Get our free email newsletter with just one click

Hobson’s Choice review at The Hippodrome Birmingham

by -

Two words get uttered in this warm and tender ballet from David Bintley, a production with a feelgood factor that is almost off the scale. They are ‘By gum!’ from a satisfied Willie Mossop, the bashful, lovable apprentice who can’t believe how the love of a good woman has changed his fortunes.

Robert Parker has made the role his own and he is beautifully paired with Elisha Willis as the ramrod-backed, buttoned-up Maggie. It’s like watching ice melt as her overtures towards him become more fluid and confident. This isn’t a spectacular ballet but it’s one of the most exuberant, so real and vibrant and telling such a detailed story that it’s deliciously like watching a silent film, especially in the studied antics of the drunken Henry Hobson (David Morse).

Sunday afternoon in Peel Park is a lungful of fresh air, an escape from Victorian drudgery, where even the prim, regulated, almost funereal dance of the Salvation Army band breaks out to lose its chains. It’s a beautiful piece of choreography. Reade’s music is full of Northern influences, with brass and percussion and piano that is straight out of publand.

There are fine supporting performances all round, especially from Carol-Anne Millar and Victoria Marr as Maggie’s gossipy sisters, rising and falling with outrage, like carousel horses. Sublime moments combine pure comedy with deep poignancy. As Maggie leads her new husband by the ear to the bridal bed, his trousers flapping round his ankles, you can’t help but love them both.

Production Information

The Hippodrome, Birmingham , 22-25 February

Paul Reade
David Bintley
Birmingham Royal Ballet
Cast includes
Robert Parker, Elisha Willis, David Morse, Carol-Anne Millar, Victoria Marr, Jonathan Payn, Matthew Lawrence, Marion Tait
Running time
2hrs 35mins

We need your help…

When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.

The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.

We are fully independent, but this means we rely on revenue from readers to survive.

Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.

Subscribers to The Stage get 10% off The Stage Tickets’ price