Nottingham Theatre Royal – until Saturday 16 May 2026
Reviewed by Louise Ford
5*****
Bold, stylish and dramatic just as you would imagine Anne Lister to be in real life.
Heading to the Theatre Royal on a frankly wet and cold evening I had time to ponder how the story of Anne Lister could be depicted on the stage through a ballet. Well never in my wildest imaginings could I have expected such a modern and strong telling of a story which only came to light when Anne’s diaries, partly written in code, were deciphered after her death. Although the more scandalous parts were not published until 1988, over a hundred years after she died. The story was brought vividly to life by Sally Wainwright in 2019 for BBC television. Sally also acted as creative consultant on this production.
Anne Lister lived at Shibden Hall, near Halifax. Which is only a stone’s throw away from the home of Northern Ballet in Leeds. So it seems only fitting that this excellent Company should take on the story of an (in) famous Yorkshire woman.
The story weaves together Anne Lister’s business and personal life. The story was brought to the stage by the choreographer Annabelle Lopez Ochoa. The costumes are by Louise Flanagan. The set and lighting design are by Christopher Ash.
Peter Salem’s score is an absolute delight. It is expertly performed by the Northern Ballet Sinfonia, conducted by Daniel Parkinson. The music is an outstanding mix of folk melodies and more traditional ballet music,which enhances and develops the story.
So to the main character Anne Lister; she book ends the production,standing defiantly centre stage in her top hat, slicked back hair, tail coat and silver topped cane. The tail coat flashes its silky green lining as she moves across the stage. The sheer athleticism and strength of Nina Aydinoğlu is awesome. She owns the stage and is a seductive presence. I particularly liked the knowing look and the hat-brim touch (borrowed from the TV series), to the audience, as she leaves the stage.
The story charts Anne’s two main loves Marianne delicately performed by Sarah Chun and in the second half of Ann Walker a flirtatious Julie Nunès. They both contrast beautifully with the masculine strength and presence of Anne Lister.
On the whole the stage is minimally furnished,simple curtains and a chandelier denote the drawing or ball rooms,the outside scenes are projected within three or four mobile screens which travel around the stage,the industrial sites by simple wooden structures. The starkness of the stage allows the ensemble to fill the space with life and dance. Whether this is the group of industrialists performing a tight “male” dance,the miners performing a variation on a morris men’s dance or the chorus of words swirling around as Anne endlessly writes her diary entries.