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July 2, 2018July 2, 2018

BPREVIEW: BE FESTIVAL @ Birmingham REP 03-09.07.17

Words by Helen Knott / Pics courtesy of BE FESTIVAL

Running from 2^nd to 9^th July, Birmingham’s annual BE FESTIVAL showcases theatre, dance and circus artists from across Europe – presenting a week-long programme of performances and workshops, hosted by the Birmingham REP.

And in a chance for the public attending to meet the artists performing, BE FESTIVAL invites patrons to join them for a special Interval Dinner, ‘served on the REP’s main stage after the first half of the evening performances’. To see the Interval Dinner’s changing menu from Marmalade, the REP’s onsite restaurant, click here.

A weekly pass to BE FESTIVAL will cost £100 with dinner, or £60 without dinner. Individual day tickets are also available, costing £24 with dinner and £16 without dinner. Tickets can be bought thorugh the Birmingham REP Box Office, or for online sales click here.

It’s hard to believe that 2018 is the ninth year of BE FESTIVAL – it still seems like a fresh, young pretender on the Birmingham theatre scene. Perhaps it’s because the line-up always presents interesting new talent and some of the latest movements in the arts, or maybe it’s down to the event’s open-minded sense of fun, but BE FESTIVAL is a decidedly cool place to spend a few hours.

For those of you who don’t know (where have you been for the past nine years?) each evening at BE FESTIVAL tends to follow roughly the same format – typically, there are four 30 minute performances from companies or artists from across Europe, with a communal Interval Dinner where you get the chance to rub shoulders with the performers. The REP’s backstage area is transformed into the festival HUB, where you can chill out, grab a drink, and debate just what on earth was going on in that piece of contemporary dance you just saw. The audience is then invited to party on into the night to the sounds of a live band or DJ set.

That’s where any sense of predictability ends, however; the performances take in a range of different genres – including dance, puppetry, physical theatre, circus – and typically cover a full gamut of emotions and themes.

BE FESTIVAL co-director, Miguel Oyarzun, says on this year’s line-up: “We invite audiences to reflect on the borders we unknowingly create as individuals and groups. Our 2018 programme features work that tests physical limitations, bodily boundaries, social preconceptions and draws on multiple disciplines.” A fitting theme indeed, for a time when the UK is in the midst of literally bordering itself off from the rest of Europe.

So, what’s on the 2018 programme at BE FESTIVAL? With a veritable smorgasbord on stage each night (and I’m not just talking about the Interval Dinner) you can check out the full programme by clicking here, but here is something from each day that got our mouths watering .

On Tuesday 3^rd July, the Bulgaria/UK based Ivo Dimchev will be inviting audience members on stage to perform increasingly extreme acts for cash, in P-Project. The ‘internationally ‘renowned choreographer, performing artist and singer songwriter’ has based his solo performance ‘on several words beginning with ‘P’ such as Piano, Pray, Pussy, Poetry, Poppers’ and further invites the audience ‘to Play with the complex Pussy catalogue’ where they can ‘construct their own Pussy and Print it on a Postcard.’ Presented in collaboration with Fierce Festival, P-Project is for over 18’s only.

On Wednesday 4^th July, Sister Sylvester’s Three Rooms (Syria/ UK/ Turkey) use Skype to present a digital performance that will take place simultaneously in Paris, Istanbul and Birmingham – in a play that ‘was conceived as a response to Europe’s continuing border crisis, which prevented the actors from traveling to either the rehearsals or performances of the original commission in 2016’ and seeks to ‘ to question the possibilities and limitations of technology to mediate absence.’

Then on Thursday 5^th July, BE FESTIVAL opens with Someone Loves You Drive With Care from the UK’s self professed ‘performance artist and a liar.’ Tom Cassani’s circus sideshow-inspired piece will ‘challenge the borders of his own body using blunt and scary looking objects’ (yikes!) as the artist ‘questions our collective construction of truth and lies’ using cabaret trickery and slight-of-hand in an impressive sounding solo performance. There is no official age restriction for Someone Loves You Drive With Care, although the faint of heart (or under 16’s) might want to take a hand to hold or something to hide behind.

