She’s Royal world première Birmingham Hippodrome’s Patrick Studio 18.10.22

Words by Ed King / Images supplied by Blackstory Partnership

She’s Royal opens with its world première today at Birmingham Hippodrome’s Patrick Studio, starting a two day run in Birmingham – before heading to the Wolverhampton Grand Theatre in November.

Evening performances will be held at the Patrick Studio at 7:30pm on both 18 and 19 October, with an additional matinee performance at 1pm on 19 October – click here for full theatre details and links to online ticket sales.

Produced by Blackstory Partnership, the Tonia Daley-Campbell She’s Royal script explores the story of two women of colour who were prominent members of the royal household under Queen Victoria – Sarah Forbes Bonetta and Sophia Duleep Singh, both goddaughters to the monarch.

Directed by Lorna Laidlow – whose acting credits include roles in Emmerdale, Doctors, and most notably series character Aggie Bailey in Coronation Street – the recently penned production has been produced by Blackstory Partnership, as part of Birmingham’s Black History Month.

Delivered by an all female cast, She’s Royal recants the real life stories of two important female figures who were people of colour in British Royal Family history – hoping the play will inspire young women and celebrate the role people of colour have played in British high society.

A child slave in the court of King Ghezo of Dahomey (today southern western Nigeria), Sarah Forbes Bonetta was gifted to Queen Victoria via Captain Forbes – as part of a burgeoning relationship between Britain and the West African province, whilst the Navy Chief was visiting to try and break ties with the Atlantic slave trade.

Schooled in both Britain and Africa, Queen Victoria was impressed by the young Sarah’s intellect and precocity, taking the child under her care and encouraging her to enter Victorian high society. At the request of Queen Victoria, Sarah Forbes Bonetta married the wealthy Yoruba businessman Captain James Pinson Labulo Davies at St Nicholas’ Church, Brighton, in August 1862,

Sophia Duleep Singh was the British born third daughter of Maharaja Duleep Singh, the last Maharaja of the Sikh Empire, and his first wife, Bamba Müller. All the Singh daughters were encouraged to become socialites by Queen Victoria but following a visit to the Deli Durbar in 1903 the young Sophia became disillusioned with the world of pomp and ceremony, instead dedicating her adult life to “the advancement of women.”

Becoming a key part of the rising Suffragette movement, Sophia Duleep Singh would play an integral role in the getting royal consent for the Equal Franchise Act in 1928, enabling women over age 21 to vote on a par with men, and would go on to establish the Suffragette Fellowship in 1930.

The stories of these incredible women ‘form the backbone’ of She’s Royal, a new production ‘held together by their emotional and complex connections to Queen Victoria and the Great British Empire.’

Tonia Daley-Campbell, writer of She’s Royal, said: “There are so many female stories from our shared history, that have not been told, hidden histories of women of colour in particular. As a black female writer, I felt compelled to write this play when Blackstory Partnership approached me.

“When I heard about Sarah I thought, how on earth did I not know that Sarah Forbes Bonetta was walking around 1800s England as a quintessentially English woman, goddaughter to Queen Victoria? For young black girls growing up, I think hearing about these women will make them feel so empowered and seen.”

Lorna Laidlaw, Director of She’s Royal, added; “It’s been an amazing experience. The whole journey has been incredible for them and will make the play even better. We’ve got someone in the cast who is a Nurse so one minute she’s in the operating theatre and the next she’s at rehearsals! It’s such an interesting story and they’ve learned so much from it and the process.

“There are so many hidden histories like Sarah and Sophia’s, and what I would love to see is that we all support each other telling them, whatever your gender or the colour of your skin. I’d like the audience to be a big mixture of people because once we all hear these stories we start sharing them and that’s what’s important.”

She’s Royal opens with its world première at Birmingham Hippodrome’s Patrick Studio on Tuesday 18 October, with a performance at 7:30pm. There will also be performances of She’s Royal on Wednesday 19 October at both 1pm and 7:30pm.

