Tag Archives: Birmingham

The Threepenny Opera @ The Birmingham REP


Before the performance began, the audience were greeted with a motley crew of cast members chanting “no ifs, no buts, no disability cuts!” in front of an, assumedly, once glamorous now tattered red show curtain thinly veiling an ensemble of musical instruments and actors milling around, preparing to perform the opera for the poor. Around the auditorium were banners spray painted with powerful messages such as ‘Keep your filthy tax out of my bedroom’ and ‘Old people are worth more than the pennies we give them!’ The rawness and unabashed nature of this introduction set the audience up to confront some uncomfortable and challenging world views, perfectly aligned with the original intentions of Brecht.

As the Musical Review aptly put it, the play was “no-holds barred”. From the adapted and highly satirised lyrics tarring ‘Tories and their minions’, paedophilic priests and Jimmy Saville with the same brush for their ‘sexual imperatives’, to the highly ironic song performed in a prison cell by Macheath (Milton Lopes) ‘Live Life in Luxury – That’s What it’s For’, the audience were presented with a vivacious performance that served its purpose in reinventing Brecht and Weill’s Threepenny Opera.

Almost every taboo imaginable was confronted in the performance, to the extent that some audience members were unsure whether to applaud or wince at the audacity of their presentation. For me, this only served to make it more enjoyable. The messages of the play were confrontationally presented by an awe inspiring cast, the majority of whom were disadvantaged – either in terms of their sight, mobility, hearing or their height. The casting was a stroke of genius; as the performance did not aim to make you feel sorry for the cast members, or empathise with them for their disadvantages; it aimed (and succeeded) to challenge and question the way our society works. It also demonstrated how extremely versatile the cast were, as the majority were not only actors and singers but also talented musicians.

Musically, the levels were sometimes a little unstable, and a few hiccups were had with the subtitles projected onto the walls, but these minor hindrances didn’t affect the overall experience to any substantial extent. 

The success of this performance was enhanced for me by the extremely talented signers, with a special mention for actress and signer Jude Mahon. During the songs, she delivered as compelling a performance as the actors singing, and was remarkable in her ability to bring several different characters’ personalities to life through sign language; undoubtedly she captured the essence of the songs for deaf audience members. Other notable performances were given by Mrs Peachum (Victoria Oruwari), Polly Peachum (CiCi Howells) and Tiger Brown (Will Kenning), a chief of police who served in the army with the notorious but oh-so-charming murderer and rapist, ‘Mack The Knife’.

All in all, if you are looking for a theatrical performance that will challenge your views and beliefs, and prompt your thoughts towards questioning the structure and hierarchy of our society as it is today once you leave the theatre, this is the play for you. Utterly fascinating.

by Hayley Yates

Apples & Snakes Present: Lit Fuse @ Birmingham mac


“I want a man who pulls kindness out of his back pocket.” This was the beautiful and intriguing opening line of spoken-word artist, Nafeesa Hamid, during her performance on Friday night.

Nafeesa spent last week working alongside three other brilliant artists, Amerah Saleh, Carl Sealeaf and Sipho Eric Dube, making up the quartet of poets that brought Lit Fuse, a spoken-word collaboration, to the Birmingham mac on the 7th March 2014. This event, developed jointly by mac Birmingham and Apples and Snakes poetry collective, is a series of events showcasing brand new work devised by UK poets in collaboration with top directors and producers, encouraging poets to write and perform outside of their comfort zone. This set of poets were working with the help of Birmingham-based writer and director, Caroline Horton.

The four poems were part of the current season of work at the mac, ‘Exit Strategy’, a theme exploring death and its effects.
The event combined poetry and theatre, using lights, sound effects and short films to create atmosphere and background for the spoken word pieces. The performance began with all four poets speaking at once, moving from various areas of the intimate space of the Hexagon Theatre, before gathering together on stage. The effect of the clashing of lines and styles, and interrupting of each other made for a disconcerting and slightly wild beginning, and I struggled to make out what each individual was saying, let alone find any kind of meaning in the cacophony of noise and sound effects. Indeed, as each poet left the stage and then returned one by one, performing an individual 10-20 minute monologue, the level of intensity remained high, due to the heavy and sometimes controversial content, and the fact that the overall performance was only just over an hour in length.

