Stages Magazine Summer 2023

Inside this issue:

DISNEY’S THE LION KING behind the scenes P8

MATT SLACK celebrating ten years of Brum Panto P14

CARLOS ACOSTA on Black SabbathThe Ballet P22

Summer 2023

THE SECRET’S OUT! P7

Welcome to stages...

I’m really excited to introduce our first in house magazine in three years! Created and edited by the Hippodrome team, Stages gives you an exclusive insight into some of the incredible shows and performers taking to our stages this year, alongside all the latest Hippodrome news

We’ve got lots of brand new features which dive into life in theatre, we’re taking you behind the scenes of our summer blockbuster musical The Lion King and giving you the first taste of what to expect from our new Circle Lounge. It may be summer now, but we’re busy making plans for the festive season Panto is my favourite time of year and I’m delighted to share a special interview with Brum Panto legend Matt Slack, who is celebrating an incredible ten years with us

Behind the scenes, we’re working on strategic plans to move the Hippodrome forward in exciting new directions whilst celebrating our rich heritage. Keep an eye out for some of these plans as they develop in future issues of Stages

There’s so much to look forward to this year at the Hippodrome and I really hope you enjoy taking a moment to sit down with a cuppa and our new magazine

4-7 HIPPODROME HEADLINES

8-13 BEYOND THE STAGE Behind the Scenes of Disney’s The Lion King

14-17 IN CONVERSATION WITH Matt Slack

18-21 LIFE IN THE THEATRE

My Life in Showtunes

My Journey Into In My Dressing Room

Five Things I Have Learnt...

22-23 SEASON

HIGHLIGHTS

Carlos Acosta on Birmingham Royal Ballet’s New Season

How We Started The Year

Three Reasons to See

See all of our latest shows

Photography: Joe Bailey, Vivienne Bailey, Clive Booth, Paul Coltas, Matt Crockett, Simon Hadley, Danny Kaa

QUEEN OF BRUM joins panto cast

We were excited to announce in April that national treasure and Brummie legend, Alison Hammond will be joining our giant of a pantomime, Jack and the Beanstalk Far from ITV’s This Morning Studio, Alison will be journeying to pantoland to bring a sprinkle of festive magic to the Hippodrome Brum Panto favourites Matt Slack, Doreen Tipton and panto dame extraordinaire Andrew Ryan will also be returning to our stage

FUNDRAISER puts young dancers centre stage

In February, our spectacular gala evening at Matthew Bourne’s Sleeping Beauty raised £5,000 to support aspiring young performers.

Sponsored by Gowling WLG, the sold-out event raised money to support the Hippodrome’s youth dance talent programme. Tianna, who took part in New Adventure’s Matthew Bourne’s Sleeping Beauty dance project, spoke at the gala to share her transformative experience with the project, made possible through the programme.

More spectacular gala events are now on sale, including Wicked on Thu 7 Mar 2024. Find out more on our website

to our YoungAdvocates

Meet our second cohort of Young Advocates!

Aged 14 - 23, the group of 22 individuals formed earlier this year to help us shape and influence the work we do with and for young people across the West Midlands

Alongside working closely with the Hippodrome to programme and produce events for young people, our Young Advocates receive training, mentoring and access to a range of different opportunities within the arts industry

Welcome Catherine!

Earlier this year, Birmingham Hippodrome Theatre Trust welcomed Catherine Mallyon to the Board of Trustees. Catherine has been Executive Director, a Governor and a Board member of the Royal Shakespeare Company since 2012.

Jon Gilchrist, Artistic Director and CEO of Birmingham Hippodrome said: “It’s a privilege to welcome Catherine to the Hippodrome board. I’ve had huge admiration for her for many years: as a strategic voice for theatre, and as a champion for the arts in the West Midlands. She is the perfect addition to what is already an extraordinary board ”

Catherine added: “I am thrilled to be joining the Hippodrome board, and I look forward enormously to working with the voluntary trustees in supporting the team to deliver more Hippodrome ‘goosebumps moments’.”

Just you wait for Hamilton

Look around, look around, the revolutionary sung-and-rappedthrough musical, Hamilton, is coming to Birmingham 25 Jun31 Aug 2024!

Hamilton brings to the stage the life of American Founding Father Alexander Hamilton. Featuring the Tony winning book, music and lyrics by Lin-Manuel Miranda and a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, Hamilton is the story of America then, told by America now.

