Anne Lister was a bold, ambitious, unapologetic Yorkshire woman outwardly making a place for herself in a man’s world and privately weaving a beautiful love story as “the first modern lesbian”.
Photo by Tristram Kenton
Her story, once lost to the annals of time, was brought back to life more than 100 years after she died thanks to the extensive, coded diaries she kept that chronicled all aspects of her life, from her dealings as a businesswoman to her dalliances with her female lovers.
In the 1980s, the writer Helena Whitbread, also from Halifax, West Yorkshire, began to transcribe her diaries which were written in an elaborate self-made code combining Latin and mathematics, subjects she would have taught herself as a woman growing up in the 1800s.
In Northern Ballet’s world premiere, this is the first time Anne’s story has been brought to life through dance, though it had already inspired biographies, novels and a hit TV show starring Suranne Jones in the titular role. Sally Wainwright, who wrote the series, is credited as a creative consultant on this production.
A perhaps unconventional story choice for a ballet, every detail of this beautiful and sweeping performance is meticulously, intentionally thought through. With three female leads in Anne Lister and her two lovers, it begs the question why there are not more ballets where two women have the chance to dance together. It is quite stunning to watch Annabelle Lopez Ochoa’s choreography, whether that’s moments where the stage is full, a large ensemble dubbed the ‘Chorus of Words’ anthropomorphising Anne’s diary, flooding the stage and moving as one, or a solo Anne forcefully commanding the stage.
Gemma Coutts as Anne Lister in Gentleman Jack. Photo Scott Salt.
Gemma Coutts is phenomenal as Anne Lister, taking on the masculine energy of the male dancers that surround her on stage not just in her costuming but in the very way she holds herself and through every small, but deliberate mannerism — a recurring flick of her top hat, a shimmy of her shoulders, a side shuffle, even sitting with her legs set apart. She has a signature swagger to her movement, so it is all the more jarring when we see this facade fall when the ensemble of men, intimidated by her confidence and power, try to push against her.
Coutts partners first with Saeka Shirai as Mariana Lawton and then with Rachael Gillespie as Ann Walker. Mariana is the great love of Anne’s life, and there is a touching duet between Coutts and Gillespie, the two coming together at Anne’s uncle’s house. Shortly after, however, we see Mariana with her husband, the two only managing to steal moments together. The two move with ease and comfort contrasted starkly with Shirai’s dance with her husband, portrayed by Jackson Dwyer, where the movement is stilted and uncomfortable.
Gemma Coutts and Rachael Gillespie in Gentleman Jack. Photo by Emily Nuttall.
Having tried to put forth her plans to expand her family’s coal mines, Anne spends much of Act I surrounded by an imposing, threatening male ensemble, who energetically dance around the office of Anne’s nemesis Christopher Rawson, depicted by George Liang, and end by literally attacking her.
In Act II we see Anne go abroad to Paris, and it is a welcome relief to see her surrounded by the softness and sensuousness of an ensemble of women this time. It is casual and colourful and Anne is at ease. The women take their hair down from tight buns, wearing beautiful, soft, flowing skirts, and the men have shed their formal jackets.
Photo by Emily Nuttall
Upon returning home, Anne has renewed certainty in her plans, goes to Rawson’s home, makes a deal with him and, crucially, meets his niece. There is a fantastic scene between Coutts, Liang, Alessandra Bramante as Rawson’s wife and Gillespie as his niece. Anne and Ann are clearly immediately drawn to one another and the four move around each other with such energy, Rawson and his wife trying to stop the two from coming together which they inevitably do, magnetised to each other. Gillespie, in particular, is impressively expressive in both her movement and facial expressions.
The ballet is performed to new, live music composed by Peter Salem, a modern, dynamic score. Even through the music Anne receives a recurring refrain, slowing down in moments of pain and anger, and getting a jaunty lift in moments of lightness.
Rachael Gillespie, Gemma Coutts, George Liang and Alessandra Bramante in Gentleman Jack. Photo by Emily Nuttall.
Costume designer Louise Flanagan has equipped Anne, like the men, in a suit and top hat, bringing her real-life penchant for black suits to the stage. Her footwear even mirrors the men, Anne eschewing the pointe shoes of the women until a poignant final scene with Ann.
Unlike the men, however, Anne has a pop of striking emerald green to her ensemble, in her trousers, the lining of her top hat and the elongated suit jacket which is revealed when she spins.
The set is minimally staged by Christopher Ash, but it is immediately clear where we are from strategically placed chandeliers and tables and some particularly effective bookshelves that the ensemble move across the stage and turn around to reveal screens to show the transition between locations, whether that is a walk through the woods or a jump from Yorkshire to Paris.
Photo by Scott Salt
Perhaps the most moving moments of the performance are when Anne is left alone with her words, surrounded by an ensemble echoing a Greek chorus and dressed in leotards with her words across their bodies. Her writing pours out of her and floods the illuminated screens, the chorus moving as one around her so she is literally carried away by her words.
It is a striking, emotional performance, every aspect of which feels deliberate and thoughtful without becoming heavy-handed. Northern Ballet has brought a 19th century icon into the 21st century in an incredibly modern yet reflective way.
Northern Ballet and Finnish National Opera and Ballet’s Gentleman Jack runs at Sadler’s Wells until 23rd May before heading to Theatre Royal in Norwich (27th May-30th May), The Lowry in Salford (4th June-6th June) and finishing at Alhambra Theatre in Bradford (3rd September-5th September). Tickets are now on sale at the Northern Ballet website.
Header image: George Liang (photo by Colleen Mair)
