The Midnight Bell UK Tour Review (Curve Theatre, Leicester)

28 June 2025 I 19:30 I Curve Theatre, Leicester

⭐⭐⭐

Loosely inspired by Patrick Hamilton's 1929 novel of the same name, The Midnight Bell is a fly-on-the-wall observation of the darkest corners of 1930s Soho. Centred around the title public house and its affairs, Matthew Bourne's New Adventures captures the era's industrial hardiness and post-war tensions. Staged entirely through dance, a fluid episodic structure is almost hypnotic to watch, although structurally harmful, preventing a steady development of action.

Devised, directed and choreographed by Bourne, his vision is thematically unwavering, characterising the Great Depression with heavy bodies and visuals devoid of optimism. Sultry scenes are designed with such an alluring intimacy, adhering to physical theatre styles to expose the romance of ordinary people, equally the unrestrained violence of desire.

Hamilton's source material gives license to a potent atmosphere of yearning. In spite of a confident historical statement, there isn't enough at stake to follow these people on a convincing journey. Their passions are shallow and sexually driven, where 90 minutes of stage time fails to delve deep enough into inner motivations. Edwin Ray (Ernest) and Cordelia Braithwaite's (Miss Roach) bedroom sequence and progression through the show is lustfully convincing, with a shifting contention for dominance.

Reliant on visual movement to portray this world, the removal of spoken word gives less certainty to the plot. Generally, this benefits Bourne's production where audiences are given the freedom to shape the narrative. You may interpret a scene different to the person seated beside you, but this is where the beauties of The Midnight Bell lie.

The most significant observation sees Andy Monaghan and Glenn Graham (Frank and Albert respectively) depict a forbidden homosexual relationship, fighting discretion in a time where homosexuality in England was illegal, commanding fragility. However, their chemistry can feel lesser than other pairings, with secrecy and strained choreography proving more challenging to connect. Nevertheless, the topical objective of these segments feel urgently vital.

The stagecraft holds such a lucid beauty, ethereally magic as Lez Brotherston's set is flown into the space under Terry Davies' twinkly music design. A barren, uninhabited stage seamlessly becomes imbued with the warmth of local bars and bedrooms. Transitions are rarely noticeable, testament to an elegant and subtle shift between settings.

Davies' soundtrack is composed of original and found period tracks, often featuring lyrics. In an otherwise voiceless production, this can be disruptive to the stoic elegance. There are a number of instances where performers lip-sync to these numbers, venturing into mime work under a spotlight. Interjecting these moments within entrancing and intense choreo, it can feel lifeless, stripping the authenticity of the characters to turn emotionally disingenuous.

With final scenes culminating in a relentless display of despair, The Midnight Bell's obscurely seductive tone is aesthetically skilful, requiring a more progressive structure to avoid a monotonous series of passion. The content present is enjoyable and impressive, and I will remain an advocate for New Adventures, producing innovative and highly original performances.