JADAR

★★★★★

Ballet is an experience that often feels a little disconnected from its audiences. Seeped in decades of tradition and a form of visual storytelling, it can be difficult for newcomers to sink their teeth into. Northern Ballet’s Merlin is a shining example of accessible ballet, offering stunning displays and intricately choreographed sequences while maintaining an intriguing, coherent narrative. It’s the perfect marriage between classical and contemporary ballet choreography flittering between the accessible and abstract visual storytelling. Scenes never outstay their welcome despite the grandeur and emotional grit on display. 

Originally debuting in 2021, the show’s creator, director and choreographer, Drew McOnie, was inspired to create an original story lovingly recrafting Arthurian legends into a modern tale of self-acceptance and parenthood. McOnie’s tale reimagines Merlin (Kevin Poeung) as the son of Helios (George Liang) and The Lady of The Lake (Heather Lehan), and adopted by a loving Blacksmith (Amber Lewis). While Merlin learns how to control his powers, Prince Uther’s (Filippo Di Vilio) secret infatuation with the “enemy” in Princess Ygraine (Rachael Gillespie) spells danger when King Vortigern (Antoni Cañellas Artigues) wages war, spearheaded by the power-hungry general Morgan (Saeka Shirai). Will the kingdoms find peace? Will Merlin uncover his potential before it’s too late? 

While a couple scenes near the beginning feel a little slow-paced, McOnie’s choreography shines with its constant bursts of acrobatic energy, intense drama, and contrastingly soft emotional embraces. Aided by Grant Olding’s stirring score, the music has an enchanting air of whimsy and royal pomp, swelling ominously in impending moments. 

Poeung’s tormented yet endearing portrayal of Merlin is filled with magical vigour, gorgeously bounding, elegantly leaping, and surging with power and excitement. His potency and passion are felt in every stretching sinew and grand jeté. His interactions with Lehan as the Lady of the Lake are mesmerising, combining a heart-warming reunion with stunningly realistic swimming motions as the pair flitter serenely through the current, rolling and striding as above the ensemble’s heads.

Saeka Shirai’s portrayal of Morgan radiates militaristic precision, her stern poise and strict frame dominating every scene and commanding attention. Her foil, Ygraine, played by Rachael Gillespie is the perfect antithesis with graceful flicks, lavish flowing dresses, and an infectiously cheerful demeanour.

Colin Richmond’s set and costume design feels equally luxurious, warm streaks of bronze and gold shimmer across the stage, from the splotched palatial backdrop and glowing mesh trees, to the Herculean solar warrior armour, lavish princess dresses, and starry ensemble costumes. His designs felt perfectly in tune with the medieval period, while also linking nicely with Merlin’s background as the blacksmith’s son; metallic hues and copper scraps weaved into each costume, set-piece and puppet. Pieces are rolled in or dropped on-to the stage throughout, including a glowing ring thinly veiled behind a sheer gold burnished screen and framing multiple dance sequences in increasingly inventive ways.

Metal may run through the veins of the show, but so does magic with Chris Fisher (of Stranger Things: First Shadow and Harry Potter and The Cursed Child) in charge of the show’s many illusions. From hovering orbs and spinning cranks, to floating (illuminous) swords and pyrotechnics, Fisher’s effects are a constant source of amazement throughout the show, pairing perfectly with the choreography to create a visually compelling and believable fantasy world. Merlin has remarkable creative cohesion, with unbeatable immersive world building and a team that clearly strives to create an endearing tale that interweaves the arts of movement and design.

The fan-favourite character is yet another unique addition to show. Rachael Canning’s puppyish dragon puppet, brought to life by the playful Albert Gonzalez Orts, is a gorgeous green dragon with a glowing gullet and eyes, smoky nostrils, and tiny wings while the sheer-robed puppeteer controls from the side. Morgan’s transformative dark wings are another of Canning’s inventions, beating ominously from the shadows. Her darkness juxtaposes the warm and cool lights illuminating the warring kingdoms, while Merlin’s neutral light and fiery sword floods the sumptuously crafted scene.

The impressive creative team is rounded off with Grant Olding (Music), Anna Watson (Lighting Design) and Julie Anderson (Costume Design Assistant).

Northern Ballet’s Merlin is a feat of technical wizardry, with spellbinding choreography, sprawling set-pieces, playful puppetry, and enchanting visuals. McOnie crafts a cohesive and believable world with an accessible story and interlocking creative. It’s a night of pure magic for all the family to enjoy.

Northern Ballet’s Merlin runs at Leeds Grand Theatre until September 20.

Photo: Tristram Kenton