Peaky Blinders – The Redemption of Thomas Shelby by Rambert Dance Company Review

The cast of The Redemption of Thomas Shelby. Photo by Johan Persson

Written by Katie for Theatre & Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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Wow.
That is how you start a show. Wham. From the first moment, Peaky Blinders: The Redemption of Thomas Shelby slams you into its world with such force and beauty, you barely have time to breathe.

This is, without a doubt, the most beautiful piece of dance theatre I have ever seen.

It is a stunningly theatrical reimagining of the hit BBC drama that Brummies everywhere are proud of, ‘Peaky Blinders’. One that doesn’t try to copy the series, but instead distils its essence into something raw, poetic, and fiercely physical. Opening in the trenches of Flanders and unfolding in post-war Birmingham, the story follows Tommy Shelby as he battles inner demons, builds an empire, and falls in love. As love, betrayal, and revenge collide, the production doesn’t just tell the story; it breathes it, sweats it, dances it. With an onstage band performing a searing soundtrack, this show feels like a live, pulsating heartbeat of Birmingham's past.

Let me start by saying these dancers were incredible. They moved with otherworldly grace, with extensions that seemed to defy anatomy. Even the tiniest gesture, a flick of a wrist while holding a cigarette, was fully considered and exquisitely executed. Choreographer & Director Benoit Swan Pouffer has truly outdone himself with this breathtaking work. He throws everything he’s got at this show, with every moment so tightly choreographed and intricate, the dancers weave through each other seamlessly with sharp, cinematic, visceral choreography. The genius lies in knowing exactly when to unleash chaos in the movements and when to let striking unison hit like a slap across the face. And when it lands- oh, it lands.

There were several standout moments and performers in this cast for me. One of these came in a deceptively simple duet between Polly (Angelique Blasco) and Ada (Adel Balint). The stillness in their movement radiated power. Dainty but deadly, they embodied a fierce femininity that dared you to underestimate them. Tommy Shelby might be the story’s centre, but Polly? She's the one running the show.

There were tender moments like the wedding scene and the grief scene, which gave Tommy's character so much more depth. We see the versatility of Conor Kerrigan in moments like this, and you can’t rip your eyes away from him. What a stunning dancer he is, and what a perfect lead for this show.

And then there’s Red Right Hand. The anthem of the show. The way it was presented - cool, restrained, and utterly magnetic - transformed a simple walk into a statement. This isn’t just a gang; it’s a family. Untouchable. Unshakable. And the Shelby family unit (Tommy, Arthur, John, Ada and Polly) are disgustingly cool. Every time they’re on stage together, they radiate power. There’s a kind of silent communication between them that goes beyond choreography; it’s in the way they stand, the way they react to each other. You feel their bond. They are stylish, dangerous, and impossibly magnetic. Watching them move together is like watching a pack of wolves in tailored suits.

Act 1 stood out slightly more than Act 2, which took a surreal turn with a section on opium addiction. It got a bit strange, as you might expect, but still managed to hold the atmosphere.

I think ultimately, one of the beautiful things about this company is that every performer is there as one, not to steal the scene, but to only serve the story. They work gorgeously to complement each other, playing their respective parts exquisitely.

A bit of gender-blind casting also added a thrilling edge, particularly in the club cabaret scenes, heightening the sense of rebellion and scandal.

Moi Tran’s set design was nothing short of brilliant. The trench running across the front of the set allowed the cast to vanish and reappear, weaving in and out of reality like memories. The cast used it to their absolute advantage, playing with the heights it gave them. Natasha Chivers lighting design was also a stroke of genius, shifted seamlessly from whimsy to danger, often making dancers vanish entirely, adding to the piece’s dreamlike (and sometimes nightmarish) quality.

I adored the live musicians in this piece. And we’re not talking about some tired old classical ballet music. No. We're talking iconic rock tracks from the likes of Radio Head, The Last Shadow Puppets and Frank Carter & The Rattlesnakes. All sung live! They are visible for most of the show, cast in a hazy glow like ghostly figures watching on.

Above it all, the voice of the late Benjamin Zephaniah echoed with godlike authority. His narration was poetic, commanding, and soaked in soul. The language, unsurprisingly, given who we are talking about, is stunning. Descriptive, colourful, rich with rhythm and weight.

And here’s the best part: even if you’ve never seen Peaky Blinders on screen, it doesn’t matter. The story is crystal clear and emotionally gripping, and the movement speaks louder than any dialogue ever could. Everything you need to feel, understand, and fall in love with this world is right there in the dancing. It’s a full-body experience - raw, human, and utterly unforgettable.

In short: this show is a masterpiece. Rambert has taken a beloved TV drama and turned it into something transcendent. This is your last opportunity to see it, so I implore you…run, don't walk.

Peaky Blinders: The Redemption of Thomas Shelby is at Birmingham Hippodrome until 14th June and touring until 16th August.

★★★★★