The finale of this year’s trio of Northern Ballet’s world premieres, The Little Mermaid opens at The Grand Theatre where LEO OWEN caught the show

Northern Ballet’s Director, Choreographer and Costume Designer David Nixon begins under the sea, introducing us to his lead Marilla (Abigail Prudames). In keeping with Hans Christian Anderson’s dark fairy tale, Marilla is bewitched by a picture of handsome Prince Adair (Joseph Taylor) and follows him onto land, trading her voice for human legs, only for a tragic conclusion.

Dressed in blue hues as different sea creatures, complete with shark and jellyfish on sticks, male and female dancers weave around each other, mirroring ocean wave movements. Particularly striking costumes and performances come from Marilla’s best friend, Dillon (Kevin Poeung), the seahorse, and the Lord of the Sea, Lyr (Matthew Topliss). Mermaids are gracefully carried upon dancer’s shoulders as if riding the waves straight to the sailors’ ship. Their spangly dresses have both a tail at the back and trousers at the front, solving the quandary of legless creatures performing ballet.

Northern are at their strongest under the sea with Nixon cleverly choreographing Marilla’s rescue of Adair: it’s the sea versus the ship with the top mast twitching in the wind and gradually sinking while both sides of the ship grow apart as dancers playing the sea infiltrate. As the boat collapses, the mast is completely submerged and the shedding of the skirt/trouser combi marks Marilla’s human transformation.

Composer Sally Beamish writes a dark mysterious score, performed live by Northern Ballet’s Sinfonia, with an especially rousing post-potion number. Together Marilla and Adair have a playfully flirtatious dance that later contrasts with the mermaids’ measured quietly beautiful and somewhat understated dance, interestingly juxtaposed with the tribespeople and their Celtic inspired accompanying tune. The wedding number also has a slightly Scottish Highlands feel as, clutching a bouquet, Marilla is left out of the celebrations and shown dejectedly skulking off stage unnoticed.

Kimie Nakano’s set design is simple but effective, not detracting from the dancers themselves or striking costumes with two simple reversible marble effect blocks that manoeuvre to create the coast, rocks or land. Contrasting is Nixon’s exquisite attention to detail with the subtle mast movements of the storm and the tale’s tragic conclusion masterfully realised; a clever diversion creates a powerful optical allusion, worthily paying tribute to Marilla’s selfless act of true love.

Don’t expect Christmas cheer as Northern Ballet’s Little Mermaid is more Anderson than Disney but undoubtedly a worthy addition to their catalogue.

The Little Mermaid shows in The Grand Theatre 5-17 December: https://www.leedsgrandtheatre.com/Online/mermaid