Although four very different poets, all creating various interpretations of the topic of death, the pieces were beautifully crafted to fit perfectly together, moving seamlessly from one to another. The themes ranged from a heartbreaking monologue by Carl Sealeaf on the breakup of previous relationships and the death of a loved one, to a touching and intimate insight into a story of childhood, heritage and loss from Sipho, and an uncomfortable but beautifully important piece on rape in marriage from Amerah Saleh.

The influence of theatre was reflected differently in each piece, some of the poets choosing to use props. At the beginning of Amerah’s piece (written largely using stories collected from girls with real experience of rape in marriage), all the props, including a desk lamp (left over from Carl’s piece moments before), a mop bucket and a mug were turned on their side, and set right way up as the poem progressed. Using everyday objects reinforced the setting of a domestic home, and the act of setting them right reflected the healing process that took place throughout the poem.

The performance ended in the same way it had begun- all four poets speaking at once, and moving together to gather on the stage under dim lighting. This time however, the words and phrases they were saying had a poignant clarity – now I recognised them as lines from each of their poems. The idea that all these pieces shared the same subject matter, yet had wildly different interpretations of it was reinforced by the clashing and uncomfortable jarring of these lines, yet combined, at the end, a subtle and carefully crafted shared understanding and acceptance.

 by Alice Cudmore

CBSO presents Ultimate Vaughan Williams @ Symphony Hall

andrew manze

Ralph Vaughan Williams remains one of the nation’s favourite composers, and his enduring popularity was very evident at Symphony Hall. There was barely an empty seat in the house as Andrew Manze conducted the CBSO in an evening of ‘Ultimate Vaughan Williams’; a shamelessly indulgent programme consisting of what might be considered his orchestral greatest hits, spanning a twenty-two year period (1908-30) which saw Vaughan Williams establish himself as one of the most important figures on the British classical music scene.

We began with his Overture to The Wasps, originally commissioned to accompany a production of the Aristophanes play at Cambridge University in 1909, which abounds with wonderfully broad, expansive themes of cinematic scope, sounding at times almost like the score for a Western. And the CBSO did justice to the energy inherent in the piece, Manze energetically brandishing his baton with a charisma and deftness obviously infectious to both orchestra and audience.

Next was Fantasia on a Theme by Thomas Tallis, and although the turnaround of players between the first two pieces was wanting some smoothness, it was definitely worth the negligible wait. It is written for two string orchestras with a solo quartet, which – in the hands of Vaughan Williams – results in a rich and delicious sonority. The fact that several, admittedly more elderly members of the audience appeared to drift off during this piece is, I think, testament to the beauty and subtlety of the music, rather than evidence of anything condemnably soporific there. The thick strings, often moving in parallel fifths, are so typically characteristic of his style that, at times, he seems almost to parody himself, but always remains wholly earnest, creating a sound at once singularly evocative of the English countryside and yet also decidedly European. In the passages for solo viola and violin respectively, the ideas he would fully realise in The Lark Ascending are explicitly audible, but comparatively Fantasia… contains moments that seem to cry out for solo woodwind to burst through and soar lyrically above a texture occasionally clogged by the sheer number of strings the composer employs.

This concert was part of the CBSO:2020 series, which – as the famous orchestra approaches its centenary in six years’ time – features works composed in the decade leading up to their inaugural concert in September 1920. The Lark Ascending, written in 1914 (initially for violin and piano) and arguably Vaughan Williams’s best known work, therefore formed the centrepiece of the evening. And here, unlike in Fantasia…, that desire for otherness is satisfied absolutely. At the moment, say, where the beautiful solo violin might take a phrase too many, the oboe emerges, pure and defiant. It was in this piece, and the final one, where we heard the CBSO, under Manze’s skilful guidance, at their most dexterous and antiphonally fluent. Laurence Jackson was the soloist, and he did an admirable job with a notoriously delicate part, occasionally sounding hollow or airy, but commendably never dispassionate.

