★★★☆☆
Inspired by the Patrick Hamilton’s tales of observed heartbreak and longing, and the crushing expectations in the 1930s, Matthew Bourne has created a world where Hamilton’s characters, and his own additions, could explore their fantasies among the steamy (in more ways but one) streets of London. The Midnight Bell follows a series of mysterious lonely hearts in a bustling and grimy London backdrop as their lives intersect in the titular pub.
Lez Brotherston’s set is filled with antiquated charm, his mysterious yet dismal London streets bellowing with smoke as pub signs and telephone boxes jut out amongst the bustling cast. A screen projection of the dimming London skyline sets the tone for the show as the hopeful romantics intermingle, the seedy and cruel underbelly of London and its characters lurking under the surface.
The pub acts as a bright refuge from the dingy back alleys, warmly lit and filled with an array of intriguing characters interacting and frankly drinking the night away. The hotel by contrast is bare boned, stripped to a simple bed and vanitas with unnerving and animalistic percussive musical accompaniment. The simultaneous duets here make for a fascinating watch as the dancers scramble around the set, narrowly avoiding each other in their separate interactions.
Composer Terry Davies and sound designer Paul Groothius created an evocative soundscape, filled with jazzy old-school numbers (awkwardly lip-synced by the cast) reflecting character emotions, sensual moans and ethereal singing, and a moody bustling atmosphere.
Its intertwining tales are both fascinating and perplexing, with multiple tales unravelling in one scene. Their stories can be pertinent and moving, and the background interactions are entertaining details, however the multitude of subtle plots occurring together makes it difficult to keep track of. Some of the stories are fairly simple, others inferred, guessed or only understood by reading the programme.
One story involves Ella (Hannah Kremer) whose pining over Bob (Dominic North) remains a secret due to his infatuation with prostitute Jenny Maple (Ashley Shaw) and a proposal from the strict but gentlemanly Mr Eccles (Danny Reubens) (whose spriteliness was reminiscent of Frozen’s Duke of Wesleton).
Meanwhile, the wistfully played Miss Roach (Michela Meazza) swoons for the swindling cad Ernst (Glenn Graham) and George (Alan Vincent) obsessively stalks out-of-work actress Netta (Cordelia Braithwaite).
While George’s limerence made him an interesting and unsettling character, the portrayal of his schizophrenia felt a little heavy-handed with ear-bleedingly shrill screeches, seizures, and blank expressions suggesting a complete change in personality. However, the devilish red lighting contrasting him to his angelically centring his love was a gorgeous juxtaposition by Paule Constable. As were the soft spotlights between the evening’s standout characters west-end chorus boy Albert (Liam Mower) and new customer Frank (Andy Monaghan).
Their relationship was the easiest to understand but also the most heartbreaking and complicated, with Frank afraid of showing his affection in a judgemental 1930s society. Bourne’s choreography here was mesmerising, perfectly reflecting their on-off relationship with tenderness and a pinch of light-heartedness.
His other choreography shined most during group numbers, were his fusion of traditional and contemporary ballet creates fascinating shapes, swift movements, and enchantingly versatile physiques.
However, both story and dance felt a little underwhelming in comparison to his breathtaking production of Swan Lake.
While Bourne and his creative team have authentically materialised Hamilton’s tales of romance, the story is largely problematic, relying too heavily on audience interpretations while overwhelming them with a myriad of interlinking story threads cobbled together through confused guesses and presumptions. Its serious tone is also undercut by those clunky lip-syncing sequences akin to comedy skits from North by Northwest. However, with a little bell-ief, some tweaking to the overcomplicated “narrative”, and getting a few more creative ducks in a row, The Midnight Bell could knock Bourne’s Swan Lake out of the water, or at least swim alongside it.
Matthew Bourne’s The Midnight Bell runs at Lowry (Lyric Theatre) until July 5 and tours the UK until October 4.
Photo: Johan Persson
JADAR 