Friday 6th July presents Poliana Lima‘s Aqui Siempre (Here Always), as the award winning Brazilian choreographer combines styles ‘from Argentinian popular dance to the European ballet tradition’ in a narrative that explores ‘women from four different countries beaming with individual diversity, experiences and traditions’. Now a ‘long term resident of Madrid’, Poliana Lima‘s Aqui Siempre uses the individuality of each person’s physical expression, or ‘movement systems’, in a dance performance piece that explores the ‘ relationships between memory, the present and the future.’

Then as part of the final day at BE FESTIVAL, on Saturday 7th July, the Greece based ODC Ensemble present The Cave – ‘a digital recalibration of the symbolic potency of Plato’s Cave allegory’ that uses opera, cinema, digital and visual technology ‘to reflect on the walls and shadows we build around us.’ ODC Ensemble were the first prize award winners at BE FESTIVAL 2017, led by the Athens based Elli Papakonstantinou, and ‘their work embraces the bewilderment of the audience in the face of persistent dislocation.’

It can be off-putting to invest an entire evening (and ticket cost) into a programme that you’re not sure that you will like, but BE FESTIVAL takes that risk away – you may not enjoy all of the performances, but with up to four artists on show each evening there’s bound to be something that makes you think.

Above all, BE FESTIVAL, with its communal dining and feedback cafes, is an ego-free place of openness and playfulness. You may even find that you have some of your own boundaries and preconceptions challenged along the way.

BE FESTIVAL 2018 – official trailer

BE FESTIVAL runs at Birmingham REP from Tuesday 3rd to Saturday 7th July – with a special matinee programme on the final day. For more on BE FESTIVAL, including the full festival programme and links to online ticket sales, visit www.befestival.org/festival

For more from Birmingham REP, including full event listings and online ticket sales, visit www.birmingham-rep.co.uk

May 22, 2018May 25, 2018

ELEANOR’S PICK: Slam Dunk Festival 2018 (Midlands) @ NEC 28.05.18

Words by Eleanor Sutcliffe

Slam Dunk Festival 2018 (Midlands) comes to the NEC in Birmingham on 28^th May. For a direct event information, including venue details and online ticket sales, visit www.gentingarena.co.uk/whats-on/slam-dunk-festival

As one of the most anticipated dates in the UK pop punk calendar, it’s safe to say Slam Dunk Festival are taking no prisoners with this year’s line up. With a bevy of bands and artists descending upon the NEC in just under a week’s time, I took it upon myself to comb through the roster and select a number that I personally love.

Holding Absence / Rock Sound Breakout Stage

Birmingham favourites, Holding Absence, are set to make their Slam Dunk debut this year on the Rock Sound Breakout Stage. Having recently announced the departure of guitarist Feisal El-Khazragi, it will be one of their first performances without him in their line up. But with Holding Absence recently nominated for Best British Breakthrough Band at the 2018 Heavy Metal Awards, plus playing a string of dates supporting Being as an Ocean across Europe in June, they’re certainly not letting El-Khazragi’s departure slow them down.

Represented by Sharptone Records – who bought us the likes of Don Broco, Miss May I and We Came As Romans – the Cardiff based band also recently toured and released a co-EP with Loathe titled This Is As One, which earned them numerous positive reviews from critics for tracks such as ‘Saint Cecilia’.

Holding Absence perform at 3:30pm on the Rock Sound Breakout Stage. For more on Holding Absence, visit www.holdingabsence.com

‘Saint Cecilia’ – Holding Absence

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PVRIS / Jägermeister Main Stage

Having recently performed at Coachella, PVRIS will be returning to Birmingham hot off the heels of the American leg of their All We Know of Heaven, All We Need Of Hell tour – promoting their latest album of the same name.