Tickets start from £15 by calling the box office on 0844 338 5000 or online via: www.birminghamhippodrome.com/calendar/shes-royal

She’s Royal will also be performed at the Wolverhampton Grand Theatre on Tuesday 1 November at 2.30pm and 7.30pm.

She’s Royal – official trailer

She’s Royal is an original production from Blackstory Partnership. For more on Blackstory Partnership visit www.blackstorypartnership.com

For more from the BImringham Hippodrome visit www.birminghamhippodrome.com

Resistance Has A New Sound In Birmingham As ‘For Iran’ Is Sung In City Centre

Writer & photographer Pooyan Kimiyaee

Resistance had a new sound across Birmingham, as the song ‘For Iran’ was heard in a demonstration on Saturday 8 October – as residents marched through town protesting Mahsa (Zhina) Amini’s devastating death. It follows a string of protests in Birmingham, and globally, against the treatment of women (and men) within the Islamic Republic of Iran.

Birmingham Review spoke to Damoon Marzban, one of the organisers of the 8 October demonstration here in Birmingham.

He said: “Since 2002 we officially created a group named the Iranian Political Association. It was made for Iranians to be able to share their political views of any kind, and so anyone who wants to act politically for Iran has the space to do so.”

When asked what forms of actions the organisation had taken, Marzban spoke of an anti-war demonstration organised as a walk from Birmingham to London.

He recalled: “There’s plenty of political associations in London and we’ve been there with them. When there were whispers that the United States wanted to attack Iran, we walked from the trade union meeting here in Birmingham all the way to London.

“Our demands were for them not to attack Iran but to help the fight for democracy in our country.”

Iran’s population of immigrants or refugees outside their homeland have been described by Princeton researchers as transient, to the point it “…may contribute to the shaping of a migratory diplomacy that would, directly or indirectly, influence bilateral relations between Iran and countries where Iranians have settled.”

Meaning, the community inside Iran has not been alone in their efforts to make their voices heard. As seen in Birmingham’s Bullring market, and over 150 other cities around the world, thousands of Iranians have progressed the conversation, as their brothers and sisters persist throughout Internet blackouts in Iran.

Whilst Iranians can share a multitude of political views with the Iranian Political Association, the 8 October demonstration focused specifically on the 22 year old Mahsa Amini’s death. Part of the Kurdish minority, she was arrested due to the fact her hijab was put on loosely and as such, according to Iran’s morality police, was ‘improperly’ worn.

After Amini was arrested, she was transported to a ‘Re-education Centre’. Then, according to the Iranian authorities, Masha Amini was taken to hospital after sudden heart failure and subsequently died. However, witnesses report seeing her beaten in the van as she was taken away – an accusation the Iranian police deny.

A source from Kasra Hospital told Iran international that Mahsa Amini arrived at the clinic unresponsive and brain dead. In addition, the same source said Amini’s brain tissue was crushed following “multiple blows” to the head. As a result, the Iranian people accused the regime of having murdered her.

Subsequent protests broke out in Iran and across the world demanding the world to shine a light on Iran and question its treatment of Iranian people, specifically women. Iranians are calling this current protest – the Woman, Life, Freedom movement – a revolution. Even Iranian schoolgirls are reportedly removing their hijabs, cutting their hair, and hanging signs in their school demanding changes to the way women are treated in the Republic.

Historically in Iran, protests can come with a heavy loss of life. As seen in Zahedan, a city in the Sistan and Baluchestan province, authorities allegedly shot live ammunition into protestors on 30 September 2022.

The reports on the dead differ, but according to Human Rights Watch the global humanitarian watchdog ‘compiled the names of 47 individuals whom human rights groups or media outlets documented as having been killed, mostly by bullets.

‘These included at least nine children – two of them girls – and six women. Meanwhile the Iranian state television reported 60 civilians, as well as 10 security force dead. Reports have appeared on social media that portray that number even higher, upwards of 90 people dead and hundreds injured.’

Furthermore, since protests following Masha Amini’s death began the Norway-based Iran Human Rights organisation reports the civilian death toll had increased to at least 201, including 23 minors.

