Northern Ballet’s Merlin: A Magical Origin Story – Review

Matthew Koon in Merlin. Image Credit: Guy Farrow.

This autumn, Northern Ballet’s spellbinding ‘Merlin’ returns to Yorkshire venues as part of a new national tour. A dazzling production full of heartache, hope, love, and magic, it reimagines the origin story of the legendary sorcerer, charting his journey from uncertainty to mastery as he learns to harness his powers and unite a divided kingdom.

Northern Ballet, one of the UK’s leading and most widely touring ballet companies, is dedicated to creating stories that connect. This time, director and choreographer Drew McOnie shifts the spotlight from the familiar Arthurian legend to the young sorcerer’s origin story. Born of the Lady of the Lake and Helios the Sun God, but raised by a Blacksmith who urges him to suppress his powers, Merlin struggles to find his place in a fractured kingdom. After a violent outburst exposes his magic, he flees to the forest, where he learns his true identity from his birth parents. As war, betrayal, and dark magic unfold, Merlin must reclaim his power from General Morgan – now transformed into Morgan La Fae – and shape a new legacy.

Kevin Poeung in ‘Merlin’ by Northern Ballet. Image Credit: Tristram Kenton.

Though Merlin is the title character, it’s the powerful female figures who truly steal the spotlight and are the emotional core of the production. McOnie’s choreography gives space for complex, commanding female figures to emerge — particularly Morgan and Ygraine, whose contrasting performances offer a dynamic exploration of power, desire, and hope.

Saeka Shirai as Morgan, a senior general in the Solar Kingdom, embodied ambition and control with sharp, precise movements that exuded menace. Far from a traditional enchantress, her transformation into Morgan La Fae is chilling – a descent into dark power that’s both magnetic and terrifying. In one standout scene, a stylised courtship ritual, Morgan uses dance not just to seduce Uther but to overpower him: beginning with his aloof indifference and ending with him literally bowing before her. The choreography cleverly mirrors her emotional manipulation through swirling, spiralling motifs that draw both him and the audience in like a spell.

Saeka Shirai and Kevin Poeung in ‘Merlin’ by Northern Ballet. Image Credit: Tristram Kenton.

In contrast, Rachaell Gillespie’s performance as Ygraine brings levity and warmth. Her joyful physicality — particularly in a playful scene involving shimmering sparkles that mimic bath bubbles — infuses the stage with hope and lightness. Her movements are soft and fluid, capturing the spirit of a woman who longs not for power, but for peace. Yet she is no less strong; her determination to unite the kingdoms for the sake of her unborn child gives her story a moving emotional weight.

Similarly, the ethereal Lady of the Lake and the grounded Blacksmith go to great lengths to protect and guide their son, Merlin. While the Lady exists in Merlin’s imagination, offering celestial guidance, it’s the Blacksmith’s journey that proves most affecting. Initially awkward and off-beat in a scene where she trains for battle, her physical hesitation becomes a metaphor for emotional bravery. When she finally finds rhythm alongside the other soldiers, the moment lands with real poignancy – a mother quite literally stepping into unfamiliar steps for the sake of her child.

Rachael Gillespie in Merlin. Image Credit: Tristram Kenton.

These performances reflect one of the ballet’s most resonant themes: the idea of chosen or ‘found family’ – a theme deeply inspired by McOnie’s personal journey into parenthood. As he reflects: “This ballet is not only full of my hopes and aspirations about being a parent my daughter is proud of, but also my fears and insecurities… I’m hoping that in some small way, this makes people feel a little less alone in their quest to connect with the notion of what family is, be that biological or chosen.”

Alongside Northern Ballet’s world-class storytelling, the production is a breathtaking fusion of theatrical design. Colin Richmond’s set, Chris Fisher’s illusions, and Rachael Canning’s puppetry create a mesmerising visual experience. Highlights include a towering oak tree of gleaming metal, its branches aglow with lighting that casts dramatic shadows as dancers move within its halo. The stage is divided into kingdoms through striking blue and yellow costume design, while sword-fighting sequences and a fierce – yet endearing – dragon showcase the production’s theatrical ambition. The result is a visually rich experience that offers both a perfect introduction to narrative dance and a thrilling spectacle for seasoned ballet-goers.

Albert González Orts in Merlin. Image Credit: Emily Nuttall.

So often cast as an outsider in myth, Merlin here is given something far more powerful than magic – a sense of belonging. McOnie’s reimagining doesn’t just explore the making of a hero, but the forging of connection in a fractured world. ‘Merlin’ bursts onto the stage with a powerful message: in a divided world, creativity, wonder, and a little bit of magic can still bring us together.

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Following its opening run at Leeds Grand Theatre (13 – 20 September), ‘Merlin’ will tour to Nottingham Theatre Royal (15 – 18 October); Sheffield Lyceum Theatre (4 – 8 November); and Norwich Theatre Royal (12 – 15 November). All venues will offer an audio-described performance to improve accessibility for those with visual impairments.

Tickets for ‘Merlin’ are available now at www.northernballet.com/merlin.