1930’s London Soho awaits you at York Theatre Royal this week – as Matthew Bourne captures the fluidity of connection, both bleak and beautiful.
The Midnight Bell journeys through a hazy, dreamlike sequence exploring six intertwining relationships, as inspired by the works of English novelist Patrick Barnes. Dreamers, drifters and dwellers soon flood the stage, as the ring of an alarm clock signals the beginning of this layered and atmospheric piece.
Matthew Bourne’s The Midnight Bell is at York Theatre Royal from Wednesday 4 to Saturday 7 June.
The staging was left wide open, with even the fly crew visible in the wings, a clever decision by set designer Lez Brotherston. This design allows ample space for the physical storytelling and intricate choreography, whilst making this emptiness feel strikingly vast when characters are left in solitude or seeking resolve.
From our first step into The Midnight Bell, there was no denying we were in the seedy underbelly of 1930’s London. This gritty atmosphere is heightened by Paule Constable’s outstanding lighting design, which subtly mirrors the emotional texture of each scene and relationship. The lighting provokes an emotional response without any overt expression, a feat that underscores the production as a whole.
And just as the scenery glides seamlessly across the stage, so do the performers. As expected in Bourne’s work, this company contains the highest calibre of dancers – but it’s not just their technicality that’s en pointe. Each performer crafted a distinct, yet recognisable character even through all the mist, giving clarity to a wordless narrative.
This superb cast included; Andrew Monaghan, Ashley Shaw, Michela Meazza, Glenn Graham, Bryony Pennington, Danny Reubens, Alan Vincent, Cordelia Braithwaite, Edwin Ray and Liam Mower, all of whom delivered captivating performances.
Whilst familiar storylines emerged – whether the hopeless romantic, forbidden desire or unrequited love – what’s most striking is the freedom the audience is gifted to interpret. This artistic endeavour allows an opportunity for uninterrupted interpretation, allowing a personal connection to be established by bystanders.
And these connections were further emphasised by sound designer Paul Groothuis, and composer Terry Davies. Groothuis’ expert mixing and soundscaping accentuated so much of the unspoken tale, from the awkward hilarity of lip-synching to the tender intensity of first touches. The melody and movement worked in tandem to create a story that required no dialogue, yet could be understood or better easily illuminated.
If you want to take a journey to The Midnight Bell for a dose of dark desire, place your orders here at the York Theatre Royal website. Tickets start from £15.