The concert concluded with Job – A Masque for Dancing, which Michael Kennedy (in his excellent programme notes) calls ‘a synthesis of various elements in his [RVW’s] musical personality,’ and it was thus perfectly positioned at the end of the programme. By far the most dramatic and ambitious of the evening’s pieces, Job takes the listener on a journey too nuanced to describe in this short review, but one through which the CBSO led us expertly. Jackson – with the other excellent soloists – found full voice here, making his violin sing sweetly with the nostalgic themes of a composer whose place in the hearts of the British concert-going public appears deservedly secure.

by Ben Norris

Hetain Patel: At Home exhibition @ mac

at home‘Family’, one of the most obvious subject matters in the world, is filled with secrets and traditions. A side that no-one else in the world will ever see. The most universal topic in the world, yet rarely can its complexities be unravelled, if ever. Hetain Patel with this exhibition gives us a glimpse inside small characters, and scenarios involving his family. With a combination of video and photography he attempts to show us the personal with his own life being the centre of it all.

The exhibition includes the video ‘The First Dance’ which involves Patel’s wife as one of the main protagonists. She is involved again in the self-titled photographs ‘Eva’, showing us a glimpse into the couple’s relationship. Another installation, called ‘To Dance Like Your Dad’, focuses on the father – son relationship, and reminds us of our family legacy with its points on imitation.

Probably the most moving of all installations was the five-channel digital video titled ‘Mamai’. A portrait of Patel’s own grandmother going about her daily ritual of prayer every morning. It is quite affectionate, and in all of them she exhibits Patel’s recurring notions of faith and tradition, displayed through clothing in ‘The First Dance’ too. But, it’s Mamai which will pull on your heart. Perhaps because of the melancholy and sadness that is displayed on all of the screens, as through it all this is just an elderly lady sitting on a couch by herself singing hymns. After the decline of the body and memory with old age what is so poignant is the passion we witness as she is singing. This idea that keeps on coming up that our lives are our homes and families, and it is the small (considerably mundane) things we do daily is what define us. Mamai herself is a testament to this; she wipes her eyes one moment, picks at the seam of a nearby blanket and even fidgets with a napkin which never leaves her hands.

In 9 minutes with ‘Mamai’ Patel nearly brings you to tears, and a man who could do that in one installation is probably going to dwell in your mind, as with others who have seen the exhibition, for a long time.

By Shantok Jetha

The Birmingham Christmas Market

cm figuresEven after twelve years successful years, Birmingham’s German market is still attracting over 3 million visitors each year. Having become quite a popular and profitable Christmas tradition, numerous German-style Christmas markets have cropped up all over Britain in the last fifteen years. However Birmingham’s market has managed to remain the largest German-style Christmas market outside Germany and the German-speaking countries. Running from the 14th of November until 22nd December, the population of Birmingham and the many tourists who flock to the city centre around Christmas have ample time to pay the market a visit. The market follows the length of New Street, winds up around Victoria and Chamberlain square and concludes in Centenary Square by Symphony Hall. In order to have a proper look around the stalls I’d advise avoiding the weekend, going on a week-night evening, so as to avoid the crowds whilst still soaking up the evening atmosphere.

In terms of what the German market has to offer; to ask what it doesn’t have to offer seems more appropriate. For me, the food stalls were especially appealing, and one recommendation would definitely be to go there hungry. With so much food on offer, and the impossibility of being able sample it all, I would choose carefully. The authentic Bratwurst sausages, cooked on an open fire, or the pulled-pork rolls are just some of the hot foods that the market has to offer. However for those with more of a sweet tooth, there are a plethora of sweet food and chocolate stalls too. One stall that caught my eye was serving handmade chocolate that had been carved into different pieces of extremely realistic looking machinery and tools.

cm stall

Whilst food takes prominence in the market, there are also a tempting range of
hand-crafted gifts which you can spend a great deal of time and money on if you’re not careful. The market provides a perfect opportunity to buy Christmas gifts with a personal touch, from beautifully hand-crafted toys for children to silver jewellery, handmade soaps and candles, to authentic sheepskin rugs and clothes.

Another stall which I found fascinating was selling metal figures that had been crafted to resemble famous characters from films, one of which was a very ominous (too big for my liking) predator figurine.

cm modelsAs well as being great for picking up unusual gifts and trinkets, the market also has a number of bars where you can stop and get a drink. A few are set up outside but there are also a handful which have indoor areas, all wooden-clad, they are usually tucked away behind the bar. On the rare occasion there’s some free space to sit down it provides a welcome break from the cold outside where you can enjoy some mulled wine or hot chocolate.

cm th

The one thing I love about this market and what is ever-present in it year after
year, is its authenticity. The wooden cladding of the stalls and their produce look like they’ve been plucked straight out of a small German town and dropped in the middle of Birmingham. The dual-language of the stall signs in both German and English contribute to their authentic nature, and even most of the stall-owners seem to be German. I think this aspect is what makes them particularly attractive, and provides a different take on the high-pressure, stressful process that is Christmas shopping.

