REVIEW - MATTHEW BOURNE'S THE MIDNIGHT BELL | THE LOWRY | 01/07/2025

Love, Loss and Low Lights – Matthew Bourne’s The Midnight Bell Wows at The Lowry

Matthew Bourne is no stranger to reinvention. From Swan Lake to The Red Shoes, his signature blend of cinematic storytelling, expressive choreography and theatrical flair has redefined what dance theatre can be. The Midnight Bell, first premiered in 2021 and is now touring again with New Adventures, Bourne steps away from fairytales and folklore to explore the darker corners of interwar Soho. Inspired by Patrick Hamilton’s novels—particularly Twenty Thousand Streets Under the Sky—the show paints a portrait of lost souls seeking love in all the wrong places.

Rather than telling one overarching story, The Midnight Bell presents a mosaic of lives unfolding across bars, backstreets and boarding houses in 1930s London. The production began life during the isolation of lockdown, and its themes of quiet desperation, aching intimacy and emotional disconnection feel more resonant than ever..

Set in and around a smoky Soho pub, The Midnight Bell offers an intimate glimpse into a world where people gather, collide, and quietly unravel. At the heart of it all is the Midnight Bell pub—a place of fleeting connections and unspoken desires. We meet a bartender craving escape, a barmaid holding onto fading hope, a spinster drawn in by a charming cad, and a young man in love with someone who may never love him back. A pair of men navigate a forbidden romance, their every gesture laden with risk and longing in a time when love like theirs had no protection.

These aren’t fairy tales or grand passions—they’re moments of vulnerability, glimpses of hope, and silent heartbreaks that unfold like whispers. The absence of words allows emotion to rise through every movement, inviting the audience to listen with their eyes and feel with their hearts. The result is deeply affecting: a quiet, poetic portrait of human need and the spaces between us.

From the moment the curtain rises, we are immersed in a fog-drenched city where shadows flicker and light glows dimly, like a half-remembered dream. Lez Brotherston’s set design seamlessly shifts between pub, bedroom, cinema and street, never drawing attention to the mechanics. Props glide in and out with choreographic precision—window frames, benches and signage transform the space with cinematic fluidity.

Paule Constable’s lighting design heightens the emotional tone of each scene, casting soft glows and stark silhouettes. It evokes a gaslamp-lit street, a solitary room, or the warmth of a fading memory, often feeling like a silent character in its own right.

Costumes are period-perfect but practical for dance: tailored suits, modest frocks, work clothes worn soft by time. Each piece looks lived-in, rooting the story firmly in the era while allowing complete freedom of movement.

The choreography is expressive and emotionally driven. From yearning duets to group scenes charged with tension, each sequence feels rooted in character. No gesture is wasted. Every glance, every movement tells a story, often revealing more than words ever could.

Terry Davies’ score blends bluesy original composition with vintage recordings from the 1930s—songs by Cole Porter and Irving Berlin crackle through the air, mimed with ghostly precision by the performers. These moments feel like windows into the characters’ private fantasies and inner monologues.

Sound designer Paul Groothuis adds subtle texture, layering in the creak of floorboards, the distant hum of city life, the clink of glasses. It’s a soundscape that breathes life into the world of the piece and wraps the audience in its melancholic embrace.

The ensemble cast are utterly compelling. Dominic North is quietly heartbreaking as Bob, the hopeful waiter in love with someone beyond his reach. Ashley Shaw brings vulnerability and quiet strength to Jenny, the sex worker who captures his heart. Their scenes ache with tenderness and miscommunication.

Michela Meazza’s portrayal of Miss Roach is especially affecting, capturing both the naïve hope and quiet awareness of a woman yearning to be seen. Glenn Graham exudes charm and menace as her suitor, a character slick with ulterior motives.

Andy Monaghan and Liam Mower are particularly moving as a couple grappling with secrecy, fear, and forbidden love. Their relationship is portrayed with great sensitivity and restraint, culminating in a pas de deux that says everything without a word.

Also impressive are Hannah Kremer, Alan Vincent, Cordelia Braithwaite, Danny Reubens —all of whom ensure that even background moments feel emotionally loaded. The entire company delivers a performance that is technically precise and emotionally raw.

Matthew Bourne’s The Midnight Bell is not loud or flashy—it’s a delicate, emotionally intelligent work that rewards stillness and attention. It doesn’t hand you a clear narrative but offers something richer: a mirror held up to human vulnerability, full of things felt but never said.

With its haunting score, evocative design and outstanding ensemble, Matthew Bourne and New Adventures have created a piece that lingers long after the curtain falls.

“A smoky, seductive journey through longing, loss and the loneliness of London nights.”

Matthew Bourne’s The Midnight Bell is at The Lowry until Saturday 5th July 2025, you can purchase tickets by clicking on the button below.

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Photo Credit - Johan Persson 

*Our tickets for this show were kindly gifted in exchange for an honest review.