Don’t throw away your shot to see this infamous production.

r o m e h e a d l i n e s

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Raising the Roof with Motionhouse

Back in February, 16 talented young people from across the West Midlands participated in our second Curtain Raiser performance in partnership with our Associates Motionhouse The performers were recruited from schools in our Hippodrome Education Network and dance development programme After rehearsing for five weeks with Motionhouse choreographer and director Junior Cunningham, the group performed their own unique piece on our main stage before Motionhouse’s Starchitects, celebrating the company’s unique dancecircus style whilst responding to the theme of the show.

Out & About

There’s nothing we love more than taking our productions and festivals out to brilliant Brum places. Some highlights from our last season include…

Celebrating the end of Dick Whittington by taking our Spirit of the Bells, Dr Ranj, bell ringing at St Paul’s Church

Starting Lunar New Year celebrations in the city with Pom Pom, a ten foot Panda

Giving visitors to Birmingham Botanical Gardens a roar-some surprise with Tybalt, Dinosaur World’ s mini T-Rex

Going on a city adventure with Winnie the Pooh and his friends from the Hundred Acre Wood

THE SECRET’S OUT!

Our Circle Lounge is reopening its doors this summer following a complete refurbishment and offering a brand-new dining experience Hungry to find out more, we met with head chef, Angelina Adamo, to get a taste of what to expect

Hi Angelina, tell us about yourself

I’m 25 years old and have been a chef for eight years My family is Italian, so food has always been important to us!

I’ve worked in various places over the UK including Simpsons restaurant in Edgbaston. Lockdown happened not long after I left Simpsons, and someone asked me to make them a Victoria Sponge cake I posted it on my social media and then had a huge response with people asking me to make cakes and all sorts for them, which led to me setting up my own business

I moved into the private cheffing world, where I cook for all types of occasions, from couples having a special date night to big groups celebrating I love going into people’s homes and giving them exactly what they want whilst cooking my own style of food.

What made you want to work with the Hippodrome?

I worked on some events for the Hippodrome and I really liked the vibeeveryone is really friendly and I absolutely love the theatre.

I love being able to cook around something I enjoy so much too.

I am so excited to launch the Circle Lounge, to be able to go to a kitchen with a team surrounding me and people eating my food - I just can’t wait for that

What can everyone expect from the food?

When I go out with friends, I often want lots of bits to nibble and share - I want the food at the Circle Lounge to do the same.

Expect sharing platters and delicious small plates, all influenced from a Mediterranean background and my family food in a relaxed setting I want it to enhance the social experience and for audiences to enjoy sharing their food together.

What about the overall dining experience?

I want people to go to work the next day or see their friends and talk about the whole experience from the meal to the show It’ll mean our guests know there’s no stress - you have your seats for dinner and tickets for the show all under one roof

After cooking for other people, what do you make yourself for dinner? If I’ve been cooking all day and want something quick and easy, I would definitely cook a plate of cacio e pepe. It’s pasta, cheese and pepper - it’s delicious. It may not be the best thing at midnight but it’s my go-to easy fix!

Disney’s The Lion King

has been playing in London for 24 years where it has been seen by over 16 million theatregoers. Around the world it’s been seen by more than 110 million people across six continents in 25 productions worldwide. Now the UK touring production is returning to Birmingham for only the second time in a decade.

t a g e

It takes around 150 people to put on Disney’s The Lion King each night50 on stage and 100 backstage alongside 232 puppets, including rod, shadow and full-sized puppets. It took the Tony Award winning creative team over 37,000 hours to build the original puppets and masks, which along with the actors in the show represented 25 species of animals, birds, fish and insects. Alongside the puppetry the show has over 350 costumes; including 22 hand-beaded corsets, each consisting of thousands of individually sewn beads.

BRINGING SIMBA TO LIFE

We spoke with Kyle Richardson, who plays Simba in the touring company to find out what it's like to transform into the world’s most adored lion.

How does it feel to play the iconic role of Simba every night?

It is a dream for me From the moment I knew The Lion King existed, I’ve wanted to be in the musical and I’ve always admired that role It’s my favourite movie and I’ve always seen myself in Simba It’s absolutely mind-blowing and unbelievable for me

When you’re getting ready to go on stage, what methods do you put in place to bring out the vulnerability, naivety and innocence of Simba?