CM chocolatesThere have been recent arguments about the clichéd nature and dwindling novelty of the German market tradition since their success has created a ripple effect all over Britain. One article in The Guardian said, “What was once a charming, mildly exotic ‘alternative’ has now become about as painfully predictable as a trip to Boots.” Maybe I haven’t visited the market enough to become bored of its “predictability,” and whilst some of what you find that it can be tacky and clichéd, I stand firm by the idea that the German market is and will remain an enjoyable, alternative evening out for friends, couples and families who will always prefer something a little different to the overcrowded highly commercial shopping centres.

By Elin Morris

Birmingham Royal Ballet Presents: The Nutcracker @ Birmingham Hippodrome


When this event became available, I could not help but grab it at the first opportunity, and had waited avidly for it ever since. Having been familiar with the astounding music composed by Tchaikovsky, I expected nothing less from the production itself.

I had not seen a ballet before, and it is not something I had ever really considered; my main interest being big shows and musicals. However, from my experience of the ballet, I could not recommend it more highly. First of all, the venue was out of this world. The Hippodrome has definitely gone all out to decorate with the most beautiful, homely and welcoming Christmas decorations I have seen so far this year – not to mention the grand ornate interior of the theatre itself.

Flicking through the programme waiting for the show to start, the orchestra began to warm up and instantly a warm Christmassy feel took over me. There is no better sound than a live orchestra, with each instrument adding its own individual timbre. The curtain rose and on stage laid a huge pile of presents, shadowed by the most humungous Christmas tree I had ever seen – and it got bigger! It definitely brought out the big kid in me; the set being composed of a grand log burning fire, accompanied by warm crimson lighting. I wanted to jump up on stage and ransack all of the presents myself … that was until the dancers came prancing gracefully onto the stage – I somehow don’t think I would have fitted in!

Tracing back 127 years, the story of The Nutcracker is constantly evolving to this day; each producer adding their own touch to the festive ballet. The performance is built upon the musical foundations of the breathtakingly enchanting musical suite composed by Tchaikovsky. The music and choreography work interdependently to portray the narrative of Clara’s magical journey.

The story tells of a family holding a Christmas party for all their family and friends. The jolly atmosphere takes a mysterious turn when the magician, Drosselmeyer, enters the stage, bringing gifts for all of the children and performing tricks which leave the children dazzled. The whole play then turns into a magical fantasy performance when all the toys come to life at the stroke of midnight. The Second Act commences with Clara flying across the stage on a beautiful white Swan where she enters an enchanted land inhabited by a number of magical characters, including the Sugar Plum Fairy and the Snow Fairy. This section included much of the well known and well loved music by Tchaikovsky such as the ‘Dance of the Sugar Plum Fairy’ and the ‘Waltz of the Flowers’.

The performance was astounding to say the least. As I mentioned earlier, as a typical fan of musicals boasting big performances shaped by bold beaming voices, the ballet dissimilarly entranced me in its absolute silence. The story was told completely through the music and dance; ranging from the jubilant opening ‘Christmas Scene’, to the sudden change of a mysterious minor key upon the magician’s arrival.

It was a real traditional family production, putting emphasis on all generations: the excitable children eagerly waiting to open their presents, the graceful adolescents, the proud parents, and topping it all off with the comedic duo of the grandfather and grandmother. It was so nice to see young girls in the audience leaping and dancing around after the performance, and it really hit home for me how inspiring the performance must be for young children, particularly those aspiring dancers.

If you have not had the pleasure of attending a performance by the Birmingham Royal Ballet as of yet – it is an absolute must! The next show being performed by the spell-binding dancers will be Swan Lake (running from Wednesday 5th – Saturday 15th February.)

by Victoria Williams

Freedom From Torture present: The Festive Freedom Fringe

The Freedom From Torture society at Birmingham is an up and coming society doing fantastic things all in the name of freedom, liberty and human rights. The society is only in its second year and is a fundraising-based charitable society that seeks to help people from all walks of life that have suffered horrendously and seek asylum in this country. The society is the only UK-based student society that represents a charity at student level in the UK. It works closely with West Midlands Freedom From Torture charity and all money raised is donated to them.