Internally, the Islamic Republic of Iran has repeatedly been accused of having a history of police violence typical to an authoritarian state. But where Iran and other countries in the Middle East, such as Syria or Egypt, differ from other protest movements in the likes of Hong-Kong or the United States, is that within these regimes the abuse of Islam allows the authoritarian state to limit, if not forbid, music as haram using Salafi and Deobandi denomination interpretations.

Which, amongst other factors, impacts the people’s ability to organise and protest.

Iran’s ‘morality police’ play a major role in making sure mediums of expression, such as film and music, are up to ‘moral’ standards according to Sharia, as well as laws outlined by the Islamic Republic itself.

Intimate acts, such as kissing, are forbidden strictly in Iranian cinema and are edited out of foreign films. Within music as well, lyrics related to intimate concepts are construed as erotic and as such banned. Even drawing a portrait of a woman without a headscarf is technically heresy.

The Islamic Republic goes a step further and bans lyrics or films that contain political ideas contrary to the regime’s preferred narrative. People who disobey this specific part of the limitations – in any poem, film, book, or article – can be charged with ‘advertisement against the regime’ and typically imprisoned.

The current Woman, Life, Freedom uprising, specifically, has taken the cumulative strife of several generations of Iranians, their loss of life and liberty over the past four  decades, and united the entirety of a nation’s spite in one song/poem – which, even though it contradicts Iranian moral standards, can be heard at every protest.

And in this rebellion, penned by Shervin Hajipour, the people of Iran are discussing a distillation of the horror carried onwards.

It is simply titled ‘For Iran’ and is the encapsulation of thousands of tweets with the same hashtag, as well as the origin for the name of the Woman, Life, Freedom revolution.

The presence of music, or rather more specifically protest music, has a history in Iran preceding the 1979 revolution itself. And the fact this music has now been found in Birmingham and across the world is by virtue of that same transient mass of Iranians wandering the desert for the past 40 odd years.

Today, people within the country have fought against the regime’s forces night after night, with advents of new techniques in protesting. In the meantime, protestors outside of Iran have made themselves clear in support of their homeland, with one collective demand in and outside the country – the end of the Islamic Republic.

A movement that first began with professor Homa Darabi’s self-immolation in Tajrish Square on 21 February 1994, was spurred on by Shervin’s song – even though he was imprisoned, released on bail, and later added to the list of the disappeared.

‘For Iran’ is now written on high school chalkboards, heard in New York, Washington D.C, Los Angeles, Berlin, Stockholm, London, and now Birmingham – sung in hundreds and thousands of voices across the globe, all collectively saying:

For dancing in the streets
For the fear of kissing
For my sister, your sister, our sisters
For trying to change rotten brains
For shame of not having money
For yearning of just a normal life
For the garbage boy and his dreams
For this enforced economy
For this polluted air
For Valiasr and it’s worn-out trees
For Piruz and his possible extinction
For dogs, innocent but banned
For tears with no end
For this moment will never happen again
For smiling faces
For students, for future
For this enforced paradise
For the national elite imprisoned
For Afghan children
For all these “for”s with no repeat
For all these empty chants
For houses, collapsing like they’re made of cards
For the feeling of peace
For the sun after long nights
For pills, nerves, and insomnia
For men, homeland, development
For girls who wish to be boys
For women, life, freedom
For freedom
For freedom
For freedom 

For more information about the Women, Life, Free movement go to: www.women.ncr-iran.org

Emily Abdy Curates ’Vox’ Headlining Blue Ruth At The Hare & Hounds 12/10/2022

Writer Henry Hanssen / Photographer Ewan Williamson

The Hare and Hounds in Kings Heath ditches the rock and roll guitars on Wednesday 12 October, and becomes home to a showcase of artists who are doing their best to break down the boundaries between classical and modern music. Emily Abdy, composer and performer, with the help of Nonclassical, brings together four musicians whose personal styles could not be more different for Vox.