I have used a similar method in most of my acting, for me it comes from the most real place possible, so for this role I have pulled on my own teenage years to find the rebellious, naive and innocent sides of Simba’s character

How do you get into the physical side of the character? How do you move like a lion?!

The work the movement and choreographic teams do with us is amazing. The Resident Director and Choreographer tell us how they would like it to look and then we spend some time in the mirror doing these movements and trying to form them We’re given Javanese dance classes which is where the movement came from and the style that originally inspired Director Julie Taymor It’s a

culmination of that and working with the choreographer to develop your own style too

What is your favourite song in the show?

It would have to be Endless Night because there’s a choir in the background which draws the listener into it The song is about Simba calling for the help of his father and ancestors, and then he tells the story for himself I think that’s a challenge many of us face sometimes - knowing what we are supposed to do but not always knowing how to get there

How do you stay motivated to go out and deliver each night?

As a cast we have a great energy as we’re always together on stage and off stage - we’re like a true family I think that the audience can feel that bond. This production feels very special

PREPARING FOR SCAR

George Asprey plays Scar in the London Company of Disney’s

The Lion King. For the last fifteen years, he has played the role of Scar eight times a week. The costumes in the show are some of the most complex and detailed in theatrical history, and Scar’s is one of the most detailed - and one of the heaviest -

weighing around two stone. Around 30 minutes before the show starts actors get into costume, for Scar that means two assistants and about 20 minutes to get his costume and mask on.

We spoke with George to hear how he gets his claws into the role.

How have you learnt to manage all the different elements of Scar?

The initial rehearsal process is extensive, we have upwards of six weeks of rehearsals whereas it’s usually only four weeks for a musical, but because there’s so much to take on board - the mechanics, the movement style, the acting and the puppetry we need more. My mask, like some other characters in the production, is operated from my hand and so learning the movement and how to hold the mask is always the most challenging part, you need to make it look like that mask is an extension of your own person

When you start off in this show there’s so much that you have to think about, there are tiny things that people watching the show won’t notice that make up the bigger whole - for example underscoring means you constantly have to hit a certain point in your dialogue to coincide with a certain point in the music, every single thing in

the show has to fit together perfectly Eventually it all becomes second nature and you can concentrate on developing the character

And once you’ve learnt that, how do you keep it so fresh and vibrant each night? Are you still learning new things?

I’m very conscious that I am performing in the biggest musical worldwide. There are so many people who have their first ever experience of theatre at The Lion King. If we can engender a love of theatre in those people, then you’re guaranteeing the next generation of theatre goers. Every night we think about that person who has been thinking ‘how many sleeps until The Lion King’ It’s up to us not to fall back on fifteen years of performance but to be in that momentpresent and fresh for the audience

MATT SLACK celebrating ten years of Brum Panto

As Matt Slack looks back on ten years of Birmingham Hippodrome pantomime success, there’s one moment which really sticks out for him. Like the shocked audiences who saw it, he’ll never forget dropping a child into the orchestra pit for giving him cheek.

Of course, as a true professional, it wasn’t an accident and no children were harmed during the stunt, which happened during every show It was a hilarious moment which went on to win an award

Matt, who stars in his tenth consecutive Hippodrome panto later this year, says: “My highlight has to be from 2017’s Cinderella, the year I dropped the kid into the pit I know Paul Zerdin did it at the Palladium last year, but I did it first!

“At a production meeting, I asked if it would be possible and the answer came back ‘I don’t see why not’ We got in a nine-yearold called Nicholas to be one of the kids we called up on stage near the end He dropped on to a crash mat and was perfectly safe. He loved every minute of it and we won Best Song Sheet at the Great British Pantomime Awards

“I’ve never experienced anything like it, that huge reaction of shock and then belly laughter How do you top that? But I’m sure we can think of something ”

This year Matt will be starring in Jack and the Beanstalk with the Queen of Birmingham, TV presenter Alison Hammond, plus returning favourites Doreen Tipton and Andrew Ryan

He says: “I haven’t met Alison yet but she came to see Cinderella in 2017 and posted a really nice tweet about me to ITV, saying ‘you have to see Matt Slack’

“She’s a huge personality who loves panto and I’m thrilled she’s joining us It’s great to have new people come in each year as well as familiar faces Alison’s laugh is so infectious and I can’t wait to be back at the Hippodrome alongside her

“Panto isn’t a one man show - it’s a big stage and there’s plenty of room on there for everyone I want other people to shine brilliantly.”

