By Grace Hatchell, reporting from Birmingham with one eye on t’noticeboard and t’other on a pigeon that looks suspiciously audition-ready.
Birmingham Rep has revealed six new productions joining Rep Rising 26, its brand-new youth festival celebrating emerging artists and theatre-makers. From gothic horror and political theatre to pigeons, Shakespeare and UK garage culture, the programme promises bold voices and fresh ideas this July.
Now then.
When Birmingham Rep announced Rep Rising 26, I suspected they weren’t planning a quiet little gathering with polite applause and a digestive biscuit at interval.
And by heck, was I right.
The Rep has opened the doors to six brand-new productions from emerging theatre-makers, creating what can only be described as a theatrical pick ’n’ mix of chaos, courage and combustible creativity. If this festival were a firework, somebody’s already lit t’blue touch paper.
Following an open call to artists across Birmingham and the wider Midlands, Rep Rising 26 has selected six productions to join two packed weeks of performances alongside talent from Young Rep and Rep Pathways. To my eyes, this feels less like “future talent” politely waiting in t’wings and more like theatre kicking its shoes off and reminding us why fresh voices matter.
Opening proceedings on 9 July is The Anatomy of Evil and, if you like your theatre dark enough to make you clutch your programme slightly tighter, this may be your cup of Yorkshire tea.
Created by Sparkhouse Ensemble alongside Box House Theatre Company, the production reimagines Dr Jekyll and Mr Hyde through physical theatre, gothic horror and intense visual storytelling. Rather than hiding behind shadows, this version drags Dr Jekyll’s downfall into full view — obsession, paranoia and all. Not one for folk wanting a gentle bedtime tale and a cuddle with a hot water bottle.
Then comes POINT-SCORING on 10 July, a solo work-in-progress from Black Country theatre-maker Jessica Mabel.
Inspired by conversations with Midlands PIP claimants, this politically charged piece follows a mother trying to navigate disability benefit applications while wrestling with everyday pressures — including every parent’s dread… organising a child’s birthday party. The show blends research, projections and soundscapes to explore a world many audience members may recognise all too painfully.
I’m not saying theatre and bureaucracy naturally belong together…
…but if you’ve ever tackled paperwork while muttering words not fit for a family matinee, this one may strike a chord.
On 11 July, Birmingham-born writer and director Stefan Davis introduces Benji’s Boutique — a script-in-hand sharing fuelled by family tension, fashion, humour and early-2000s UK garage.
At its centre sits Benji, all charisma and front-facing swagger, while sister Shaneen quietly keeps the whole operation afloat. Alongside them are Kimberly and Alexis, helping turn this family pressure cooker into what sounds like a lively portrait of modern Black British family life filled with sharp dialogue and playful confrontation.
The following week brings Lyndhurst Memories from Birmingham artist CJ Lloyd Webley.
Originally commissioned by Midlands Arts Centre, this ensemble piece draws on lived experience and the changing social history of Erdington’s former Lyndhurst Estate. Blending humour, warmth and tension, it captures the contradictions and resilience of growing up there through overlapping voices and grounded storytelling. I do enjoy theatre that remembers communities have stories worth preserving — not just headlines worth printing.
And then…
Oh, village folk.
There’s a Pigeon in My Bathroom.
Honestly, if I had a pound for every unusual thing I’ve delivered to a theatre, I’d still struggle to explain this one.
Based on a true story, this sitcom-style play follows four students attempting to remove one terrified pigeon from an upstairs bathroom with approximately zero strategy and rather too much misplaced confidence. Featuring fire extinguishers, a custard cream and friendship under pressure, it’s being described as somewhere between Derry Girls and The Inbetweeners — which sounds delightfully daft to me.
And closing the six-show line-up is All The World’s A Stage: The Shakespeare/Eurovision Mashup.
Now there’s a title that practically landed in my satchel wearing sequins.
This interactive concert turns Shakespeare’s characters into Eurovision-style performers — think tragic rockstars, K-pop heroes and pop divas all competing for glory through audience voting and theatrical tunes designed to launch you toward the weekend with considerable enthusiasm. Shakespeare teachers everywhere may be quietly wishing they’d thought of this first.
Now here’s what’s got me nodding thoughtfully over my tea.
Rep Rising doesn’t feel like a polite little “development programme” tucked neatly into a corner.
It feels like Birmingham Rep planting a flag and saying — loudly and proudly — that emerging artists deserve proper stages, real audiences and permission to experiment boldly.
And honestly?
That deserves a little cheer from t’village noticeboard.
Priority and public booking dates begin between 19–22 May, with performances taking place this July in The Door, Birmingham Rep’s intimate 133-seat performance space.
To book, visit Birmingham Rep at birmingham-rep.co.uk or call the Box Office on 0121 236 4455 (Monday to Friday from 12 noon to 6pm. Saturdays 12 noon to 6pm, or 4pm if there is no evening performance scheduled).
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