     When talking to some members of the society they said that they felt it was important to support the local centre. The society seeks to lift the stigma around people who are often dubbed ‘illegal immigrants’ and offer rehabilitation and counselling for the atrocities they have faced in their home countries.


     Freedom From Torture are putting on a fantastic event on Wednesday the 4th of December to help raise money for their cause. The Festive Freedom Fringe is much more than your average student event; held at the beautiful canal side venue ‘The Flapper’ it’s set to be a fun-filled festive event! In the wake of last year’s Fringe, that raised £300, this year is set to be bigger and better. The event will include a whopping five hours of entertainment, with everything from music to comedy and spoken word. There will even be an opportunity to browse some Christmas stalls and pick up the odd Crimbo present! A lot is on offer for the entry fee of just £4 (or £5 on the door) and knowing your money is going to such a worthy cause will add to the warm feeling of festive cheer, no doubt helped by the great drinks available throughout the night!


     The night will include varied and well-known acts, such as  singer song-writer Emma Crowder, who has a loyal YouTube following and who recently supported Gabrielle Aplin on her November 5th  gig at The Institute.  If heartfelt acoustic melodies aren’t your thing then fear not as also appearing on the line up are Vexxen a ‘riff-based thrash metal band with injections of metal-core and dashes of progressive’. Or, if you fancy a bit of alternative rock, then Blank Parody might be more your thing. It’s clear to see the night has something to offer everyone, and there’s even a cheeky bit of spoken word and comedy thrown into the mix.

     This is a brilliant charity and a fantastic event to kickstart the festive season. With a mulled cider, some good music, great company and the warm feeling that your money is going towards making a difference, don’t sit in this cold Wednesday night. Come along to Festive Freedom Fringe at The Flapper and support this fantastic society.

Tickets are available here for £4  http://www.theticketsellers.co.uk/tickets/festive-freedom-fringe/10029021?ref=let_aft and a limited number will be available on the door.

      Feel like this society is something you might be interested in? Well the society will be changing hands this February and they are looking for keen and enthusiastic students who feel they really want to make their voice heard and have an opportunity to really make a difference. Come along to Festive Freedom Fringe and all information will be available, as well as a chance to chat to existing members.

By Noemi Barranca


Romeo and Juliet review @ The Crescent Theatre

romeoThe CrescentIf there is one problem with a staging of Romeo and Juliet is how do you escape the major Hollywood film productions of the play and reinvent it to pander the majority of the audience and equally shock them too.  With such a broad task at hands it’s safe to say that any production will succeed in some areas than others.

Kate Owen’s (the productions director) decision to reinvent the play through setting it in the late 1980’s/ 1990’s period allowed a different type of hedonism to be displayed on the stage here. Lady Capulet’s slow sauntering and somewhat aloof attitude towards Juliet and Lord Capulet struck out in the production, alongside her casual use of cocaine throughout most scenes she shared with her daughter.  The eclectic music choices and stage costumes encapsulated the age of social distress in the 1980’s which Owen’s make comparisons to between Montague’s and Capulet’s’ feud.

Taken further Andrew Elkington’s Romeo was a hybrid mix of a young Leonardo Dicaprio’s emotional rawness and the extravagance of a young George Michael. At times playing the typical archetypal young lover, who is rash and often emotionally open, but with an added elegance and sophistication. The George Michael influence on his character went further than the typical 1980’s hair style and tight jeans, and allowed vigour in his performance carrying him through some of the more turbulent scenes in the production.

And not to forget Juliet played by Hannah Kelly who seized the stage in many of the scenes often outshining both Romeo and the nurse with her emotional ferocity which she carefully maintained beneath a thin layer of her self control. Owen’s played on the naivety of Juliet especially earlier on the production with her often comical discussions with her nurse. But as the play progressed we see Juliet blossom into a woman who decides to take control of her fate leading to a tragic end.