Those who have been coming to Hippodrome pantos for years - and there are plenty who do, bringing generations of their family in an annual traditionhave seen Matt rise through the ranks, from a small picture on the poster to top billing

His first panto was Snow White and the Seven Dwarfs in 2013 It would have been his tenth panto last year, if 2020’s production hadn’t been cancelled by Covid

Matt says: “Ten years in a row is a massive milestone and a huge achievement, one I’m very proud of and grateful for

“Birmingham Hippodrome’s is a very prestigious show in the world of panto I don’t take the success for granted and I work hard for it. I spend most of the year writing new material to keep it fresh I don’t want to be lazy, I always try to give a bit more I’ve kind of made a rod for my own back because expectations are now so high - people expect a lot but I hope we deliver ”

So what is Matt’s formula for a successful panto?

“Most importantly, it has to be funny. People want to laugh Be brave and daring I like to take risks and do what other people wouldn’t even contemplate, like dropping a kid into the orchestra pit

“It also has to be magical and have a heart. My favourite moments are when I tug at the heartstrings If I can make someone cry with laughter and then cry with empathy, I’ve done my job ”

Matt shares his memories from a decade of Hippodrome pantos...

2013: Snow White and the Seven Dwarfs with Stephanie Beacham, Gok Wan, Gary Wilmot, Paul Zerdin and John Partridge

“It was a starry cast but I wasn’t at all nervous because the pressure wasn’t on my shoulders The main comic was Paul Zerdin and I only popped up for a five minute slot, just enough to get the attention of the audience.”

2014: Jack and the Beanstalk with Jane McDonald, Duncan James, Chris Gascoyne, Gary Wilmot and Paul Zerdin

“I had more to do and started what has now become a regular part of the show We were only a few days from opening and I was rehearsing a scene with Chris Gascoyne from Coronation Street when director Michael Harrison said ‘We need a bit more here’ I said ‘I could always do some impressions’ Overnight I wrote a routine with Corrie characters and it brought the house down. I think that’s part of my success, being able to put something together on the spur of the moment.”

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2015: Aladdin with Marti Pellow, Julian Clary, Lee Mead and Andrew Ryan

“This was a really difficult year for me because I was struggling with a nasty virus which paralysed my vocal cord. I was struggling to breathe and do anything, and I thought it was game over It was painful to do the show, but the Birmingham audiences were so supportive, they carried me through.”

2016: Dick Whittington with John Barrrowman, Steve McFadden, The Krankies, Andrew Ryan and Jodie Prenger

“I got such a big cheer when I came on every night, which went on for a couple of minutes It surprised me and it was a big shock to John Barrowman, who had no idea I had such popularity I began to realise there was something special going on, a connection with the audience that happens very rarely I also enjoyed working with Steve McFadden, who is a great mate and was best man at my wedding last year.”

2017: Cinderella with Beverley Knight, Danny Mac and Suzanne Shaw

“I loved doing a dance off with Danny Mac fresh from his Strictly success, and what a voice Beverley Knight has. Actually, she sang at my wedding - she recorded Al Green’s Let’s Stay Together for our first dance And of course this was the year I dropped the kid into the pit ”

2018: Peter Pan with Jimmy Osmond, Jaymi Hensley and Meera Syal

“Jimmy Osmond is one of the nicest guys I’ve ever met, up for anything When he had a stroke not long into the run, it was such a shock and we were all devastated Darren Day replaced him and one of the funniest moments was when Darren got stuck in the jaws of the crocodile This was also the year the Hippodrome kindly gave me my own dedicated seat, L15, with the inscription ‘making Birmingham laugh for six years and counting’.”

