If you’re looking for a night that blends legend with artistry, Merlin is an adventure worth taking. I was at Leeds Grand Theatre on Saturday for Press Night of Northern Ballet’s Merlin, and the company once again proved why it holds such a revered place in British dance. This is a production that fuses spectacle with storytelling, and it does so in a theatre that feels made for such grandeur.
The Grand itself is a Victorian jewel on New Briggate, famous for its ornate balconies and decorative plasterwork. Sitting beneath its domed ceiling, you sense the history of Yorkshire audiences gathering here for generations. It was an apt setting for a night where myth and magic took centre stage with Merlin.
A Myth Reimagined
Merlin tells the coming-of-age story of the world’s most famous sorcerer. Raised by a blacksmith but carrying divine origins, Merlin is caught in the struggle between two kingdoms at war. Alongside him are Uther and Ygraine, lovers divided by politics, and Morgan, a brilliant general whose ambition pushes her towards sorcery and betrayal.
The plot unfolds like an epic: deception, battles, romance and the inevitable rise of Excalibur. But the clarity of Northern Ballet’s narrative approach ensures you never feel lost. Even without words, the story is accessible, with emotional beats and relationships playing out with striking directness.
Performances That Shine
Kevin Poeung’s Merlin is everything the role demands; technically strong, emotionally open, and at times unexpectedly funny. His early scenes capture a youthful awkwardness, sprinkled with moments of comic relief, before he develops into the heroic figure of legend.
Although all the cast were strong, Saeka Shirai was the real standout of the evening as Morgan le Fae. Her presence was magnetic: authoritative in the Tournament of Champions and thrilling in her dramatic transformation into the winged sorceress. Shirai makes Morgan not only a villain but a figure of depth, commanding sympathy even at her most ruthless.
Another standout is Rachael Gillespie who brings warmth and sincerity to Ygraine. Her duets with Uther are tender, and her later moments of resolve added emotional weight to the larger drama. Gillespie gives the production its real anchor, as well as being an epic tale of sorcery and battles, this is also at its heart, a story about love and sacrifice.
Ingenious Stagecraft
The visual design deserves its own applause. Colin Richmond’s set relies on shifting doorways and arches that glide across the stage, creating the sense of corridors, tunnels and hidden chambers. It is an elegant solution, and it works seamlessly with the choreography.
Costumes are vivid and evocative with a clear colour theory that works fantastically well on stage, I loved the rich and cohesive colour palettes that distinguish kingdoms and allegiances. The march of the armies was especially effective with the choreography’s tight formations amplified by set changes and dramatic lighting.
Of course, the puppetry must be mentioned. The dragon was a marvel; smoke, scales, and movement that felt astonishingly lifelike and believably cute, too. The dogs snarled and prowled with menace and even wagged their tails at the closing applause! The effect recalled the ingenuity of War Horse and The Lion King: visible mechanics transformed into living creatures by the skill of their operators.
Why Northern Ballet Matters
Northern Ballet is renowned for making ballet about stories that connect across generations and beyond traditional audiences. Merlin is a clear example of that mission. The production is bold, imaginative, and unafraid to mix classical technique with theatrical invention.
Launching in Leeds, the company’s home city, feels fitting. But this is also a touring production, destined for Nottingham, Sheffield and Norwich in the coming months. Each city will experience not just a ballet, but a fully realised piece of theatre that embraces myth while speaking to modern audiences.
In Summary
Merlin balances epic spectacle with genuine heart. It offers sorcery, dragons and battlefields, yet never loses sight of its characters’ emotions. I left Leeds Grand Theatre reminded why Northern Ballet is one of the UK’s most innovative companies: they take risks, and those risks pay off.
Merlin will be touring to:
Leeds Grand Theatre: 13 – 20 September
Nottingham Theatre Royal: 15 – 18 October
Sheffield Lyceum Theatre: 4 – 8 November
Norwich Theatre Royal: 12 – 15 November
Tickets: £23–£68, to buy visit northernballet.com/merlin
Review and some images by Victoria Reddington @vic_reddington
Most images supplied