Lynn Gunn’s dreamy vocals, combined with the band’s heavy rock influences, have earned them a dedicated fanbase and won them Rock Sound’s Artist of the Year Award back in 2017. Here’s hoping PVRIS also perform some tracks from their debut album, White Noise, with songs such as ‘St. Patrick’ and ‘My House’ being on my personal wish list.

PVRIS perform at 8:15 pm on the Jägermeister Main Stage. For more on PVRIS, visit www.pvris.com

‘Anyone Else’ – PVRIS

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Taking Back Sunday / Monster Energy Main Stage

Returning to Slam Dunk for the 3^rd time, Taking Back Sunday were in the first wave of bands to be confirmed to at perform this year’s festival.

Having released their 7^th album, Tidal Waves, in September 2016, and parting ways with their original guitarist Eddie Rayes last month, it will be interesting to see if we get to hear any new material from the group. Although I’m hoping to hear classic tracks such as ‘You’re So Last Summer’ and ‘MakeDamnSure’ as well as songs such as ‘You Can’t Look Back’ from their latest album live.

Taking Back Sunday perform at 8:05pm on the Monster Energy Main Stage. For more on Taking Back Sunday, visit www.takingbacksunday.com

‘You’re So Last Summer’ – Taking Back Sunday

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Astroid Boys / Impericon Stage

The Impericon stage will be hosting hardcore grime band Astroid Boys, who have always delivered impressive shows in Birmingham. Growing steadily since their formation back in 2012, they were bought to my attention after being featured in BBC Radio 4’s documentary Operation Grime, which tailed them on a tour across the UK.

Astroid Boys‘ music is not for the faint hearted – expect brutal lyrics addressing issues such as racism, mashed with hardcore and grime influences to create a sound you probably have never heard before… but will just as probably want to listen to again.

Astroid Boys perform at 2:20 pm on the Impericon Stage. For more on Astroid Boys, visit www.astroid-boys.com

‘Foreigners’ – Astroid Boys

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As It Is / Signature Brew Stage

Announcing the August release of their latest album, The Great Depression, only a few days ago, Brighton based As It Is will be headlining the Signature Brew stage this year.

A band who’ve amassed a dedicated fan base with tracks such as ‘Dial Tones’ and ‘Hey Rachel’, their material is catchy, easy to listen to and fun – however it’s unfair to assume they lack a more serious side. Their latest release, ‘The Wounded World’, delves into a much darker side of their ever-expanding noise, having been cited by the band as a ‘new era’ of their music which expands on ‘the societal romanticisation of depression’ and ‘the disrepair of present-day human connection’.

As ever with this band, though, As It Is approach their subject with the respect and sensitivity it warrants – referencing their new material as a means for them to work to create a positive change for mental health.

As It Is perform at 8:30pm on the Signature Brew Stage. For more from As It Is, visit www.asitisofficial.bandcamp.com

‘The Wounded World’ – As It Is

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Luke Rainsford / The Key Club Acoustic Stage

The Key Club Acoustic Stage is hosting a stellar line up of bands and artists, including Birmingham’s Luke Rainsford – combining upbeat guitar with gut wrenching vocals, making music that is hard hitting but a real treat to listen to.

Having toured the UK extensively since the release of I Feel At Home With You in February 2017, and having recently released his latest EP, I Just Don’t Deserve To Be Loved, in April 2018, Rainsford’s music deals with difficult issues such as loss, bereavement, low self esteem and mental health. Good, honest stuff.

Luke Rainsford performs at 4:15 pm on The Key Club Acoustic Stage. For more on Luke Rainsford, visit www.lukerainsford.bandcamp.com

‘Home Safe’ – Luke Rainsford

https://www.youtube.com/watch?v=ltnvyxgWovs

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Stand Atlantic / Rock Sound Breakout Stage

Australian trio, Stand Atlantic, will also be making their Slam Dunk debut this year, having recently toured with other performers such as ROAM and Knuckle Puck. With their latest EP, Sidewinder, reaching an impressive #10 on Rock Sound’s Top 50 Albums of 2017, and having been cited by Kerrang! as one of the hottest bands of 2018, Stand Atlantic are proving they’re a force to be reckoned with.