2019: Snow White and the Seven Dwarfs with Lesley Joseph, Joe McElderry, Faye Brookes, Doreen Tipton and Andrew Ryan

“I’ve worked a lot with Lesley Joseph and I love her She’s a phenomenon, a force of nature with so much energy on and off stage We have so much mutual respect and work well together – we call each other our showbiz mother and son This year was also notable for being the first year with Doreen Tipton ”

2021: Goldilocks and the Three Bears with Jason Donovan, Doreen Tipton and Andrew Ryan

“It was a strange year as we were still in the pandemic and people were worried whether it would work We had no kids in the show or up on stage We were tested every day and I had to miss a week when I got Covid, which was awful, but Johnny Mac stepped in and was great. It was a spectacular show, Jason Donovan was brilliant and I’m still in touch with him ”

2022: Dick Whittington with Marti Pellow, Suzanne Shaw, Dr Ranj, Doreen Tipton and Andrew Ryan

“It was nice to get back properly and it felt normal again I wrote the scene where Doreen, as the cat, sings Memory because I wanted people to hear her amazing voice This was the first time I had the title role, which meant I was hardly off-stage - exhausting but fantastic ”

MY LIFE in Showtunes

We asked Shobna Gulati, who is playing Ray in the smash-hit and critically acclaimed musical Everybody’s Talking About Jamie, (on our stage in October), about the showtunes that have shaped her life Check out her Spotify playlist so you can enjoy the songs too!

The showtune that always puts a spring in my step is You Can’t Stop the Beat - Hairspray

The first showtune I fell in love with is… Secret Love - Calamity Jane

The showtune I would love to perform is… Send In The Clowns - A Little Night Music

The showtune I love that always surprises people is I’d Rather Be Sailing - A New Brain

The showtune that reminds me of my childhood is… I Am the Very Model of a Modern Major GeneralPirates of Penzance

The first showtune I remember learning all the words to is I Don’t Know How to Love Him - Jesus Christ Superstar

The showtune I know all the dance moves to is… Work of Art - Everybody’s Talking About Jamie

The showtune that always puts a smile on my face is Six - Six the Musical

The showtune that gives me goosebumps is… And I Am Telling You I’m Not Going - Dreamgirls

The song I sang to audition for this role is You’re So Vain - Carly Simon

My go to karaoke song is… I Will Survive - Gloria Gaynor

The song I would love to duet with the original artist is Yesterday Once More - Karen Carpenter

The song I’m currently listening to on repeat is… Adore - Prince

Listen to the playlist

My Journey Into...

Erika has been working as the Technical Supervisor for Production at Birmingham Hippodrome since 2019 Her work includes supporting the organisation with technical requirements for productions in the Patrick Studio and helping with the planning and delivery of events within the Hippodrome From behind the scenes insights to key learnings and advice, Erika shares all about her journey into technical theatre

What was your first theatre job? Working at Unique Venues Birmingham within The REP was my first theatre jobbefore that, I had worked in events at hotels and other venues

The technical side of things started to become a regular part of my job and I found myself more and more interested in creating a ‘wow’ moment when a client walked into the room, in the same way audiences react to watching a show.

What might surprise people about working in technical theatre?

There are always more people than you think behind the scenes making a show happen! There’s a whole team of people trying, testing and rehearsing to make sure we keep the magic of the show alive for our audiences

What’s the toughest thing about your role?

It can be hard graft, but the outcome outweighs it every time Post-pandemic recovery has been tough at times - the industry has lost two years of training and experience We want more people who have an interest in theatre to explore a career in the technical industry - as that was me - I knew I loved theatre but never dreamt I could work in a role like this at the Hippodrome!

What traits do you think have helped you in your career?

My positivity and never saying never - just because something can’t be done one way doesn’t mean it can’t be done another way. I never have the mentality of thinking

“that was a terrible day”, even if it has been a hard day, I focus on what we have achieved as a team instead Oh and be organised! You have to be organised

Is there anything you wish you had known before starting work in technical theatre?

I wish I had known I could get into it sooner It’s not a closed off industry and I’ve learnt that sometimes the right transferable skills and outlook is what’s needed in technical work

How do you balance work life with your home life?

It can be hard juggling work like this as a mum, I want to thrive and show my daughter the right life and right balance Being part of an organisation that has allowed me to come back full time in a way that supports having a family to look after has meant I can still work hard and play hard!

My daughter has changed my priorities. She changed me as a person and how I think about things, I don’t sweat the small stuff anymore It’s made me manage my

work better as I also want to make sure I get home for that cuddle with her before bedtime

What’s the best thing about working in technical theatre?

We all want the same thing, to make an awesome experience for people and we all do it for the passion, drive and teamwork

The Hippodrome name comes with a lot of history and you want to be proud to be part of it. I’m proud to be a woman in this industry and I would love for my daughter to grow up in a world where she is confident she can do anything

What advice would you give to someone looking to work in technical theatre?

