Matthew Bourne has once again proven himself to be a masterful choreographer and storyteller with The Midnight Bell, a deeply evocative ode to love, longing and loneliness. Inspired by the books of Patrick Hamilton, a prolific chronicler of the disillusioned dreamers and lost souls who inhabited Soho in the 1930s, this is a moody and marvelous piece of dance theatre.
The Midnight Bell is a typical London pub, the bar that welcomes all of London from toffs to tramps and lonely ladies to world-weary floozies. As the show opens, we see Lez Brotherston’s stunning set that immediately creates a suitably smoky and sultry ambience. Indeed, the set and lighting, in hues of red and gold, play a huge role in setting the scene and taking us into this rather sad and seedy world. This really is some of the most magical and sophisticated set and lighting design this reviewer has seen in a long time. All credit to Brotherston and lighting designer Paule Constable. From the central setting in the pub to the street corner, the members’ only bar and the Lyons Tea House, we enter their world.
At its heart, this is a poignant portrait of desire and disconnection, of ill-fated meetings and squalid encounters, all rendered through Bourne’s signature choreographic language.
From the very first moments, it’s clear that this is a work of great sensitivity, of hopes, dreams and regrets. The Midnight Bell is more than just a pub – it’s the place where lives intersect and dreams are made or shattered. It’s a crucible of silent yearnings, of fleeting hopes and intense disappointments.
Using choreography that is both flowing and intense, Bourne creates moments of tenderness contrasted with scenes of harsh reality. The choreography speaks volumes, as it must in a production of this level.
The dancing throughout is exceptionally strong and very characterful. Bourne’s long-time collaborators at the New Adventures dance company are exceptionally talented, imbuing each scene with intensity and clarity. Each small gesture is deliberate and considered, loaded with meaning and nuance. And sometimes it’s the nuance that is most meaningful, exemplifying the heart-breaking restraint.
The dancers clearly understand Bourne, and he knows them well too. Their character portrayals are so strong that we really feel for the sadness of Miss Roach, the lonely spinster; the lost dreams of the floozy Jenny Maple; and the yearnings of Albert and Frank at a time when homosexuality was very much a crime.
Bourne’s choreography leans into a pared-back naturalism, with few flamboyant displays and more considered, subtle moves. There are a few athletic, high-energy moments, but really this is dance in the shadows allowing the lines between fantasy and reality to blur just a little.
Importantly, there is a delicious sense of voyeurism here, as if we’re all peeking into the windows of these shabby little bedsits in Soho. These are private moments, too intimate to be shared. This is all heightened by the soundtrack that includes smoky songs of the period such as ‘The Man I Love’, The Nearness of You’ and ‘What is This Thing Called Love?’. In something of a break with modern dance conventions, the dancers lip-sync to these vocals.
This is really the only aspect of the production that doesn’t quite work. It would be wonderful if the dancers actually sang, but then would it be too much like musical theatre? Perhaps a singer on stage, standing alone in a spotlight would work better and be true to the period. Having the dancers pause to mime the words undermines the pacing and emotional tension and just feels awkward. That said, the original music by Terry Davies works well to further enhance the mood and unify the whole piece. The music and lighting also work together to underscore each change in the mood and highlight the emotionality of the story.
The storytelling in The Midnight Bell is layered and almost cinematic, a real tribute to author Patrick Hamilton whose best-known novels Rope and Gaslight were both made into successful films. It’s also a tribute to all those dreamers, romantics and lost souls who fill our cities with their hopes and dreams.
Read: Theatre review: Steel, Park Theatre, London
Matthew Bourne’s The Midnight Bell is really something very special: a portrait of a bygone era that feels real and meaningful. With its beautiful dancing, evocative music, brilliant lighting, stunning set and emotionally intelligent storytelling, this production is heartbreakingly beautiful. Don’t miss it!
Matthew Bourne’s The Midnight Bell
Sadler’s Wells
Director and Choreographer: Sir Matthew Bourne OBE
Inspired by the novels of Patrick Hamilton
Composer: Terry Davies
Set and Costume Design: Lez Brotherston OBE
Lighting Designer: Paule Constable
Sound Designer: Paul Groothuis
Associate Artistic Director and Choreographer: Etta Murfitt MBE
Cast: Cordelia Braithwaite, Reece Causton, Glenn Graham, Daisy May Kemp, Hannah Kremer, Michela Meazza, Andrew Monaghan, Liam Mower, Luke Murphy, Dominic North, Bryony Pennington, Edwin Ray, Danny Reubens, Holly Saw, Ashley Shaw, Alan Vincent
Tickets: from £15
Matthew Bourne’s The Midnight Bell will be performed at Sadler’s Wells, Rosebery Ave, London EC1 until 21 June 2025.