Singer-songwriter Chloe Knibbs opens the event with a set of songs which are as moving lyrically as they are harmonically, accompanied by herself on piano, with cello and violin providing texturally rich backings to Knibb’s’s unconventional songs. This shines through especially on ‘Waiting’, the last track of Chloe’s latest EP Bargaining.

Following Knibbs is something inspired and profoundly different. Fiddle player Sean Morrison performs ‘Ruminant’, composed by Abdy, a piece for fiddle and spoken word. The subtle intensity of this performance is noteworthy, the tune isn’t halfway through and I’m utterly submerged in Morission’s vocal and instrumental delivery.

Passages of largely abstract and discordant fiddle playing are sandwiched between exposed lines of highly introspective dialogue, joined only by a wandering two note crotchet line on fiddle. As the topic of the monologue becomes more stressful, so does Morrison’s playing – incorporating the fiddle into his speech, replacing words with sudden glissandos or a harsh pluck of a string.

Abdy shows off an exceptionally well-composed, reflective piece of music which I will remember for a long time.

Third up is Abdy’s own project, a new duo called Enjika. Abdy, who is on keyboard and guitar duties, is accompanied by synth and samples from a laptop. I’m immediately captivated by the melancholy and would place it somewhere between the softer side of Nine Inch Nails, and Kate Bush.

Enjika performs for about half an hour and I don’t think the music has stopped once.

Different sections of their set are bookended by samples of the tide moving or a bustling city street. Perhaps the only shortcoming of the whole night is that, after half an hour, the tempo of the music doesn’t change, and the dirge-like feel becomes quite monotonous.

However, that is not to distract from the lyrical and harmonic beauty of the performance.

The final performer of the night, Blue Ruth, brings along perhaps the most shockingly different set so far. Going from dulcet and tender singer-songwriter, straight into hard going, beat driven, synth-scapes – I’m really taken by surprise. The ‘sound worlds’ Blue Ruth creates are heavy and apocalyptic, which seamlessly sets up her vocal performance.

Verging on chaos, Blue Ruth would have the whole audience trapped in her whirlwind of synth tomfoolery were it not for her talking between tunes, which can only be described as the opposite of her music. Cracking jokes and interacting with us, Blue Ruth feels like the natural choice to close the event, bringing the intensity to a new high and not letting us come down when it comes to creating a welcoming atmosphere.

Emily Abdy and Nonclassical have put together a really special showcase tonight. Allowing these composers and performers this collaborative opportunity is what this country desperately needs more of.

And Nonclassical are planning on continuing to do exactly that. Much to the detriment of my job as a critic, the music I saw tonight might be some of the most objectively clever and subjectively beautiful I’ve ever heard.

To find out about Chloe Knibbs go to: www.chloeknibbs.com
For more from Blue Ruth go to: www.blueruth.bandcamp.com
For more from Sean Morrison got to: www.instagram.com/seanmorrison.sounds 
For more on Emily Abdy got to: www.linktr.ee/emilyabdy

For more from Nonclassical go to: www.nonclassical.co.uk
For more events and gigs at the Hare and Hounds go to: www.hareandhoundskingsheath.co.uk

Alfie Dean Quartet Takes Over Jazz Sundays At The Ruin 09/10/22

Writer Henry Hanssen / Photographer Reece Downton

The Ruin in Digbeth continues its rated series of monthly gigs, which aim to display the vibrant and ever-expanding Birmingham jazz scene, with Alfie Dean and his quartet. Since previous gigs have been held by the likes of drummer Matt Holmes, and tenor sax players Edi May and Jonah Thom, I’m looking forward to what The Ruin’s got in store for me this Sunday.

Currently in his fourth year at the Royal Birmingham Conservatoire, Alfie Dean has created a reputation for himself as a skilled guitarist, taking inspiration from all walks of the jazz canon. Joining him in this performance is Nick Manz on piano, Tom Marsh on upright bass, and Reece Downton on drums.

Alfie and his band open the set strong with an original arrangement of ‘Aerigin’ by Sonny Rollins. As a set opener this steam rolls the audience, Alfie weaves through the tune with ease, demonstrating an impressive bebop sensibility that feels right at home with the rest of the band.