Do it! There is a whole world to technical theatre, so get involved with your local theatres, get work experience, be proactive and keen to learn The industry will always give back when you work hard and take opportunities I didn’t have traditional theatre experience and am proof you can make a decent career for yourself in this industry. This is where I’m supposed to be

t h e a t r e

Erika Jarvis Technical Supervisor for Production

“WE ALL WANT THE SAME THING, TO MAKE AN AWESOME EXPERIENCE FOR PEOPLE”

In My Dressing Room

We met withLauraPick fromWicked,the awardwinningmusical,flying back onto our stage next year,tofind out whather essentials arebefore she startstouring.

L A U R A P I C K

Hi Laura! Thanks for letting us in to your dressing room Can you tell us a bit more about your role in the show?

I play Elphaba, the Wicked Witch of the West in Wicked The show tells the story of how she becomes wicked and explores whether she is truly wicked

How long would you say you spend in your dressing room every week?

All in all, it’s around two hours a day, which is roughly 14 hours a week because of makeup time!

Talk us through some of the essential items in your dressing room Ooh, definitely a humidifier to keep moisture in the air, lots of different types of herbal tea, honey, mints and special photos of friends and family

Have any of your dressing room essentials changed over the years? Not really, I’ve just ended up with more and more stuff!

How do you start your day to get ready for a show before you arrive in your dressing room?

A good breakfast, an essential coffee and some sort of exercise, be it a workout, run or even just a lovely dog walk!

If you were only allowed to have one item in your dressing room, what would it be? Herbal tea, but then I guess I’d also need a kettle, so please can I have two?

What’s the one thing you wish you could have with you in your dressing room that you don’t have?

I would have to say my dog always That would be the ideal - my little mascot!

What do you listen to or watch in between shows?

I just love something easy to watch, so Friends or something I’m re-watching Sometimes I love just having company and won’t watch anything

Do you have any pre-show rituals?

Not particularly, BUT a good 10-15 minute vocal warm up is an absolute MUST.

Do you bring anything that reminds you of home to your dressing room?

I love having photos of the people I love with me

How do you unwind after a show once you’ve left the theatre?

I like to have a little night time snack and then a good old steam whilst watching something chilled on my iPad!

CHRISTOPHER HOWELL

I V E T H I N G S I H A V E L E A R N T

hristopher Howell, ho is playing randpa George in Roald Dahl’s Charlie and The Chocolate Factory - The Musical, sat down with us to open up about his experiences as an actor and five things he has learnt from working in the industry.

A MOMENT IN MY CAREER THAT SURPRISED ME

AN EXPERIENCE THAT MADE ME STRONGER

I think the pandemic made me strongerit started very tragically for me. I lost my Mother, maternal Aunt, paternal Uncle and had my ceilings cave in at home within the space of two months These tragedies, all awful could have sent me one of two ways and I’m pleased to say that after the initial shock of each of these dire events I eventually was able to find a positive in each of them. I know this must read as horribly clichéd but it’s true. I put myself in the position of my departed relatives and imagined what they would say to me - this imagined counsel got me through the ravages of Covid and my resolve to carry on grew stronger than ever

The moment that surprised me the most was getting a job from an audition that was completely unrelated.

I was auditioning for the Take That Musical, Never Forget and was up for the role of the band’s manager, Ron I must have impressed because I got to the finals of the audition process and was invited to meet the creative team one last time on the stage of The Savoy Theatre, London, where the show was playing. I remember it distinctly as I was opening as the title character in Sweeney Todd over the river at The Union Theatre that night.

A LEARNING THAT HELPED ME HAVE MORE FUN

I always think it’s important to remem what I am part of, or, what I do I act in pla - plays - albeit musi or straight plays There is a big clue there.. play Remembering this can be a great comfort and puts many things into perspective

I didn’t get the job - it went to the brilliant Sean Williamson, whom I would have cast But a couple of months later I got a call out of the blue from my agent who told me I had an unconditional offer to play a role in the UK premiere of Jolson and Co. This three hander play with music was to be directed by Ed Curtis (the Director of Never Forget)

It turns out Ed had been impressed with my previous auditions and thought I was suitable for this role in his new show. It was one of my most favourite experiences to date as I got to play eight different characters throughout the performance