 But the star of the show was Mercutio played by James David Knapp who captured our attentions from his first scene to his last. His witty innuendos entwined with his seriousness makes for a complex and enjoyable character to watch being performed. Owen’s clever deconstruction of Mercutio’s Queen Mab speech was particularly interesting. Through a backdrop projection of images of soldiers fighting in the Falkland’s war, Mercutio recites his Queen Mab dream, adding an extra layer to his emotional and mental eccentricities creating a disturbed picture of his condition. These mental eccentricities of Mercutio are what at times drives the production away from a typical reading of the play into a more exciting experience for the audience.

Romeo and Juliet is the most accessible Shakespeare play for the masses due to our timeless fixations on everlasting love and dying to save that. With this in mind it’s not hard to see why the theatres are always packed to see this play around the country.  It remains relevant for all ages everywhere and in the process it’ll still illicit a few pained sobs and tears at the tragic end even to this day. 

By Shantok Jetha 

Luke Concannon & Jimmy Davis @ The Glee Club

Sunday 17th November
Co-headline album release show for two Midlands artists championed by Ed Sheeran.
Jimmy Davis + Luke Concannon
Luke Concannon (Nizlopi-JCB Song) is fresh from finishing his new album, inspired by his hitch-hiking mission to Palestine. This is Soul fired, Folk Hip-Hop from the depths.
Full of life, music, and stories, his gigs are exuberant and fierce! He loves to get people involved, so get ready to sing and dance. These gigs are passionate life or death struggles to ‘give everything’ and to engage the people in an act of celebration and dissolution in to music. 
With Nizlopi, Luke experienced the heights of Top Of The Pops, playing Wembley Arena, Hyde Park to 20000 people, and selling close to one million records, all from an independent family and friends run record label based in one room in his parent’s house.
‘Political, intense, angular, and beautiful’ – Colin Murray, BBC
‘My Childhood hero’ – Ed Sheeran
– – – – –
Jimmy Davis speaks for a voiceless generation, who long for an end to the injustices and lack of care that blight the world.
The authenticity and realness need not be hyped. He might be the skinny kid from the gutter you chose to ignore…the same kid who grew up to boss the boardroom. He might be waving a placard, marching at the front of the ‘stop the war’ demo, or perhaps he’s the unassuming guy making changes in his life to ensure a slightly rosier future for the planet. Perhaps even the bloke in the boozer waxing lyrical about football, politics and global issues. 
With the world poised on the brink of change, a time when there are more questions than answers, Davis emerges with music that touches heart and soul, that speaks to strong family ties and connected communities…to greater care for the earth and, vitally, more fun, more laughter, more dancing, more quintessentially English antics. 
Davis’ kindness, humility and generosity are self-evident. Equally unmissable is his razor tongue and words – establishing him as a standout artist in the emerging field of conscious lyricism and his fans and collaborators include Ed Sheeran, Luke Concannon, Blak Twang and Damien Dempsey. 
Jimmy and his band The Barefoot Apostles have also crafted a dazzling live show through performing at Glastonbury, Oxjam and Birmingham Artsfest, as well as supporting friend Ed Sheeran at both his Brixton Academy and Shepherd’s Bush Empire gigs and performing alongside Ed with chart hit ‘You Need Me I Don’t Need You’ on stage at Croissant Neuf. 
‘Big love to @jimmydavisdavis – just bought his album ‘belief passion commitment’ from iTunes, wicked vibes, great words! Brum’s finest’ – Ed Sheeran 
‘The last time I heard Jimmy Davis was in a kitchen in Kilburn County, London. The room was full of deadly musicians but Jimmy put us all to shame when his poetry swelled with love and passion and anger and eloquence, so rhythmic and urgent and informative, the roof nearly blew off the place! In my mind it did. I could see the stars, he blew me cranium wide open!’ – Damien Dempsey
Doors: 7pm
Tickets: £7.50 (+ 75p booking fee)
Age: 16+
Box Office: 0871 472 0400 | www.glee.co.uk/birmingham

Is this fur real? Fashion and the fur industry.

The fur trade is always a hot topic – with animal activists and fashion addicts constantly at each other’s throats in the media because of it. Most of us will remember Sophie-Ellis Bexter holding up a skinned fox for a PETA anti-fur campaign a few years ago, and we’ve all heard stories about activists throwing red paint over models in white fur coats.


