★★★★ Merlin: Modern Dance Magic for This Classic Tale

Kevin Poeung and Amber Lewis in Merlin. Photography by Tristram Kenton

A touch of stage magic was brought to the Sheffield Lyceum Theatre as Northern Ballet presented Merlin, their take on the early adventures of the famous wizard. In his first full length ballet, Drew Maconie, whose previous works include King Kong on Broadway, and Baz Lurhman’s Strictly Ballroom, breathes new life into the tale of the Arthurian legend weaving contemporary dance and traditional ballet into a wonderful show.  

Born of two gods, and found and raised by a blacksmith, Merlin faces off against Morgan, a senior general in the Solar Kingdom’s army whose lust for love and power knows no bounds. Befriended by a dragon and supported by his adoptive mother, Merlin strives to unite the two warring kingdoms, helps a forbidden love to blossom and finds his own strength and courage in this action packed, and visually spectacular, epic.

Kevin Peong is excellent as the titular hero. Even when his character is filled with self-doubt, his dancing remains steadfast and confident. Antoni Cañellas Artigues dances with incredible precision and control as Vortigern, the King of the Solar Kingdom, and his portrayal of the harsh and emotionless ruler was very well performed. However, Saeka Shirai was the standout cast member as Morgan. Her movement was stunning, her characterisation was fierce and her dance was technically perfect. She was astounding. It is, however, hard to single out specific cast members in a show which is formed of so many ensemble pieces, and the cast in their entity were skilled, measured and controlled.

Maconie’s choreography is beautifully done, although was a little repetitive at times, but by applying specific patterns of movement to certain character groups, he is able to clearly define characterisation and storylines. The rigidity of movement of the Solar Kingdom’s army contrasts with the fluidity of movement in army of the Kingdom of the Tides, creating a clear definition between the warring factions. There are some visually intriguing moments too; the movement of the dancers who form the shape of the water as Merlin meets The Lady Of The Lake is utterly mesmerizing, and the general attention to detail in terms of hand gestures, facial expression and the direction of the dancers gaze all blend seamlessly, creating a carefully crafted piece of dance.  

The score by Grant Olding is sweeping and exhilarating. Filled with pomp, ceremony and military style marches, the music employs the thud of drums and soaring strings to create a sense of urgency, danger and excitement; before calming to a number of tender and intimate pieces, as the story moves between the action and the romance. Olding’s music was a real highlight and wouldn’t seem out of place in the latest Hollywood blockbuster, it really was a joy to listen to.

The set and costume design by Colin Richmond is rich and sumptuous. The Solar Kingdom is swathed in gold and yellow hues, whereas the Kingdom of the Tides is awash with blues, aqua and turquoise; and the costumes feel both medieval and futuristic simultaneously.  There was some creative puppetry, with Merlin’s sidekick, The Dragon being a particular highlight, and there was a slew of special effects and sleight of hand employed to bring Merlin’s magical skills to life.

One of the strengths of Northern Ballet has always been their ability to easily convey a narrative, and Merlin is no exception. The story is easy to follow, and the characters and events are clearly defined. This is as far away from tights and tutu’s as you could imagine, and as a piece of narrative dance, Merlin is a fun, fast paced and family friendly adventure which is effortlessly entertaining, visually striking and perfectly performed.