REVIEW: The Midnight Bell at Newcastle Theatre Royal

 

The Midnight Bell

Newcastle Theatre Royal 

Until Saturday 12 July 2025

Sir Matthew Bourne and his New Adventures company bring to Newcastle for the first time a fascinating 1930s dance drama, built around the lives and loves of the staff and customers of the titular pub, in the bohemian setting of London’s Fitzrovia. Atmospheric, involving, touching and beautifully performed, it bears all the hallmarks of Bourne’s iconic works and makes for a truly memorable evening.

Playwright and novelist, Patrick Hamilton is known for his plays, Rope and Gaslight, both memorably filmed. He also wrote several novels that explored the seamier side of British life throughout the 1930s and 40s, as well as a trilogy about a smooth and engaging confidence trickster called Ernest Ralph Gorse during the 1950s. Characterised as the novels are by flawed or troubled protagonists, they offer rich pickings for a dance dramatist such as Bourne; one who is skilled at exploring inner lives through movement and three-dimensional characterisation.

Bourne is celebrated for the dramatic depth of his work, as well as the endlessly inventive choreography. This depth is more evident than ever here, working with a generally mature company with whom he has developed a strong creative relationship over a number of years.

The piece is really a series of interlinked vignettes, centred on the pub of the title. It draws on characters from various novels and explores their, frequently doomed, relationships.

We open in the bedroom of Bob, a young waiter, who is dreaming and lipsyncing as he dances to an Al Bowlly recording from the 1930s, ‘Man and his dream.’ Charmingly portrayed by Dominic North, he is open, engaging and idealistic, dancing in a golden-age style. We follow Bob to the Midnight Bell, where we meet a cast of lovelorn souls, each in their own personal drama.

Ella, the barmaid, vulnerably and movingly danced by Bryony Pennington, is in love with Bob, who flirts but does not return her affections. He is too much occupied with Jenny Maple, a young prostitute, given sensuality and great poignancy by Ashley Shaw. She is amused by him but her lifestyle has no place for a naïve young beau.

George Harvey Bone is an ardent romantic, struggling with schizophrenia and with his all-consuming passion for the heartless and promiscuous Netta, an out-of-work actress. Alan Vincent gives a convincing and heartrending portrayal of Bone’s condition and his tragic tale, while Cordelia Braithwaite imbues Netta with a persuasive hardness, tempered by more than a hint of self-loathing.

At the same time, Ernest Ralph Gorse, Glenn Graham’s louche confidence trickster, pursues and exploits Michela Meazza’s vulnerable spinster, Miss Roach. Her brittleness, coupled with a hesitant sensuality and her devastating need make it easy to see why this performance won her a National Dance Award. Graham’s swaggering, ruthless charm and his irrepressible twinkle provide ample excuse for her fixation.

Mr Eccles, a gauche and socially awkward older man, sets out to woo the reluctant Ella. Reece Causton manages to bring a deal of comedy to the role, without ever losing credibility, and conveys his sorrow and loss equally convincingly.

Finally, we meet Albert, a West End chorus boy, who is attracted to the mysterious newcomer, Frank. In a world where homosexuality was illegal, potentially leading to imprisonment and disgrace, such relationships were fraught with danger. Frank is hesitant and fighting his desires but clearly is drawn to Albert. A game of cat and mouse ensues, with the roles switching frequently, and extra jeopardy is added when Albert finds out Frank’s job. 

Liam Mower’s arch, insouciant Albert contrasts nicely with Edwin Ray’s more rugged and earnest Frank and the will they - won’t they love story is deeply affecting and compelling.

Throughout, the choreography is fluid, imaginative and unpredictable. The dancers, all talented actors to boot, are flawless, capturing the different moods and styles effortlessly and moving as a hypnotic ensemble in the more co-ordinated numbers.

It must be said, the piece is a feast for the eyes. Lez Brotherston’s moody and versatile set and his meticulously characterful costumes, conjure the time and place wonderfully. The whole thing seems to be viewed through one of the glasses of whisky that feature so prominently throughout. Paule Constable’s claustrophobic and involving lighting design is similarly superb.

Terry Davies’ score is also a marvel. Achingly beautiful at times, quirkily engaging at others, it is always strongly redolent of the era. This is neatly demonstrated by the way it blends seamlessly with the period recordings sprinkled through the evening. Several of these are lipsynced by the performers, which caused some variation of opinions between those audience members I spoke to. Having grown up with Pennies From Heaven, Dennis Potter’s 1978 TV series, where the same technique was used, I was very comfortable with it.

Sensuous, stylish, heartfelt and deeply human, this is a memorable and absorbing evening for lovers of dance and drama alike.

Review: Jonathan Cash

Photos: Johan Persson

Tickets:

Tickets for The Midnight Bell are on sale now via www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.