aside parental responsibility six years earlier, decides it’s time to pay son Benji a visit in his home town of Alice Springs. Tick’s estranged wife runs a cabaret club in Alice... providing a perfect excuse to bring along his friends and fellow artistes, Bernadette and Felicia, to perform.
A battered old bus - the ‘Priscilla’ of the title - is the trio’s chosen mode of transport, but poor old Priscilla is past her best and the journey proves too much for her. Enter Bob, a kind-hearted mechanic enamoured with Bernadette who joins the trio for the remainder of their journey. 
While the interaction, banter and abundant innuendo between the characters generates plenty of hilarity, the show also offers a stark reminder of the vulnerability of the LGBTQ+ community, with a homophobic attack in an outback bar momentarily bringing the audience back down to earth with a bang. Normal service is soon resumed, however, and there are some truly delightful moments of tenderness as the show moves towards its conclusion, with Tick finally meeting his son, and romance blossoming between Bernadette and Bob. 
The on-stage party reaches its crescendo when the trio perform at Tick’s wife’s cabaret club. Their act provides the perfect end not only to the show but also to an evening of near normality at the theatre - my face mask may still have been in place, but underneath it I was smiling ear-to-ear with the sheer joy of finally being back at the Hippodrome.

4 Stars on Wed, 01 Sep 2021