The Midnight Bell

Matthew Bourne - Sadler's Wells

Bourne's choreography and theatrical vision in all its glory. The Midnight Bell is a dark, stunning piece of dance theatre that every audience member will have their own interpretation.

Scandalous 1930's Soho. A night in the local pub filled with 'gin-soaked' conversations, many intoxicated characters and it turns into drama... You're right, nights in Soho haven't changed much.

Sadler's Wells is showing Matthew Bourne's 'The Midnight Bell' that's based on the popular English writer Patrick Hamilton. Showing till 21st June, what are you waiting for?! Bourne has a picturesque, expressive, quirky and distinct style. The show opens with a pub filled with thirsty characters, what are they thirsty for? You'll find out as the dance goes on that each character longs for something more than a drink; secrets are spilled, and drama unveils as the clock strikes 12. Unlike Cinderella, there is no carriage waiting for them... just a seedy hotel. Take a look into each character's mind through expressive dance, 1930s style. This piece of Bourne's work is as divine as a fine wine.

It is no secret that Bourne is a huge name in dance, and he clutches his place in the history of theatre by choreographing work that can be enjoyed by all audience members; whether you're well versed in dance or a newbie. There are some intriguing stories explored, hiding same sex relationships, cheating and a forceful relationship. Drink heightens these issues, and they are all shown through the most beautiful, emotive and expressive movements. The two males who are hiding their love from the world have this beautiful duet, where they intimately dance together showing their curiosity in each other, their matched timing and connection shows how the two are mutually feeling this attraction. Dance theatre is such an individual experience, because you may not be interpreting the story the same as the person next to you and that is the beauty of it. This element is explored through a character played by Alan Vincent. His character is 'The tortured romantic' George Harvey Bone who is obsessed with Netta Longdon, danced by Daisy May Kemp. Vincent's attachment to Longdon is emphasised by stares and him intervening with her dancing with anyone else. There is a moment at the end of act one where his tortured soul consumes him and this moment could be interpreted as anything, the way I saw it is that he is consumed by his love and regret. It's played with such expression, heavy movements, rise and fall. The choreography grips you.

As choreographer and director Bourne has put work into ensuring the dancers have perfected their performative skills when embodying their characters. In moments of the piece dancers will step out for an individual moment where they will lip sync the 1930's song that is playing, and this helps the audience understand the story they are showing. It is a moment that almost breaks the fourth wall, as it feels the character is stepping out to address the audience to narrate their feelings or in a way explain what has just happened. The dancer's over express these moments, it is very dramatic, and it makes it feel as though they are singing in this moment. The audience almost believes it's them. It is clear each dancer knows their character's purpose, because even when they aren't dancing they are still on stage showing their relationships with the characters around them and giving away elements of their characters. For instance, the cad Ernest Ralph Gorse played by Glenn Graham will eye up his next lady or be engrossed in flirting... with an eye on all the other women around him.

It's not a Bourne production without a vibrant set design and expressive costume selection. Lez Brotherson has designed both elements for this production. The dark stage is filled with tables, chairs and of course a bar for the characters to order their drinks. Flashing signs and the backdrop which shows the audience the time of day present the setting of each scene. Lighting works alongside the set, designed by Paule Constable. The sky is the most gorgeous element, stars that twinkle, clouds and sunrise colours to end the evening that is shown each section. The stage brings the 1930's to the audience and takes you back in time. The cobbled floors, telephone boxes and costumes to match the era. You know each character's personality and where they are.

Bourne's work is studied for a reason, there is so much to unpack, and his ideas reflect his intelligence. It's a treat to have the opportunity to observe his work. This show is best paired with a stiff drink and someone to talk about it with after. You will want to talk about it. It doesn't matter if you are not well versed in dance, this piece is a theatrical masterpiece and dance art. Long shall Bourne's choreography reign on and he is dance theatre royalty. One of the most relatable dances is at the start, where the waiter bob is dancing in his room and it makes you think of the times when you get home from a night out, good spirits, dancing around your room and getting ready for bed. The alarm clock hits you in what feels like seconds. A great opening for a divine show, this is a must-see and you need to take everyone you know!