As the decadence of Christmas fast approaches, Northern Ballet bring their adaptation of F. Scott Fitzgerald’s hedonistic but tragic romance to the Alhambra where Leo Owen caught the show
A fence and four tiered mottled grey panels comprise the play’s opening set; deliberately simple, it allows us to fully focus on the show’s two most memorable dances. Following on from a lively opening routine highlighting the 1920s’ high life, four trench-coated figures mirror each other in David Nixon’s (Artistic Director) strongest choreography. This tense dance stands out, alongside an eerie number, including a younger Daisy and the titular character. The addition of a spot-lit white suited figure effectively contrasts, emphasising the duality of Fitzgerald’s narrative, and gun shots represent Gatsby’s shady deals.
Jerome Kaplan’s simple set design cleverly switches the action between key locations. A mesh outline of a house appears, allowing the audience to see both internally and externally, and additional chairs complete Nick Carraway’s (Giuliano Contadini) cottage as he gaily dances across the stage, contrasting with previous dodgy dealings. Cream curtains, a chaise-long and green searchlight represent Daisy Buchanan’s (Martha Leebolt) house where there’s a playful dance between Daisy and her husband, Tom (Kenneth Tindall). The Wilson’s petrol station is wheeled on complete with pumps; in its transparency, it again provides a clear view both in and out, while car tyres make for interesting props to accompany the leisurely Swing soundtrack.
Stripped back again, street signs are added to the opening generic grey boards to show the bustle of the stock exchange and city life. A party at Gatsby’s (Tobias Batley) lavish mansion is symbolised by the appearance of six maids and a butler; patio chairs and lit-up greenery as fancily dressed guests arrive. A wall with a large interior window is lowered to take us inside Gatsby’s world. Overlooking Daisy’s house, it is here he is reunited with Daisy. Nicely distorted reflections accompany their routine, perhaps emphasising the absurdity of Gatsby’s flawed and unrealistic dream.
After opening numbers, choreography feels less stylised but there are still notable routines, including Tom’s flirtations with Myrtle Wilson (Jessica Morgan); a cleverly choreographed sex scene and a seductive bedroom dance between Myrtle and her husband, George (Isaac Lee-Baker). Laughably over-the-top moves muster the odd snigger but capture the playfulness of the time and ensemble routines are a nod to the vogue for structured dances, while whoops and occasional singing from the dancers add to the energy. Some routines drag a little and some dances feel a tad repetitive but contrasts in pace are highly effective – most memorably a lovelorn routine is followed by a high jinks ensemble piece in bull fighting tempo.
Northern Ballet’s Gatsby cleverly intertwines past and present, capturing the carefree happiness of a life of luxury and one man’s downfall. Live music written by Sir Richard Rodney Bennett accompanies the show and dancers cleverly articulate character feelings without words but Gatsby is nothing more than a pleasant distraction. All style over substance, Fitzgerald’s story and unsympathetic characters are perhaps too subtle for ballet, making it difficult to translate his prose into dance. Casting and make-up add to the confusion with three female leads looking remarkable similar. Not breath-taking but entertaining nonetheless, Northern Ballet’s Gatsby showcases some brilliant sets and dazzling costumes but all the glitter and glam can’t quite make it shine.
The Great Gatsby shows at Bradford’s Alhambra from November 11-15 before continuing its UK tour.