Music: Terry Davies
Director: Matthew Bourne
Taking the novels of Patrick Hamilton as his source material, Matthew Bourne draws us into the slightly seedy, murky Soho of the 1930s. We are introduced to a cast of characters who, whilst not down and out, are certainly down on luck and looking for love. In his programme notes Bourne tells us that the play was inspired by the periods of lockdown and isolation that we all endured in 2020. It is somewhat ironic in a way, that there is no dialogue then, only the words from a few carefully chosen songs from the 30’s which are mimed to by the cast. With choreography and a cast as superb as this there really isn’t the need for dialogue as the personality of each character shines through, every dancer imbuing each movement with depth, meaning and also subtlety. There is sometimes so much going on it is hard to know where to focus the attention as the cast enact a night of drinking at The Midnight Bell pub, each performing in their own style but equally all working together with impeccable timing.
There are a few strands to the overall story and each is given its moment in the spotlight, from the lonely spinster hoping for love but being deceived by a cad who steals from her handbag, the excitable yet somewhat naïve barman who feels himself in love with a young prostitute, a man who fantasises about throttling a woman who constantly evades him and a young homosexual couple trying to live and maybe love against the oppressive conditions of the time. The interactions between all of the cast are beautifully and occasionally brutally realised, timing and execution faultless throughout.
Lez Brotherston has created a set that perfectly complements the narrative and the dancing, shifting seamlessly from bar to tea room to Soho club and conveying the atmosphere of the surrounding streets perfectly, especially when aligned with the evocative sounds provided by sound designer Paul Groothuis and the sombre, yet occasionally piercing white lighting of Paule Constable. The original music created by Terry Davies further enhances the somewhat dark and downbeat mood, but also helps illuminate the lighter more positive moments as this isn’t solely a melancholic tale, there are shafts of light and humour that cut through.
Amongst the superb cast Michela Meazza impresses as the lonely spinster Miss Roach, every movement carefully observed but never overdone, she manages to evoke sympathy from the audience as she is constantly cheated by Glenn Graham’s cad, Ernest Ralph Gorse. The standout performances here though are Edwin Ray as Frank and Liam Mower as Albert – two young men tentatively developing a gay relationship in an era when this must have been fraught with danger. The slow unfolding of their feelings for each other, attempts at denial and argument and reconciliation are all dealt with in a way that combines artistry, physicality and passion with both dancers seeming to come alive when dancing together.
The remainder of the cast are no less impressive, the constant liveliness to their movements and the overall sense of togetherness of the cast evident from start to finish. This is an incredibly accomplished piece of storytelling with some inventive choreography as you would expect – the use of a single bed to tell three separate strands of the story at the same time a particular highlight as the dancers move around each other with consummate skill and above all a lightness and grace that is a pleasure to observe. Even if you aren’t a fan of dance do not miss this.
Runs until 13th September then on tour to October
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