Merlin’s back and he’s more magical than ever. The 2025 revival of the Northern Ballet’s critically acclaimed Merlin is a visual delight for audiences young and old. As a bona-fide Arthurian boffin, I was excited to see the legend interpreted into another artistic medium and was dazzled by Drew McOnie’s vision of magic and mayhem.
The production takes on the origin story of the wizened old magician Merlin. We meet the wizard before his partnership with the Once and Future King when he is conscripted to fight for the Sun Kingdom in its bloody war against the Kingdom of Tides. This conflict is made immediately apparent by a masterful utilisation of lighting, set design and costuming: the rich amber of the Sun Kingdom juxtaposed by the lush teal of the Kingdom of Tides effectively distinguishes the warring kingdoms while providing subtle story beats such as the guards transitioning from orange to black costuming reflecting Morgan Le Fe’s dark influence over them and the King in Act 2. Equally, star-crossed lovers Ygraine and Uther combine their kingdoms’ colours in the penultimate coronation scene with their costumes reflecting their hard-won union.
The stand-out performances for me were Saeka Shirai as Morgan le Fay and Rachael Gillespie as Ygraine. Shirai’s performance as the dark enchantress is captivating; when she is on the stage your eyes never leave her. As the accomplished warrior turned villain, Shirai is alluring yet fierce; her musicality is unbelievably impressive and really distinguishes her as a star performer whose presence centres the piece. Equally, Rachael Gillespie is a joy to watch; where Morgan brings shade, Ygraine must bring light and Gillespie does this almost effortlessly, her introductory pas de deux with Archie Sherman as Uther is perhaps my favourite moment of the show.
The true magic behind Merlin is Colin Richmond’s set and costume design. The sets and props utilised within the ballet set the war-torn yet whimsical tone of the piece: the imposing, metal set pieces speak to the militaristic nature of the story while providing dramatic senses of whimsy with each piece containing a bit of magic within itself. I loved the gnarled, ancient oak which had strips of light threaded into it to illustrate Merlin’s magic and Morgan’s destruction. Additionally, upon her transformation to Morgan le Fay, Shirai is encompassed by blackened feathered wings with tips of gold which reflect her uniform; the wings are industrial but they concoct the notion that she may actually take flight (which she does.) My favourite prop was Excalibur, the mighty sword produced by Merlin’s adoptive mother that provides an emotional narrative thread, glowing to represent Merlin’s magic and his eventual acceptance of both biological and found families.
It would be remiss to ignore the innovative, enchanting puppetry engineered by Rachael Canning: Morgan’s golden hounds are stark in their emaciated frames, their stage presence is intimidating while the dragon is an absolute marvel, its glowing eyes and fire-breathing tongue are a wonder to behold.
I found the Second Act to be far more gripping and action-packed, in both choreography and narrative beats. Act 1 was slightly water-logged with introductory solos and slower moments despite finishing on a high with Morgan’s transformation. Act 2 was a total delight with complicated character interactions, stunning en pointe choreography featuring the principal female dancers and some thrilling pas de deuxs.
Overall, Merlin renews and preserves the ancient magical tale it presents. There are some incredible, nuanced performances; choreography which shines when featuring romantic, powerful partner work and set design which transports the audience from industrial Sheffield to war-torn Camelot. Go and see Merlin for a bewitching autumnal spectacle, I command it!
Northern Ballet’s Merlin will be at the Lyceum Theatre from Tuesday 4th – Saturday 8th November, book tickets here: Sheffield Theatres | Sheffield Theatres
Photo Credit: Emma Nuttall and Tristram Kenton
Rating: ★★★