Claiming influences from Blink-182 to The 1975, they’re certainly considered a mixed bag musically too – but in the best possible way. Trust me. Go and listen to ‘Coffee at Midnight’. You can thank me later.

Stand Atlantic perform at 6:00 pm on the Rock Sound Breakout Stage. For more on Stand Atlantic, visit www.facebook.com/StandAtlantic

‘Coffee at Midnight’ – Stand Atlantic

Slam Dunk Festival 2018 (Midlands) comes to the NEC in Birmingham on 28^th May. For direct information on Slam Dunk Festival 2018, including details on all the events happening across the UK, visit www.slamdunkmusic.com

For a direct info and online ticket sales for Slam Dunk Festival 2018 (Midlands), visit www.gentingarena.co.uk/whats-on/slam-dunk-festival

For more from the Genting Arena, including full events listing and venue details, visit www.gentingarena.co.uk

February 19, 2018February 18, 2018

BREVIEW: Birmingham Royal Ballet’s The Sleeping Beauty @ Birmingham Hippodrome until 24.02.18

Words by Lucy Mounfield / Pics by Bill Cooper

Peter Wright has long been a dominating force in the world of ballet. His classic productions of Giselle, The Nutcracker, Coppélia, Swan Lake, The Sleeping Beauty (the list goes on) have for decades been a mainstay of ballet companies all over the world.

His understanding of the importance of the classical repertoire, Russian tradition, and the public’s love of a magical fairy tale has seen him become one of the greatest choreographers of all time.

So, it’s no surprise that Birmingham Royal Ballet kicks off 2018 with a wonderous winter’s tale, The Sleeping Beauty. Having toured Peter Wright’s 1984 version of the classic earlier this year, the company has brought it back to home ground with a two-week long run at the Birmingham Hippodrome. This production is immensely satisfying for anyone who enjoys the classical tropes of glittery tutus, elaborate scenery, a weighty ensemble presence, an emotive Tchaikovsky score, and wonderful story-telling. Wright’s The Sleeping Beauty has it all, and I am thoroughly enchanted by not only the choreography, but also the production values.

Transported to the courtly setting of the Ancien Régime, Philip Prowse’s staging evokes splendour and opulence, with a colour palette of gold, black, dark red and a burnt umber that is fantastically suggestive of the evil curse that befalls princess Aurora (Momoko Hirata) at the hands of the wicked fairy Carabosse (Nao Sakuma). At the beginning of the ballet, King Florestan XXIV and his queen celebrate the birth of their first child with a grand christening. Six fairies – there are too many to name but suffice to say they represent virtues such as beauty, honour, song and modesty – are invited to bring gifts.

These six fairies perform with skill and aplomb, each giving a virtuoso performance utilising Wright’s choreography to the fullest. I particularly enjoy Modesty (Yvette Knight) and Song’s (Karlar Doobar) solo performances, the bourreés communicating the joyful and celebratory atmosphere of the event. The fairies do well to convey personality, which many of the courtiers and suitors lack. The Master of Ceremonies (Michael O’Hare) adds a light-hearted tone to the proceedings as the forgetful organiser of the guestlist; it is he who receives the brunt of Carabosse’s camp anger at being left off the party’s invited roll call.

Act One takes us forward to the birthday of Aurora and the arrival of her suitors. The role of Aurora is technically difficult and requires the dancer to build the role, adding layers of character development. Hirata does this well; from the beginning she projects confidence of a young girl who oozes charm and wit, but whose confidence turns to impish naivete when presented with her suitors. Hirata tackles the tricky Rose Adagio well; her balance is perfect. The arabesques en pointe were suggestive of Aurora’s girlish intensity. The solo routine is finely poised and the fouetté en tournant is a spectacular sight, taking our breath away in disbelief. Her joie de vivre makes her eventual sleep all the more poignant; the moment when Aurora pricks her finger is fantastic and, alongside the score, gives me chills which I feel ripple through the audience.

