Skip to main content

Preview of Northern Ballet - The Great Gatsby at Milton Keynes Theatre

Coming the Milton Keynes Theatre next week is a return to the stage for the hit production The Great Gatsby brought to the stage by Northern Ballet. The production reaches Milton Keynes as part of its UK spring tour for 2022 which culminates in Cardiff in June. The production based on the novel by F. Scott Fitzgerald brings all the glamour and seduction of the roaring twenties to life and premiered in 2013 and which has now had three UK tours.

Set on New York’s Long Island, in the heady, indulgent days of the 1920s, Nick Carraway comes to know his infamous neighbour Jay Gatsby – a mysterious millionaire with a secret past and a penchant for lavish parties. As the sparkling façade of Gatsby’s world slips, Carraway comes to see the loneliness, obsession, and tragedy that lie beneath.

The Great Gatsby was nominated for a UK Theatre Award for Achievement in Dance. David Nixon OBE choreographed The Great Gatsby and earned a nomination for Best Classical Choreography in the 2014 National Dance Awards. Performed to the unforgettable music of Sir Richard Rodney Bennett CBE, which is played live by the Northern Ballet Sinfonia, The Great Gatsby also features a lavish set designed by JĂ©rĂ´me Kaplan, complemented by the dazzling colourful costumes designed by Nixon.

David Nixon said: “I’m delighted to be bringing The Great Gatsby, one of the Company’s most beloved productions back to the stage this Spring. Like many, I fell in love with Fitzgerald’s timeless novel at a young age and it continues to capture my imagination to this day. As a choreographer, I had always wanted to depict Gatsby’s tale of passion and obsession through ballet and in 2013, with the help of Patricia Doyle, it was a thrill to bring The Great Gatsby to life. The glamour of the 1920s lends itself beautifully to the stage with stunning costumes and JĂ©rĂ´me Kaplan’s expertly designed set that conjures an America as painted by Edward Hopper. Music by the late Sir Rodney Richard Bennett CBE completes the backdrop and transports the audience to an elusive time of lavish parties and prohibition. So much has changed since the ballet was last performed in 2019 including the addition of many new young dancers to the Company so I am looking forward to seeing them flourish with this repertoire.”

The Great Gatsby performs at Milton Keynes from Tuesday 24 to Saturday 28 May.

Prices: Tickets from£13.

General bookings: 0844 871 7615*

Access bookings: 0800 912 6971

Group bookings: 0207 206 1174

Online Booking: ATGTICKETS.COM/MiltonKeynes*

*Fees may apply. Calls cost up to 7p per minute, plus your phone company’s access charge

Production photos: Caroline Holden and Emily Nuttall





 

Popular posts from this blog

Review of Cluedo 2 at Milton Keynes Theatre

Back in 2022, the original Cluedo stage play, based on a 1985 play by Sandy Rustin, itself based on the cult US film Clue , journeyed to Milton Keynes Theatre as part of a UK tour. It was, it has to be said, an average affair, made good by some excellent staging and at times a very fair tribute to the original board game. Now two years later, the success of that tour clearly warranted a return to the franchise and we find Cluedo 2 now on stage at Milton Keynes Theatre. So, is a follow-up warranted, and does it address many of the issues of the original? Let's find out. Unlike the original and with no film source material to create a second play from, legendary TV comedy writers Maurice Gran and Lawrence Mark have taken the helm to provide the script for this production. Sadly, the legendary writers have for the best part plowed through their archives of extremely dated, and tiresome comedy. Much of the script is heavy on the obvious, high on the cringe, and while at times it can

Review of UoN Fringe 2019: Unveiled by Myriad Theatre at The Platform Club, Northampton

It is safe to say I think that reviewer and show maker alike never set out to deliberately write a bad review or create a bad show. There is simply no logic in it really for the latter, I mean why would you? However when the latter occurs and the former is there in the audience, things will end badly, and for me, it gives me no enjoyment. For my penultimate show, Unveiled , at this year's University of Northampton Fringe Festival, Myriad Theatre performer Isabella Hunt explores what marriage means to her in what ends up being just 18 minutes of a show that sadly goes nowhere. Marriage to Hunt it seems involves intermittently putting on and taking off a succession of dresses, amongst a collection of anguished thoughts mostly that mainly involves an outrageously over repeated physical piece. There is some very brief interaction with the audience among the lines of "how many of you are married?" and other light thoughts, where the answers are written onto a dress, the

Review of UoN Fringe 2019: Working For The Man by Naked Truth Theatre at The Platform Club, Northampton

When looking at the prospect of the Fringe performance Working For The Man , it is slightly difficult to work out who is the bravest person involved in this remarkable one performer, one audience member show set totally within or around the edges of a car. I guess I would in my case, say myself, but it takes some daring for performer Ellie Lomas of Naked Truth Theatre to also create a piece that offers the boldness that it does. Working for the Man is perhaps unsurprisingly about the sex trade, and explores exploitation and how, or if, prostitution is taken as a serious profession. It involves no live audio dialogue from performer Ellie Lomas, instead, she inhabits a purely physical performance, that is progressed by the use of a pair of headphones which you are given at the start. Across this audio are instructions of what to do. "Get in the car", "sit in the middle seat in the back", "open the glove compartment" etc, as you move to different areas