Merlin
Northern Ballet, Leeds Grand Theatre
★★★★
 

A REVIVAL of Northern Ballet’s 2021 family adventure, Merlin is an origin story of the mythical wizard.

The subject matter is ripe for theatrical pizzazz, which director and choreographer Drew McOnie introduces through the use of puppetry and illusion. A dragon (operated by Albert Gonzalez Orts) angrily bellows smoke from its nostrils. The legendary sword Excalibur flares like a light sabre. Flowers are produced out of thin air. The cast may not gain entry to the Magic Circle any time soon, but the effects produce some of the show’s most memorable moments.

These elements could overshadow some dance productions, but Northern Ballet has always prided itself on strong storytelling. As such, they’re effectively used to complement its central message about family and belonging. 

The idea of family being who individuals choose is foregrounded by Merlin (Kevin Poeung) being raised by a blacksmith (Amber Lewis), who finds him abandoned as a child. Early scenes, in which Merlin half-heartedly helps his adoptive mother in her forge, are humorously relatable. But it’s their changing relationship that brings the emotional core to the production, with both gradually coming to accept Merlin’s difference.

The journey towards this acceptance takes the titular character through warring kingdoms and star-crossed lovers. Epic battles are fought across Colin Richmond’s set, which is drenched in golds and metals. Most scenes are played as ensemble but there are stand-out performances from Saeka Shirai as Morgan, an army general who gets hooked on power, and Heather Lehan as Lady of the Lake, whose willowy movements perfectly capture the flow of water.

There are times the show struggles to make sense without reference to the programme’s synopsis. For the most part, however, McOnie’s background in musical theatre brings a contemporary energy to the Arthurian legend.

On tour until November 15. For more information and tickets see: northernballet.com.