Review: Peaky Blinders: The Redemption of Thomas Shelby, Sadler’s Wells

Rambert’s Peaky Blinders: The Redemption of Thomas Shelby sets the Sadler’s Wells theatre alight from the moment it begins. Following Peaky Blinders protagonist Thomas Shelby’s relationship and subsequent grief following the death of his wife Grace, the production is an exceptional blend of dance theatre, live music, and gloomy narrative. The production is adapted by series creator Steven Knight, whilst Rambert’s Artistic Director Benoit Swan Pouffer directs and choreographs the show. 

The ensemble morphs between roles, from gangsters to leather-clad police dogs to nightclub dancers, aptly embodying Shelby’s damaged world. With occasional recorded narration by the late Benjamin Zephaniah, the production is dominated by its rock-infused score, composed by Roman GianArthur and featuring familiar tracks such as the iconic ‘Red Right Hand’ by Nick Cave. Fleeting glimpses of the musicians in the background of the set charge scenes with an almost spine-tingling energy; during one scene, a guitarist steps out onto the stage, which had audience members physically leaning forward in their seats in an effort to catch a glimpse.

Guillaume Quéau is utterly magnetic as Thomas Shelby, succeeding in being simultaneously tortured and authoritative. He wobbles elegantly between utter destruction and fierce command of the characters around him.

Even amongst such skilled dancers, Pouffer’s gangster-inspired choreography and Moi Tran’s impeccable set design are the stars of the show. The stage is a raised platform sliced through with a narrow channel that the performers dive into and leap over, and it doubles visually as a bar and as a battlefield trench, befitting of Shelby’s character.

It’s also impossible not to note Natasha Chivers’ lightning design; audiences are treated to backlit glimpses of half-hidden musicians as they perform live, which makes the performances so much more visceral. Cigars and cigarettes are smoked tactically, with the resulting cloud huffed out in such a way, and shadowed so cleverly, that the performers utilise it as part of the dance. One scene in particular is made terrifying by its use of lighting, where seemingly reanimated corpses lie beneath dirtied sheets, their forms and movements lit from within.

Costume designer Richard Gellar sticks closely to the iconic fashion we’ve come to expect from the television show, with flat-caps, flapper dresses, and tailored jackets abounding. Every outfit worn by Simone Damberg Würtz as Polly is utterly captivating. Naya Lovell is dressed in a beautiful white gown as the deceased Grace, which only amplifies her stunning movement.

At times, some moments do suffer from limited visibility, but not so much that audiences might feel unable to follow along. The narrative swings from real life to abstract, with the second act dominated by Shelby’s opium-intensified grief, which at times can feel slightly meandering. Despite this, however, the production overall manages to feel appropriately weighted both in length and in emotion. 

Peaky Blinders: The Redemption of Thomas Shelby leaves its audience with a tangible and lasting impression. In its diversion from traditional storytelling, the production appears fresh and entirely unique, with unforgettable flair and theatricality. Audiences should expect a dance-theatre experience that feels entirely legitimate within the context of the Peaky Blinders world; raw, cut-throat, and dangerously bold.

Adaptor: Steven Knight
Choreographer & Director: Benoit Swan Pouffer
Musical Director: Yaron Engler
Score: Roman GianArthur & Nate Wonder
Executive Producers: Simon Sinek & Robin Saunders
Set Design: Moi Tran
Costume Design: Richard Gellar
Lighting Design: Natasha Chivers
In Association with Caryn Mandabach Productions. Peaky Blinders © TM Caryn Mandabach

Peaky Blinders: The Redemption of Thomas Shelby plays at Sadler’s Wells until Saturday 16 August.