A LEARNING THAT CHANGED THE WAY I WORK

SOMETHING THAT HAS INSPIRED THE WAY I WORK

I have been so blessed to work with some icons in my career. My first job was What a Performance which saw me playing the final scene, set in heaven, dressed as an alcoholic rabbit who was comforting David Suchet My second job involved playing opposite Ron Moody - both legends from whom I leaned so much. Being the Associate Director of the London Palladium Pantomime for several years allowed me to witness the creation of some incredible comedy Working on Charlie and the Chocolate Factory, from this new production’s inception in Leeds to the UK tour, I am inspired daily by the skill and dedication of our hard working and brilliant cast and production crew

As the pandemic took so much away from us all, it’s very important to appreciate every element of the job we have in hand. I’m not suggesting I was unappreciative before as I think each new opportunity is a blessing, but Covid has made things tougher and so we have a duty to approach work and each other with a greater level of love and gratitude.

I could go on (and I’m sorry for not name checking all the talent I’ve worked with that have inspired me!), but I think that we can be motivated by others all the time I find dynamic energy and commitment incredibly inspirational too

n h ig h l ig h t s

by Diane Parkes

Carlos Acosta

is promising some fantastic shows this season From the Christmas spectacular

The Nutcracker and the company ’ s much-loved The Sleeping Beauty to the sell-out Black SabbathThe Ballet, Birmingham

Royal Ballet (BRB) is creating dance for all audiences.

Receiving its world premiere at Birmingham Hippodrome in September, Black Sabbath - The Ballet brings together the music of the city’s world famous heavy metal band with an international team of talented choreographers, composers and dancers

Carlos knew the idea would be popular but even he was surprised at just how popular!

“I had an intuition that it was going to be a great hit, but to be sold out seven months before opening night - that was incredible and a pleasant surprise I might add This ballet is about developing new audiences and I knew that it had the potential to do just that ”

BRB will go on to perform two audience favouritesThe Nutcracker before Christmas and The Sleeping Beauty in February - March 2024

“BRB’s has to be one of the best Nutcrackers ever,” says Carlos “Particularly refurbished with those beautiful colours and the great dancing of the company, it really is a feast for our eyes - pure entertainment and enjoyment.”

And he says watch this space for the future.

“There is so much happening for BRB now. I’d say look out for other exciting announcements and do come along to the performances and be part of Birmingham Royal Ballet.”

Birmingham Royal Ballet Director

How we started the year…

In January we welcomed the Year of the Rabbit at Birmingham’s Lunar New Year celebrations with a record breaking 46,000 people

Co-produced by Birmingham Chinese Festival Committee and Birmingham Hippodrome, the weekend brought people together across the city to celebrate the new year.

In partnership with Bullring & Grand Central, the festival kicked off with the much loved lion procession from the Bull, followed by an afternoon of performances including traditional singing, dancing, music and Shaolin Kung Fu demonstrations

The festivities continued at Hippodrome Square in Southside on Sunday to mark the official New Year’s Day Starting with Dim Jing - the traditional waking of the lion - visitors to Southside enjoyed a variety of performances on the main stage, including classical fan dances, lion dances and face changer performances, alongside dance and music from our local community. A spectacular fireworks finale closed the celebrations.

Three Reasons to See…

Embarking on its first ever UK tour, Life of Pi is an epic adventure, which tells the tale of a 16-year-old boy named Pi who is stranded on a lifeboat along with four other survivors, including a Royal Bengal tiger.

This theatrical experience will be arriving on our stage next February Check out our top three reasons to see this stunning production:

s e a s o n h gi h l gi h t s

It’s a West End phenomenon

Seen by over a quarter of a million people, the West End spectacle has proven to be a hugely popular adaptation of Yann Martel’s best-selling novel, which tells a monumental journey of endurance and hope

It’s won every major play award

With jaw-dropping visuals, magic and world-class puppetry, it’s no surprise that Life of Pi has been a roaring success Winning five Olivier Awards including best new play and best set design, the acclaimed production is a breath-taking theatrical event

The puppets are extraordinary

From a zebra, orangutan and hyena to the infamous Royal Bengal tiger, wild animals are brought to life on stage by a team of skilful puppeteers. Designed to look like driftwood, the life-sized puppets reflect Pi’s shipwreck experience, whilst also maintaining their lifelike animal forms, creating a visual masterpiece