Theatre Review: Northern Ballet’s Gentleman Jack at the Lyceum

Northern Ballet dancers in Gentleman Jack. Photography by Tristram Kenton.

Gentleman Jack tells the true story of Anne Lister, a woman who defied both

convention and society in the early 1800’s. A true Yorkshire pioneer, Northern Ballet commences Anne’s story as she challenges authority by inserting herself into the male dominated world of the coal industry, where her presence is met with ridicule and confusion because of her gender. But not only does she assert herself in business, she finds love with two women; firstly, she meets Mariana who breaks Anne’s heart by complying with convention and marrying a man. However, following a trip to Paris, Anne meets the woman she goes on to marry, Anne Walker. The ballet is based on Lister’s diaries, which were heavily coded, and which set out and celebrate both her status as a leading figure in feminism and her queerness and willingness to live the life she wished to lead.

Opening with a prologue of Anne Lister surrounded by men, she directs every action that they undertake. She is grounded, decisive and proud, living on her own terms. That prologue sets the scene well for what follows, and there is a great deal to enjoy in this vivacious production.

Gemma Coutts’ portrayal of Lister is beautifully done. Barely leaving the stage for the duration of the ballet, her performance is confident and nuanced, and she captured the attention of the audience with ease. There is a particularly tender pas de deux with Saeka Shirai playing Mariana, her first lover, and this sensuality and feminism between the female leads juxtaposes sharply with the formidable and society defying businesswoman forming the other half of Coutts’ portrayal of the character.

There is very clear characterisation in the choreography, which sits alongside the

detailed narrative. Northen Ballet’s visual storytelling is always one of their strengths and this production is no different. Not only are the scenes and story set out clearly and are easily understandable, but there are also some beautiful nuances which help to define the characters. The female characters are dancing very much on pointe, balancing delicately on their toes and utilising free-flowing movements, whereas the male characters are primarily dancing with the flats of their feet connected with the stage. Interestingly, Anne Lister’s choreography flited between the two styles, with her movements mirroring that of whom she was interacting with – with a more masculine style of dance when making her mark felt in the male dominated business arena, and a far more tender and sensitive style in her private life, especially when dancing with her lovers.

The staging is inventively simplistic at times, allowing for a workable dance space. Bookcases are arranged in particular patterns to identify the space where the scene is taking place, and they are frequently revolved to reveal video projection screens which are put to very effective use as the structures are moved across the stage and the filmed projection moves with them. The intermittent use of a treadmill assists in portraying the journey between locations and times, and there is a functional lighting design which keeps the audiences focus on areas of the stage where necessary.

The company all provided technically sound performances, and the Chorus of Words – a collection of leotard clad dancers bearing script and symbols to represent Lister’s diaries – worked together beautifully to create large scale ensemble pieces which ebbed and flowed in unison.

Peter Salem’s score is befitting of the piece, reflecting the gender disparity between the characters – the music for the predominantly male pieces have characteristics of being assertive, industrial and angular, whilst the female led pieces are more sensitive, sumptuous and calming. There is a beautiful use of swelling string instruments, especially around Lister’s pieces, and the music flits playfully between jaunty and romantic. The score is played beautifully by The Northern Ballet Symphonia, conducted by Daniel Parkinson, and as always, the inclusion of a live orchestra adds another layer of depth to a production.

Annabelle Lopez Ochoa’s direction and choreography kept the production moving

along swiftly, and the sensible running time of the ballet made it one which packed in a great deal of narrative, with not one scene wasted, nor with the progression of the story being drawn out unnecessarily.

The production features an incredibly positive portrayal of gender, sexuality and

queer representation throughout its duration and Anne Lister’s story is an important one to tell. The ballet is an unapologetic celebration of feminism, empowerment and queerness, and despite its historical setting, the story feels particularly relevant today as advancements in equality are eroded across the world stage, providing a timely reminder of the power of individualism.