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Northern Ballet’s The Great Gatsby at Leeds Grand Theatre

NorthernBalletGatsby

Gatsby has never been a character I especially get on with: I find him weak, dull and obscure. I know F Scott Fitzgerald’s novel is a classic and a favourite book for many, but the great unrequited love and the life spent trying to get closer to a lost woman doesn’t really do much for an unromantic pragmatist like me.

What the book does well though, is paint a teasing picture of the twenties, hinting at silks and pearls and champagne and swimming pools and mansions, leaving me lost in reveries of fabulous parties and all night dancing. I hoped that this Northern Ballet production of Gatsby would help to recreate that feeling and I certainly wasn’t disappointed. The costumes in particular are gorgeous. Gatsby sports an impeccably tailored cream suit that looks closely fitted but allows for an astonishing range of movement, while Daisy graces the stage in a series of fantastic beaded, floaty or feathered drop-waisted dresses. The party scenes are all I could ever dream of: raucous, riotous, crowded, sexy and fun.

Gatsby isn’t the most simple of stories to tell and I was unsurprised to hear a few people around us googling the storyline in the interval. Despite being fairly familiar with the book I struggled a little, and thought it could have done with pruning down a little to keep the key themes cleaner and clearer. Still, the reunion of Gatsby and Daisy is beautifully done and leads to two incredible duets. Tobias Batley as Gatsby is good (although perhaps lacking a little vulnerability), but Martha Leebolt as Daisy is mesmerising. She plays the rebellious socialite perfectly, and the control she has over her body is astonishing to a ballet newbie like myself. I didn’t appreciate it at first, but when I saw her skid across the stage then stop abruptly en pointe, calf muscles taut and body erect, my jaw almost hit the floor. I can’t even imagine the physical condition she has to maintain to pull off moves like that! Other highlights were the burly Kenneth Tindall as jocular Tom, and Benjamin Mitchell as the spurned George Wilson, who pulls off some impressive moves with a car tyre (it’s ballet folks, but not as we know it).

You’ve only got a few more days to go see this, but I’d highly recommend it. Make sure you have at least a passing familiarity with the story before you go, to make sure you enjoy it as much as possible.

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