The chemistry that’s displayed between Nick Manz and Alfie is a standout of the whole set, with them exchanging exciting ideas, knowing exactly where to take each tune. This musical bond really shines in a rendition of Richard Rogers’ ‘Bewitched’, a sweet, densely melodic ballad that Nick and Alfie sound truly at home on, both providing articulate and unique solos.

On the more high energy tunes, the backline of Reece Downton and Tom Marsh proves to be a great asset. Tunes like ‘Hey It’s Me You’re Talking To’ by Victor Lewis, benefit greatly from Downton’s heavy and consistent swing that matches Marsh’s low-end anchorage, forming a rock solid base for Alfie and Nick to explore the harmonic potential of what is undoubtedly an extremely challenging tune.

One of the biggest standouts from the set has to be Alfie’s original tune, ‘Platform 2’, which is as melodic as it is rhythmic. Alfie demonstrates a mature and powerful compositional voice with peppering’s of Radiohead, Mike Moreno, and Brian Blade. All this culminates in a contemporary, almost psychedelic sounding tune that will perhaps go down as my favorite of the set.

Alfie Dean and his band put on an impressive display of musicianship with Alfie’s constantly developing improvisations, Nick Manz’ piano prowess that is just as impressive in his solos as it is in his accompaniment, Reece Downton’s powerful and swinging drums which persistently elevates the music, and Tom Marsh’s reliable and creative bass work.

I am hopeful that these four musicians will play together again soon. This surely was too musically special to only happen once.

Information about the rest of the band members upcoming gigs and projects can be found on instagram via: @Nickmanz, @tomtom262, @reece.downton_ and @_alfie.dean

For more from The Ruin go to: www.theruindigbeth.com

Future Days – Alternative Music Festival Back At The Crossing On 15 October

Words by Ed King / Promo artwork by Lewes Herriot

On Saturday 15 October, Future Days comes back to The Crossing in Digbeth – for a one day festival of ‘the finest alternative, punk and experimental music in the U.K.’

A bold statement… but as it’s programmed by This Is Trmw – who have been keeping Birmingham’s music scene on the right side of credible for about a decade – it’s probably a fair one.

And with a line up that got more fight in it than a Tyson Fury/Wolverine love child (it could happen) we feel confident enough to put it in writing.

Plus, the inaugural Future Days back in February this year was such a success the powers that promoter powers that be decided to squeeze another one in before New Year – stick that in your pipe and smoke it, Michael Eavis. Er… no pun intended.

Doors for Future Days open on Saturday at The Crossing from 3pm, as there’s quite a smorgasbord to fit in. So, get there early, build yourself a noise nest, and settle in.

And continuing the avian metaphors… all the ‘Early Bird’ tickets have long since gone, clue is in the name, but you can still get your middle digits on a standard ticket for only £22.50. That works out at £2.50 per band, which considering the line up below is not to be sniffed at.

So, finger click here and skidaddle over to Skiddle to get one before they well deservedly sell out.

There’s also an official after party at Ruin, if your home doesn’t have a deluge of punk bands and a fully stocked bar in it to go back to – with doors opening at 9m and DJ sets from Total Luck and Brian Food.

Check out below for the full line up and some talking pictures of some of the bold, bright, and beautifully loud bands coming to the Future Days stages this Saturday. Enjoy.

Main Stage:

Gilla Band (formerly Girl Band), Porridge Radio, Traams, The Lounge Society, Sinead O’Brien

Weird On Purpose Stage:

Black Mekon, KEG, Spits Milk, Brian Lightning, Wiiince

__________________________

‘Backwash’ – Gilla Band

‘The Rip’ – Porridge Radio

‘Like Culture’ – Sinead O’Brien

‘Mean Drunk/Still a Drunk’ – Black Mekon

 

‘Kids’ – KEG

For more on Future Days click here to visit the official event Facebook page.

Or if you’re already committed to committing, then click here for tickets direct from Skiddle.