The crystal white tutus worn by Aurora and the pink and pearly gowns of the Lilac Fairy (Jenna Roberts) contrast well with the charred black of Carabosse, setting up the story of good versus evil. Carabosse’s minions stalk the stage, creeping and crawling with an animalistic intensity, wearing spiky headdresses and fractured masks. These costume touches work well in imparting characterisation and a sense of threat into the ballet, making up for the fact that the part of the evil fairy is a mime role with very little dance. The lack of dance for the scenes involving Carabosse and the Lilac Fairy is questionable. The mime works well when Carabosse discovers she has been missed off the guestlist for the ball at the start of Act One; her anger is easily identifiable and locates her as a possible threat to Aurora.

However, the battle between good and evil would have been more obvious with a clash of movement between the Lilac Fairy and the evil fairy. Instead, the scene where Carabosse curses the young princess Aurora appears limpid and lacks the intensity of threat. And consequently, it is harder to take the evil fairy’s plans seriously, as the mime acting is a little staged and one-dimensional. Although this is somewhat redeemed by the Roberts’s unflappable presence and crystal-clear gestures, which push past the limitations of the role of character dancer.

As revenge for being dismissed from the christening, Carabosse places a curse upon the child. However, instead of being cursed to die young at 16, as the evil fairy believes, the Lilac Fairy intervenes and invokes Aurora to sleep for 100 years. As everyone is put to sleep by the Lilac Fairy, the woodland scenery emerges and takes over every aspect of the opulent staging. It is a truly magical moment and one that lingers in my memory hours after watching the performance.

Act Two begins with a change of costume; a nice nod to the hundred years that have passed. We are greeted with a flamboyant Prince Florimund (Mathias Dingman) whose jetés announce him as the hero. Florimund dreams of dancing with Aurora and the fairies, which is a wonderful way to introduce the characters to each other. The awakening scene at the beginning of Act Two is performed with tenderness by both soloists. Hirata’s newly awakened princess is soft and delicate. The Entr’acte symphonique (Le Sommeil / The Sleep) pas de deux between Hirata and Dingman creates a delicately balanced scene announcing his love for her and allows Hirata to develop her reciprocal love. Her partnership with Dingman appears effortless; it is an intimate moment that contrasts well with the opulence and ensemble-led earlier scenes. Equally, the violin solo reflects the tenderness of the scene. As Act Two progresses into Act Three, Hirata presents Aurora as a defiant and enlightened princess who has grown up and fallen in love.

Act Three seems to break away from the plot and the battle between good and evil. Here, court dances take place and we are greeted with a series of magical creatures who dance and celebrate Florimund and Aurora’s wedding celebration. The pas de deux between Bluebird (Lachlan Monaghan) and the Enchanted Princess (Yaoqian Shang) is a wondrous foregrounding of the fairy tale and ramping up the theme of the power of love. Puss in Boots (Kit Holder) and the White Cat (Yvette Knight) are engaging if a little odd. Aurora is the titular Sleeping Beauty, but it is the beauty of the set, costumes and lighting that set this production apart from the likes of Coppélia. Each scene is beautifully lit by Mark Jonathan, who adds texture and layers to the story telling.

Having previously watched, and enjoyed Mathew Bourne’s Sleeping Beauty, and more recently his Cinderella at Birmingham Hippodrome, I must admit that I have a soft spot for the classical repertoire.

And although for me Wright’s production of The Sleeping Beauty misses the more cutting-edge choreography, a modern twist, a sultry Gothic setting, or dramatic acting clout, it maintains a firm place in the canon of ballet and deserves to continue touring well into the future.

