Review: Merlin at Leeds Grand Theatre

“…a ballet that reinvents the legend while keeping its magic alive…”

By Sean Sable

People who dismiss ballet as boring have never spent an evening with Northern Ballet. Few companies balance accessibility and artistry quite so well, and Merlin proves it again. If you are hoping for a tired rehash of Camelot with all its predictable beats, this production is not for you. This Merlin is an enchanted world of celestial kingdoms, forbidden love and a dragon so endearing you will leave wanting your own pet fire-breather.

Choreographed by Olivier Award-winner Drew McOnie, Merlin is a relatively new addition to Northern Ballet’s repertoire, first premièred in 2021 and now touring again. McOnie’s inspiration comes not from Arthurian legend as most of us know it, but from his own exploration of “found family.” Our modern, bold Merlin is an eighteen-year-old boy of divine parentage, raised by a blacksmith mother and struggling to keep his magic a secret. The ballet introduces us to two rival kingdoms—Solar and Tide—and a host of gods, generals, and mythical figures. At the centre of it all is Merlin himself, a hero whose magical powers must unite a divided world.

Ballet always calls for particular innovations in set design, needing enough structure to create visual spectacle, yet pared back enough to give the performers room to shine. Colin Richmond’s set design accomplishes both goals perfectly. One moment we have a hammered-gold backdrop evoking a futuristic Egypt-esque society, the next an immense oak tree that seems to pulse with light through its wire “veins”. The design’s mixture of organic forms and metallic structures gives the whole piece a dreamlike quality that places the story outside of time. Anna Watson’s lighting matched it brilliantly, especially in the contrast between Solar Kingdom golds and Kingdom of the Tide blues. At times, traffic-light-style golden beams blazed out into the auditorium, heightening the scale of battle scenes until the dancers became little more than silhouettes, beautiful shapes abstracted against rays of light.

Costuming was equally impressive, leaning into the same blend of ancient and futuristic motifs. Unisex military tunics were cut so that flowing skirts gave the men’s movement as much grace as the women’s. The fabrics selected allowed for a wide range of shapes, from the heavier velvet-like drape of the uniforms to the soft flow of georgette mimicking the movement of the tide. As conflict mounted, the colour palette skewed darker and richer, and in celebration, soft pastels suggested harmony.

Merlin, performed by Kevin Poeung, danced with a freshness and earnestness that I found captivating; his youthful power and moments of uncertainty were conveyed as much in facial expression as in movement. I found him to be truly exciting and believable, and with his sense of youthful exuberance, I think children in the audience will find his performance very accessible. Saeka Shirai’s Morgan, however, was my standout favourite of the evening. She was technically sharp and convincingly ruthless. Her militaristic authority (and amazing wings) was a force to be reckoned with. Operated by Albert Gonzales Orts, the Dragon puppet was so lifelike that I found myself utterly moved during his interactions with Merlin. A particular scene between them in prison was unexpectedly tender, and perhaps my favourite of the night.

McOnie’s choreography favours lyrical expansiveness with wide, flowing gestures that make dancers look like ribbons cascading across the stage. The ensemble shone, flowing like water in the Kingdom of Tides and in rigid military formations in the Solar Kingdom. I was left dizzy at how seamlessly solos and group work transitioned. The choreography always kept the story in constant forward momentum. Partnering was another delight, with so much genuine intimacy conveyed through motion as well as eye contact and expressive detail.

I arrived expecting Camelot with its courtly robes, and fusty worn-out tropes. Instead, I was swept into a fantasy world of glittering kingdoms and a reimagined hero who felt startlingly fresh and human. Merlin is not the story you think you know, and that is precisely its strength. It’s a ballet that reinvents the legend while keeping its magic alive.

Merlin plays at Leeds Grand Theatre until Saturday 20 September 2025. Tickets are available here.

Sean Sable is a Yorkshire-based freelance writer and editor specialising in Young Adult and Horror fiction, frequently at the same time. When she isn’t buried under a pile of books and manuscripts, she is looking for her keys and having extensive one-sided conversations, in Swedish, with her deaf cat. You can find her online at: www.seansable.co.uk