     Similar to most people, I’ve never actually taken much notice of these sorts of things. I always thought it must be an exaggerated cause by do-gooders trying to shock people into signing petitions. Until recently, the fur trade was something that I had placed alongside fox hunting and animal testing – horribly cruel, yes, but I’ll be the first to admit that I’d never actively checked a shampoo bottle to make sure it hadn’t been tested on animals.

     Heading into the depths of Digbeth in the few weeks of my first year, I quickly became a vintage enthusiast – it’s cheap, it’s different, and it’s usually great quality if you know what to look for. Shopping was no longer a depressing trawl around Topshop pining after things I could definitely not afford. But still, as far as I was concerned, real fur was for the rich and the fabulous – a far cry from a student like me with barely enough money for a return-ticket to Selly Oak. The closest I’d ever got to fur was a shaggy pair of moon boots that I had worn to death in year four.

     During a regular shopping trip, I headed to one of my favourite little shops in the city centre – Vintage on Ally Street (down the first side road on the left as you head down Digbeth high street). I picked up a really cool jacket – a denim splash-dye number that I fell in love with instantly. I tried it on and it fitted perfectly. Barely even inspecting the collar, I headed to the till and thrusted a grubby tenner at the lady who owns, and runs, the shop. As I handed over my money, she casually said, ‘I should let you know that it is real fur on the collar.’ I didn’t think much of it, and proceeded with the transaction. My reasoning in that moment was that the animal was already dead – and if this jacket was not worn, it had died in vain. Surely, that was a reasonable argument to buy it?

     For a fair few months I felt tremendous wearing my jacket. Friends would touch the fur and ask if it was real, to which I would proudly inform them that it was. Many recoiled in disgust, but I felt glamorous and fashionable so for some time that was enough to keep it as a firm wardrobe favourite.

     My opinion took a dramatic turn recently when I was doing my daily trawl of my Facebook newsfeed. A friend had shared a video entitled ‘Olivia Munn exposes Chinese Fur Trade.’ I would advise that anyone who stumbles across this video should not watch it unless you have a very strong stomach. By the end, I was in tears and felt physically nauseous after seeing terrified animals being electrocuted, choked and even skinned alive. The sheer disgust and anger that I felt after watching this absolutely revolting and shocking cruelty to such beautiful, innocent creatures stayed with me for several days. I grabbed my jacket and when it started malting, I felt like I had blood on my hands.


     Since then, I have researched the fur trade – trawling through websites detailing some of the appalling realities of the fur trade. But it’s not only the fur trade that is so disgusting – leather is just as cruel, raking in £600 million annually from Great Britain alone. Countless campaigns have been set up by animal-rights activists to abolish huge fur and leather firms, but most of the time these efforts come to no avail, as the demand for these materials are still so high. What I found particularly upsetting was that much-loved, familiar pets such as cats, dogs, rabbits and even guinea-pigs are mercilessly killed to feed the hungry fur trade – with around 2 million being killed every year in China alone and being sold on to European traders. I felt sick at the thought that my fur collar could have come from a puppy.

     Typing ‘fur trade in Birmingham’ into Google, I was surprised to find that there are so many fur traders in Birmingham who are feeding this terrible industry. Formally, these businesses are called ‘Furriers’, and most are not based in the city centre. One in particular that caught my eye was ‘Madeline Ann’ – a small shop in Solihull that sells fur items.  This shop has been targeted by a local mqdefaultactivist group who are campaigning to stop the shop from selling fur by sending angry letters to the owners and discouraging locals from entering the shop. I felt a pang of relief that something was being done, but at the same time a sad realisation that these efforts would probably come to nothing. Most vintage shops in Birmingham sell fur coats, and the vintage scene is most certainly thriving. Fur is fashionable, and unfortunately not enough thrifters are aware of the disgusting processes behind their ‘bargains.’

     However, I have started doing my bit. I can’t deny that I still love the jacket, but it mainly lives in the depths of my wardrobe these days. When my grandmother recently offered me her old fur coat that she wore when she was ‘a girl… and a size 10’ – the first question that I asked was, ‘is the fur real?’ My fingers were firmly crossed as I observed the beautiful garment, until she assured me that it was fake. The coat is my new favourite item of outerwear. When people ask me if it’s real, I can proudly tell them that I no longer wear real fur, and that fake is most certainly the way forward.

By Meg Evans