Returning to Leeds Grand Theatre with their Spring 2025 production, Northern Ballet has brought to life one of the Brontë classics.
A tale of resilience and romance complicated by dark secrets of the past, this performance was an imaginative re-telling of one of the most classic literary works of the 19th century. Set in the Yorkshire Moors, this story feels perfectly suited for a Leeds audience.
One of the most captivating aspects of this performance was its ability to communicate Charlotte Brontë’s complex novel through the universal expressions of dance and music. Northern Ballet has succeeded in making her work accessible, in this production the creative team having breathed new life into the famous tale and created a remarkable re- telling, which I have no doubt will be appreciated by all future audiences on their tour.
Set and costume design by Patrick Kinmonth were exquisite and works of art in their own right. With a setting very much familiar to all of us in the Leeds region, we were transported to the Yorkshire Moors, with brushstroke details adding to its painterly effect. This felt like a nod to Brontë’s original work, each aspect artistically curated preserving the genius of her literature. Though minimal, it was highly effective, especially during the fire scenes, where the burst of orange against the predominantly monochrome palette was both visually stunning and deeply dramatic.
The costumes remain true to the novel’s period, while being thoughtfully designed to enhance the performers’ movements, particularly the tailcoats and dresses, which elevate the dancers’ form with elegance.
Cathy Marston’s choreography was refreshing and innovative, pushing the boundaries of the classical ballet form and demonstrating the artistry of the company. Her repeated use of certain motifs effectively unified the plot, enhancing its thrilling nature with unexpected twists and turns. Of course, this would not have been as impressive without the cast, each of whom brought immense talent and unwavering commitment to the stage.
Dominique Larose and Joseph Taylor. Photograph by Tristram Kenton
Music composed by Philip Feeney and conducted by Daniel Parkinson was the perfect accompaniment to this performance. It was rich and complex and added to the characterisation throughout, with phrases specific to each character. It blended seamlessly with the choreography, accentuating the dramatic moments and capturing the sincerity of Jane and Mr. Rochester’s romantic relationship.
Dominique Larose and Rachael Gillespie, as Jane and young Jane respectively, delivered sincere performances which captured the complexity of their characters. They were cast perfectly as doubles of each other, sharing an ease of movement which carried the performance and was mesmerizing to watch.
Joseph Taylor was similarly captivating in his role as the brooding Mr Rochester. In their numerous duets, Larose and Taylor moved as one, executing daring lifts and seamless partner work that was truly awe-inspiring.
The D-men were an interesting interpretation – they were a haunting presence that embodied the male restrictions Jane faces throughout her journey. I especially appreciated how Cathy Marston granted the protagonist agency in this production, culminating in a poignant final moment—a powerful exchange between performer and audience.
The Brontës played a pivotal role in crafting literary works that showcase Yorkshire’s rich artistry and talent. To me, Northern Ballet proudly continues this legacy and I hope others have the opportunity to see this work live on stage.
Leeds Grand Theatre
14 – 22 March
leedsheritagetheatres.co
Main image: Dominique Larose and Joseph Taylor. Photograph by Emily Nuttall.