Birmingham Royal Ballet presents The Sleeping Beauty at the Birmingham Hippodrome, running until Saturday 24^th February. For direct show information, including venue details, production times and online ticket sales, visit www.birminghamhippodrome.com/calendar/birmingham-royal-ballet-sleeping-beauty

For more from Birmingham Royal Ballet, visit www.brb.org.uk

For more from the Birmingham Hippodrome, including full event listings and online ticket sales, visit www.birminghamhippodrome.com

February 12, 2018February 12, 2018

BPREVIEW: Birmingham Royal Ballet’s The Sleeping Beauty @ Birmingham Hippodrome 13-24.02.18

Words by Lucy Mounfield / Pics by Bill Cooper

On 13^th February, Birmingham Royal Ballet (BRB) will bring their production of the classical ballet The Sleeping Beauty to the Birmingham Hippodrome stage.

Evening performances will be held at 7:30pm from Tuesday to Saturday, with matinees held (after the opening night) each day except Wednesday and Friday. Ticket prices vary depending on the date and time of performance, as well as seat positioning.

In addition to the standard performances, and in common with many Hippodrome productions, great lengths have been taken to create accessible variants for BRB’s The Sleeping Beauty. There will be an audio described performance on Saturday 17^th February at 2:30pm, preceded by a touch tour of the stage and props at 10:30am. A relaxed performance will also be held on Tuesday 20^th February at 2pm.

For direct show information, including a full breakdown of show times, prices and online ticket sales, click here.

First performed in 1890 in St Petersburg, this staple of the classical repertoire was a collaboration between the famous composer Pyotr Illych Tchaikovsky and the Russian Imperial Ballet, by whom he was commissioned to compose a score.

Since then, The Sleeping Beauty has been widely performed and adapted, becoming part of the repertoire of ballet companies all over the world – past performances of it at the Hippodrome have included Matthew Bourne’s vibrant, modern take. Of the many dance adaptations of the classic fairytale, Peter Wright’s version arguably stands as the epitome of the opulent and spectacular ballet of the Russian tradition.

It’s no surprise then that Birmingham Royal Ballet have chosen to kick off 2018 with Peter Wright’s masterpiece which aims to be true to the classical style, featuring Tchaikovsky’s score performed by Royal Ballet Sinfonia along with original choreography by Marius Petipa.

The Sleeping Beauty is a fairy story based on a classic French fairy tale – most viewers will be familiar with it through the famous Disney film adaptation Sleeping Beauty. On the day of her birth, Princess Aurora is cursed to grow up to be beautiful but to die from a prick to her finger from a spindle by the evil fairy Carabosse as an act of petty vengeance. The good Lilac Fairy is unable to lift the curse, but manages to alter it so that the princess is subject to a 100 year sleep instead.

At its core, The Sleeping Beauty is a magical story of good versus evil set to spectacular dancing and an iconic score. With Mathew Bourne’s Cinderalla recently gracing the Hippodrome stage, taking another classic tale – this time transplanting it into London during the Blitz, it will be nice to get back to some good old fairy tale escapism. Perfect for anyone wanting to sweep away the February blues.

The Sleeping Beauty – Birmingham Royal Ballet

Birmingham Royal Ballet presents The Sleeping Beauty at the Birmingham Hippodrome, running from Tuesday 12^th to Saturday 24^th February. For direct show information, including venue details, production times and online ticket sales, visit www.birminghamhippodrome.com/calendar/birmingham-royal-ballet-sleeping-beauty

For more from Birmingham Royal Ballet, visit www.brb.org.uk

For more from the Birmingham Hippodrome, including full event listings and online ticket sales, visit www.birminghamhippodrome.com

February 1, 2018February 2, 2018

ED’S PICK: February 2018

Words by Ed King

The shortest month of the year is here. Luckily it’s also the turning point, as life starts to push up through the thaw and Percy Thrower can start planning his planters. OK, bad example, but there’s a joke about daisies in the somewhere.

But luckily for us mortal coilers, the venues and promoters of this city are still packing a pretty heavy punch with February’s event calendar. If there truly is no rest for the wicked, then it seem incongruous that anyone got Christmas presents this year.

