Review: Matthew Bourne’s The Midnight Bell at Lowry Theatre

“…truly captured the many sides of love and what it’s means to be human…”

Matthew Bourne’s The Midnight Bell, Lowry Theatre

By Claire Walmsley

Matthew Bourne’s The Midnight Bell, inspired by the novels of Patrick Hamilton, is a masterclass in movement, human interaction and emotion. It was sexy, subtle and breathtaking.

I was unsure what to expect from a performance where dance and movement take centre stage of the storytelling. Would I be able to follow the story? Would it keep my attention? But I had absolutely no need to worry. The choreography was so well done that the story shone brightly without the need for words. The original soundtrack, peppered with a few lip-synced, well-chosen 1930s songs was the perfect accompaniment that portrayed more than words ever could. I was captivated from the start.

Whilst, overall, nothing major happens and there is no overarching plot, it’s still a thrilling tale. The production instead focuses on the lives of ten characters and explores their interactions and feelings of desire, loneliness and attraction. Each character and relationship is expertly choreographed and characterised – the plucky barman with his bouncy steps, the cad with his arrogant swagger – creating a rich and detailed world that draws you into the 1930s Soho scene. I found myself with deep emotions for each of them within a short space of time. Daisy May Kemp’s excellent portrayal of the out-of-work actress Netta had me bristling at her unkind treatment of George Harvey Bone (superbly performed by Alan Vincent) despite the fact that he is obsessed with her.

The combination of set, music, movement and costume was stunning. The clever and detailed set design coupled with the subtle soundscape of the city – a dog, footsteps, traffic – and the atmospheric lighting added depth to the performance.

The scenes in the pub where the story is centred – the titular Midnight Bell – were some of my favourite moments. The position of the bar moved between scenes, which created the illusion that you were among the patrons, but at a different table each time, watching the events unfold. There were no sweeping, grand dance scenes here; rather, every character moving, colliding, interacting. It was like watching real life but with a bit of magic. It didn’t matter where you looked – there was always something to notice, something new to discover about a character. If you watched the lonely spinster for instance, you’d notice her take off her glasses when the handsome cad came along or how the timid barmaid looked with longing at Bob (the barman).  The attention to detail throughout the whole performance was what made it so authentic and real.

All the stories had their merit and all the dancers were all excellent. However, the standout story and performances for me were those of Albert and Frank (portrayed by Liam Mower and Andy Monaghan). A Westend chorus boy and offbeat policeman who explore their relationship and desire in a time when being gay was illegal. These scenes were tender, heartbreaking, emotional and expertly done. So much was portrayed that it didn’t need words to bring it to life – in fact, spoken words would have tarnished such an intimate moment. It was these scenes I thought about on my drive home and will do for some time.

My only complaint is that the lovely barmaid Ella (danced by Bryony Pennington) didn’t get enough of the spotlight. She longs for love and secretly yearns for Bob (who is infatuated with Jenny the street walker). Ella captures the attention of the regular, Mr. Eccles and rather reluctantly agrees to his advances. Their scenes were sweet and touching, and I would have liked to have seen more of her emotions danced out.

Whilst I understood all the individual stories well, in hindsight, I should have purchased a programme beforehand to help set the scene a little bit more. For example, whilst it was clear that George Harvey Bone was in great turmoil, it wasn’t immediately clear from the performance alone that he was schizophrenic. My advice would be to read up on the characters beforehand to really experience the depth and complexity of each.

Overall, I don’t think I’ve ever seen a production that has touched my heart in a way that Matthew Bourne’s The Midnight Bell has. It truly captured the many sides of love and what it’s means, ultimately, to be human. I will be thinking of this long after it has finished touring and I am so glad I took the opportunity to see it.

Matthew Bourne’s The Midnight Bell plays at Lowry Theatre until Saturday 05 July.

Claire Walmsley is a children’s author who pays the bills by teaching computer science to primary school pupils in Manchester. When she’s not writing, reading or fixing all the broken laptops at work, she likes to run and hike. As a long-term sufferer of Crohn’s Disease, she is always trying to inspire the next generation of chronic illness sufferers. You can find her first picture book here. Or follow Claire Walmsley – Children’s Author on all the socials.