Matthew Bourne’s The Midnight Bell At Lyceum Theatre Sheffield Review
DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW
Reviewed by Sheridan Brown
I love dance, and I love a good story. So, when I was given the chance to visit The Lyceum Theatre in Sheffield, to see a performance of Sir Matthew Bourne’s The Midnight Bell, I was especially pleased. I love Bourne’s work and this production promised to offer all the polish and passion that he is famous for.
Created by Bourne and his team at New Adventures Dance Company, the show is set in 1930s fog-bound Soho and Fitzrovia, where movement and music replace spoken dialogue. The Midnight Bell is a bar where a ragtag group of lonely hearts gather — many hoping to find love or connection. First premiered in 2022, the production won several National Dance Awards including Best Modern Choreography (Matthew Bourne) and Outstanding Female Modern Performance (Michela Meazza).
Inspired by the work of English novelist Patrick Hamilton, The Midnight Bell offers a glimpse of the underbelly of London at a time where not all of us could reveal our true selves.
We decided to travel to Sheffield by train – strolling up to the theatre in around 10 minutes. On a previous visit, we had taken taxi, being a bit put off by the incline, but it was much easier than we had imagined, and a very easy route. We’ll definitely walk again in the future.
Having visited the Lyceum before, we were looking forward to the warm welcome it offers its guests. Built in 1897 in the Edwardian Baroque style, the theatre has a beautifully restored interior. Ornate plasterwork – beautifully painted – made the auditorium feel very grand. As always, the staff were very accommodating and helpful, and again, we noticed how supportive they were to those with mobility issues. The theatre is magnificent – but there are many stairs to different levels – even within a floor. However, there is a lift to all floors and an accessible toilet near the lift on the ground floor. After obligatory toilet, bar and programme stops, we made our way to the auditorium.
As we settled in our seats we took in the stage. Designed by Lez Brotherston, the dimly lit set evoked a foggy London street – suspended window frames with grubby panes, faded neon signs, iron railings, and a suggestion of a telephone box all painted a decaying cityscape. We were curious and full of anticipation as to what the shadows might be hiding.
The show opened with Bob (Dominic North), a shy waiter who in the midst of a dream. As he dreams, he dances in a tender solo with a pillow – maybe suggesting his romantic side and inner loneliness. The fantasy is broken by a loud alarm, projecting him into the reality of the day. The action then shifts to The Midnight Bell pub, where we are introduced to the main characters. Staff and regulars drift through their everyday motions. Subtle glances, wordless exchanges, and hesitant touches reveal an interconnected patchwork of unfulfilled longing.
As the performance progressed, we saw how different characters connected with each other – often in complicated (and sometimes tragic) relationships. Bourne’s choreography superbly captured the complexity of human emotion and the massively talented performers took us on a journey into the psyches of the individuals involved. Characters moved around the stage in a fluid, sensual flow. The power of the choreography often lay in small and subtle (sometimes awkward) everyday gestures – a hand touch, a longing glance, a shoulder-shrug, a recoil from an embrace. However, these everyday gestures were counterposed with more sweeping balletic duets which I felt revealed inner fantasies, desires, obsessions. Whilst all the dancers were superb – for me a standout was Ella, the barmaid, played by Hannah Kremer. Her depiction of naïve longing for Bob was very sweet. But this was contrasted with her shuddering revulsion for another suitor. Her depiction of this made me squirm in my seat!
Lez Brotherston’s stage design provided an evocative space for the stories of the characters to be played out. The set changed from bar, to bedsit, streetscape to cinema. This was wonderfully supported by the show’s lighting (Paule Constable). Deep shadow, moody street lamps, soft ambient lighting or harsh neon created subtlety delineated spaces that framed key action. I was particularly impressed by the use of powerful spots that contributed a stark point of focus.
One of the aspects of the production that I loved was the use of original recordings of 1930s songs, often used to allow the audience to catch a glimpse into a character’s inner thoughts and feelings. Spot lighting, choreography and superbly observed lip-synching expertise all came together for powerful effect. More widely, the music – composed and conducted by Terry Davies was stunning and captured the passion, angst and longing experienced by characters throughout the performance. In addition, clever use of London soundscapes (Paul Groothuis) further added to the atmosphere of the piece.
Overall, we had a wonderful night. We knew we’d be treated to a fabulous show – and we were not disappointed. Choreography, characterisation, set, lighting and music came together perfectly to tell a multi-layered story of lust and longing. If you like raw dance that tells a story – this production is absolutely for you!
If you’re in Yorkshire, you can catch The Midnight Bell locally – at Sheffield Lyceum and Bradford Alhambra.
Rating: 5/5
Dates: 23rd – 27th September, 2025. Audio Described performance on 27th Sept at 2.30pm
Tickets: £15 – £50
Performances can also be seen at the Alhambra Theatre, Bradford, 30th September – 4th October, 2025.
Remaining shows are bookable at:
Sheffield: www.sheffieldtheatres.co.uk/events/matthew-bournes-the-midnight-bell-2025
Bradford: www.bradford-theatres.co.uk/whats-on/matthew-bournes-the-midnight-bell