Comedy starts strong with the ‘queen of the acerbic broad smile’, or Katherine Ryan as she’s known in other publications, bringing her Glitter Room tour to the Symphony Hall (2^nd Feb) – a week before the Machynlleth Comedy Festival Showcase (9^th Feb) comes to mac with Joe Lycett, Tom Parry, Mike Bubbins, Rachel Parris and Danny Clives. Then it’s back to the Glee Club for a little end of the month self help, as Lloyd Griffiths (23^rd Feb) walks us through what it’s like to feel in:Undated in ‘a show about overcoming the overwhelming.’ I call them mornings, but we’ll see what he brings to the table.

Hurst Street is the home of dance this month, with Matthew Bourne’s Cinderella coming to the Hippodrome (6^th – 10^th Feb) whilst round the corner DanceXchange and Mark Bruce Company present a reworking of Macbeth (8^th-9^th Feb). And no doubt making St Valentine’s Day less of a massacre for many in this city, see what I did there, Birmingham Royal Ballet present The Sleeping Beauty back at the Hippodrome (13^th – 24^th Feb).

Music has everyone from the soon to be great to the already good coming through the city, kicking off with a cross city battle between Peach Club at The Sunflower Lounge (6^th Feb) and While She Sleeps at the O2 Institute (6^th Feb). A week later we have Iron & Wine at Symphony Hall (13^th Feb), followed by Bedford’s alt rockers Don Bronco at the O2 Academy (15^th Feb) as Dermot Kennedy plays the O2 Institute (15^th Feb). A day later there’s Mondo Royale spicing it up at the Actress & Bishop (16^th Feb) bringing a few different strands of your music rainbow across our city. In the days after that, we see Cabbage at the Castle & Falcon (17^th Feb), one not to be missed, The Ataris at The Asylum (17th Feb), Irit at the Glee Club (19^th Feb), Laura Misch at the Hare & Hounds (20^th Feb), Big Cat at the Indie Lounge in Selly Oak (23^rd Feb) and Puma Blue at The Sunflower Lounge (24^th Feb).

All the ‘big gigs’ this month are at the Genting Arena, in the shape of Imagine Dragons (24^th Feb) and the man himself, or one of them at least, Morrissey (27^th Feb). But there’s a few home grown releases this month worth saving your sheckles for too, as Amit Datani releases his debut solo album – Santiago (17^th Feb) and Table Scraps send another fuzz monster into the world with their latest long player – Autonomy (23^rd). Watch out for March’s listings for showcase gigs from both.

Exhibitions come from a multitude of angles this month, with the two blips on our radar being Factory Warhol at The Sunflower Lounge (10^th Feb) and The Dekkan Trap from Sahej Rahal in mac’s First Floor Gallery (17^th Feb) – with a few ancillary events to introduce both the artist and exhibition.

Some suitable love story based theatre starts treading the boards in this most Hallmark of months, with Penguins (1^st –10^th Feb) and Brief Encounter (2^nd– 17^th Feb) coming to the Birmingham REP, as The Last Five Years get played out at The Old Joint Stock (14^th – 18^th Feb). Then it’s the arguably less seductive A History of Heavy Metal with Andrew O’Neill & Band in mac’s Theatre (18^th Feb), before the award winning Mental has a three day at The Old Joint Stock (21^st – 23^rd Feb) and Terence Rattigan’s The Windslow Boy begins it’s run at REP (21^st Feb – 3^rd Mar). And for one night only each, LEFTY SCUM: Josie Long, Jonny & The Baptists and Grace Petrie present a mix bag of ‘Music! Comedy! Revolutionary socialism’ again in mac’s Theatre (27^th Feb) whilst back at The Old Joint Stock there is single An Act of Kindness (28^th Feb) to round off the month. But don’t worry, it’ll be back in March.

So, enough to keep you lovebirds busy this month – or to distract the kings and queens of singledom on that depressing light letter box day. But whether you face this world alone or together there’s always Fight Club for £1 at The Mockingbird Kitchen & Cinema (12^th Feb). Cheaper than a card, at least.

For more on any of the events listed here, click on the highlighted hyperlink. Ed King is Editor-in-Chief of Review Publishing, which issues both the Birmingham Review and Birmingham Preview.