Composer: Grant Olding
Director/Choreographer: Drew McOnie
Northern Ballet’s Merlin brings myth and magic to the stage in a production that’s both accessible and grand in scope. Drawing on Arthurian legend, it tells the story of the young sorcerer caught between gods and mortals, duty and destiny, as kingdoms clash and prophecies unfold. What could easily become a tangled web of fantasy instead becomes a surprisingly human tale of courage, belonging, and the price of power.
Visually, the production is spectacular. The set design (Colin Richmond) opens up a realm that feels both otherworldly and grounded, with twilight forests and shifting light (Anna Watson) that seem to give movement to the spells themselves. It’s an understated design that works particularly beautifully around the tree which anchors the space during key moments of the story, and in the second act in the use of arches to create corridors and landscapes. It’s clever, economical staging that always serves the story rather than overwhelming it.
The ensemble deserves particular praise. They bring clarity to complex patterns of storytelling and a strong sense of precision to every sequence. Among the principals, the Lady of the Lake (Nida Aydinoğlu) offers one of the evening’s highlights in her scene within the lake, as she swoops and dives around the ensemble with ease. Morgan (Amber Lewis) commands the stage every time she steps into view, exuding confidence and controlled power, while the Blacksmith (Alessia Petrosino) marries tenderness with flashes of humour, bringing genuine warmth to the production.
The pacing and score work hand in hand to carry the story forward. The narrative remains clear throughout without feeling simplified. The first act builds with confidence, setting up the emotional stakes, and the battle sequences in the second act are thrilling, marrying choreography with dramatic urgency. It’s a production that balances storytelling clarity with moments of real visual wonder.
That same ambition, however, occasionally leaves less space for emotional stillness. With so much happening including prophecies, transformations, and betrayals, the quieter moments sometimes feel compressed. Merlin’s (Yu Wakizuka) internal struggle, in particular, doesn’t quite land with the full weight it deserves. The spectacle is impressive, but at times it comes at the expense of those delicate emotional beats that could deepen the story’s impact.
Still, this is a ballet that embraces its own scale with confidence. Thanks to a committed company and imaginative direction, Merlin largely achieves what it sets out to do: to tell a familiar story in a fresh, visually captivating way. For all its grandeur, it retains a heart of humanity and hope. If you’re looking for a night of dance that’s both engaging and enchanting Northern Ballet’s Merlin is well worth catching.
Runs Until: 15 November 2025
