The Midnight Bell offers a seductive slice of 1930s Soho, served up through Matthew Bourne’s signature sharply characterised dance.
Rather than following a traditional narrative, the show is inspired by the novels of Patrick Hamilton, drawing on some of his characters from The Midnight Bell and its related stories. Whereas the book of the same name mostly focuses on the love triangle between waiter Bob, prostitute Jenny, and barmaid Ella, this stage version is much more of an ensemble piece.
The characters dance around everything: their lives, their desires, and most of all their drinks. It is sometimes seedy, sometimes sweet, always captivating.
Bourne’s choreography, devised with the original cast, is as busy as ever, with multiple movements overlapping; in that sense it is closer to his Play Without Words than his more recent reinterpretations of classical ballets.
We see three couples tumbling, dancing, fighting and caressing around the same central bed, taking turns to be a home, a hotel, and a house of ill repute. The synchronicity is sublime. A trip to the cinema is beautifully and simply conjured, making the most of Lez Brotherston’s impressionistic and flexible set design.
The ten-strong cast all excel in strongly characterisation, but Edwin Ray as Frank and Liam Mower as Albert are given the most time to develop, exploring their forbidden love in ways that are touching, fearful, and animal.
Danny Reubens as George is tasked with one of the most tricky representations, but utterly convinces, and is happily paired with Cordelia Braithwaite as his muse and tormentor Netta.
Terry Davies’ original music is interspersed with songs from the era, lipsynched by the cast in occasionally quite eery ways. The songs are the closest we get to a narration but as with much of the show the impact is more emotional than literal.
Bourne continues to retain the power to delight and surprise.
- The Midnight Bell continues at Norwich Theatre Royal until Saturday 13 September 2025, then touring nationally. Tickets £20 – £48.25.
