JADAR

★★★☆☆

A Single Man, a brand-new contemporary ballet based on Christopher Isherwood’s novel of the same name, was one of the mostly hotly anticipated works at Manchester International Festival 2025. Whilst it sadly did not live up to expectations, one can appreciate the ambition and artistry.

A Single Man follows George, a gay university professor who wants to kill himself after his partner of 16 years dies in a car accident. On his last day, his chance meetings with students, colleagues and his best friend, Charley, help him make a decision. That’s the plot of A Single Man – apparently. You would be forgiven for having very little idea what it was about. That can be a problem with ballet in general. If it’s not a well-known story, it can be hard to follow. I recently saw Matthew Bourne’s A Single Man, which is based on various works by Patrick Hamilton, and it felt a bit convoluted, but you could still mostly follow what was happening.

Radically for ballet, the show has live singing by John Grant, who has also written the songs. It is a bold idea and should aid with accessibility, especially insofar as understanding what’s going on, but the songs seem to deal more with themes and ideas. After all, Grant is playing “The Mind of George”.

The original score is by Jasmin Kent Rodgman, and whilst the songs generally compliment each other, they don’t always gel together seamlessly.

The score and songs are not exactly memorable but there are some lovely musical moments, and Grant’s voice is marvellous, mellifluous and versatile.

The production feels like a ballet with songs, à la a “play with music”. The songs are sparse, especially in the second act, which feels a bit off – you forget that there are songs and then suddenly Grant starts singing again.

Jonathan Watkins’ direction and choreography deserve praise. Aviva Studios’ The Hall is a large stage, and Watkins makes wonderful use of the space. The dancing is at times vivacious and electric but other times fails to captivate the audience. Ed Watson has come out of retirement to play The Body of George (Jonathan Goddard played the part of the Saturday), and he’s a mesmerising performer. The entire company (especially James Hay), and the musicians from Manchester Collective, give it their all, and even the less interesting choreography is finely danced.

The star of the show is, without a doubt, the design. It’s dazzling. Chiara Stephenson’s set is immediately enticing, even though it’s grey and gloomy. It consists primarily of metal shelves and shapes, filled with household objects of varying sizes. It embodies dull domesticity. The attention to detail is commendable, such as Grant (“The Mind”) performing in a head-shaped cut out and Watson (“The Body”) beginning in a human-shaped cut out. Some might find this too obvious and on the nose – but, as aforementioned, ballet can be hard to follow, so this helps the audience understand who is who and what is what. The huge head seems to represent the overbearing power of George’s thoughts. Mind over matter?

Whilst the set is bleak, colour is found in Simisola Majekodunmi’s enchanting lighting, which varies widely throughout the show, capturing and enhancing emotions.

Colour is also found, in abundance, in Holly Waddington (original costume concepts) and Eleanor Bull’s (costume designer) gorgeous costumes, which can be period appropriate and authentic, such as 60s Americana, but also abstract and expressionist. It’s an excellent example of visual storytelling; they tell stories through their costumes.

A Single Man is a bold, ambitious portrayal of love, lust and loss. It could be more accessible and interesting but it is undeniably artistic and insightful. It fails to reach the heights of other contemporary ballets, such as those directed and choreographed by Matthew Bourne (except the aforementioned The Midnight Bell), but it succeeds in doing its own thing and setting itself apart.

Manchester International Festival runs until July 20.

Photo: Johan Persson