It’s one of the country’s oldest stories – the mysterious wizard that put King Arthur on the throne – and Merlin’s early life is given a unique twist in this ballet revival.
In Northern Ballet’s version by Drew McOnie the magic boy is the progeny of the sun god Helios (danced by Jonathan Hanks) and Lady of the Lake (Nida Aydinoğlu), and is found and adopted by a blacksmith (Alessia Petrosino).
Later Merlin (Yu Wakizuka) becomes besotted with army general Morgan (Amber Lewis), but she only has eyes for Prince Uther (Harris Beattie) and his father Vortigern (Miguel Teixeira) warms to the idea of their union after she demonstrates her prowess in battle with a neighbouring kingdom.
Meanwhile Uther has fallen for the enemy Princess Ygraine (Julie Nunès) and Merlin, aided by a puppet dragon (marshalled by Archie Sherman) battles with Morgan to bring them, and their people, together.
The first act is equitably danced, but some of McOnie’s choreography feels undercharged. Merlin’s conception is pedestrian for ballet, let alone for two gods, and while some of the combat scenes are more forceful than I remember from the original production they could be more energetic still.
Grant Olding’s score occasionally feels at odds with the action, reaching for a major key when you might expect it to be building tension; understandable if working around an existing piece, but odd for an original composition that has no reason not to be at one with the dance.
Aside from an, I think, unintentionally comic bugler scene, the second act is much more enjoyable. The musicality steps up a notch, with some mesmeric pas de deux. Beattie and Nunès show how seduction should be done, and Lewis beautifully betrays Wakizuka’s Merlin before using Beattie as a human marionette. The magic really happens here.
There is genuine tenderness too between Petrosino and Nunès, as the young princess shelters in the blacksmith’s shop while her enemies hunt her down.
Colin Richmond’s design seems unchanged in this revival and some bits show their age, where stagecraft and technology has marched on in the intervening four years: Merlin’s magic tree could do with a new set of LEDs, and though Chris Fisher’s illusions remain charming they don’t dazzle quite as they first did.
Once warmed up, there is a decent amount of magic and sparkle to keep you entertained – and with a billing as a family ballet, the puppet dragon and dogs will bring a smile to most faces. It’s a gentle glamour overall.
- Northern Ballet’s Merlin continues at Norwich Theatre Royal until Saturday 15 November 2025.
