Northern Ballet - Gentleman Jack

When the opportunity arose to review Northern Ballet’s Gentleman Jack at Lowry, I was delighted. As a huge fan of the acclaimed BBC/HBO drama Gentleman Jack, written by Sally Wainwright — who also serves as creative consultant for this production — I was eager to see how Annabelle Lopez Ochoa’s choreography would bring these much-loved characters to life on stage. Annabelle Lopez Ochoa has already created 15 narrative ballets including a Street Car Named Desire for which she was awarded the UK Dance award in 2013.  I was intrigued to discover how the remarkable story of the proud and passionate Anne Lister would be conveyed through dance and was thrilled to be whisked away to the atmospheric Yorkshire countryside and immersed in a ballet full of passion, tenderness, power and beautifully expressive movement.

Gentleman Jack is inspired by the life of 19^th century Yorkshire icon Anne Lister.  For those unfamiliar with her remarkable story, Anne has often been described as the ‘first modern lesbian’, she defied the conventions of her time, choosing to live life on her terms and meticulously documenting her personal experiences in diaries, writing about her intimate relationships in code which she called Crypthand.  She was determined to be educated to the same standard as men and developed a passion for reading and self-education.  When she inherited Shibden Hall, Anne became a shrewd, skilled and innovative estate manager, conducting business in a male-dominated world, challenging societal expectations at every turn.

Gentleman Jack has been awarded the FEDORA–Van Cleef & Arpels Dance Prize 2025, which recognises productions that reimagine dance for the 21st century, and it is easy to see why. This is a ballet that feels both innovative and accessible.  No prior knowledge of Anne Lister or her story is needed to enjoy Northern Ballet’s interpretation of Gentleman Jack.  Through Annabelle Lopez Ochoa’s expressive choreography and Peter Salem’s score, the narrative remains clear and engaging throughout and we are immersed in a love story between two women - well more accurately, three.

Gemma Coutts dances the role of Anne Lister and makes an immediate impression, she commands the stage and instantly establishes Anne’s formidable character.  She enters the stage for the Prologue with intention, dressed in black, a frock coat complete with top hat and cane, she exudes confidence and purpose, tapping her cane on the stage. Coutts is mesmerising, bringing Anne Lister to life with a collection of signature movements, a flick of the hip, quick twitch of the shoulder and swipe of her hat, encapsulating Anne’s character.  Coutts further enhances the character throughout the production with her quick fourth-wall-breaking glances at the audience as she leaves the stage.

Anne is surrounded by men, facing the challenges of a patriarchal society, yet she is powerful, decisive and in control.  This strength and self-assurance continues throughout her interactions with the miners and dealings with industrialist Christopher Rawson, danced by George Liang, who is clearly offended by her assertiveness.

Unusually for ballet, Gentleman Jack places three female leads at the centre of the narrative, exploring the challenges women face both in the 19^th century and in today’s society.  It celebrates different aspects of womanhood through Anne’s relationships with Mariana Lawton, danced by Saeka Shirai and Ann Walker, danced by Rachael Gillespie.  Through beautiful choreography we experience Anne’s tender nature during a memorable and erotic pas de deux between Anne and Mariana.  Sensual, sexy and intimate it captures the essence of their relationship.  Shirai’s performance is elegant and assured.  The pair move with ease, highlighting their affection and the intense bond of an established relationship which makes Mariana’s betrayal all the more devastating when she chooses marriage over Anne.  

Anne’s pursuit of Ann Walker, whom she ultimately marries in what is reportedly the first lesbian marriage in Britain, reveals a more vulnerable side to Anne’s character.  Ann Walker danced by Rachael Gillespie, is younger and more sheltered than Anne, Gillespie brings an innocence that contrasts with Anne’s experience, but Ann’s parents clearly disapprove of the relationship.  The inventive choreography during Anne’s seduction of Ann has wit and humour.  The audience chuckles and the parents constantly manoeuvre and entwine themselves between their daughter and Anne, constantly edging their daughter away.  This humour is then immediately followed by a beautiful, sensual pas de deux between the two women, a genuine memorable moment of tenderness and growing love.

The vulnerabilities explored in Anne’s character are effectively shown in a particularly striking scene at the end of Act One where Anne is attacked by a group of men, she is overwhelmed by them and is left beaten and bruised both physically and emotionally.  In Act Two she seeks out her Aunt, danced by Heather Lehan who offers comfort and support. In a powerful moment Anne’s pride and independence initially make it difficult for her to accept help.  The choreography highlights that despite Anne’s proud, independent nature she remains deeply connected to her family.

We are treated to a whirlwind of movement when Anne writes in her diary and the Chorus of Words rushes onto the stage.  Their beautifully designed costumes by Louse Flanagan are adorned with text from Anne’s diaries, their ink-blank hands and feet are compelling as they swirl around Anne in calligraphy-like patterns. The effect is visually striking and effective at emphasising her quickness of mind, urgency of writing and the constant flow of thoughts being transposed onto paper.  The choreography beautifully conveys the diary writing that became a defining part of Anne’s life. 

Christopher Ash’s innovative set is minimal yet striking, there are bookcases which double up as screens establishing location and atmosphere, which, paired with subtle lighting changes ensure the effective scene transitions from Yorkshire countryside to Shibden Hall to Paris are seamless.  There is a particularly interesting and innovative use of a travelator which brilliantly emphasises Anne Lister’s purposeful and determined walk.

Anne Lister is a woman who defied convention, she is an inspiration to women around the world and the Northern Ballet’s interpretation of the story is exceptional.  Through beautiful choreography and the dancers’ outstanding performances, the story is conveyed with remarkable clarity.  Movement, expression and emotion guide the audience effortlessly through the characters’ journeys. Even those unfamiliar with Anne Lister’s life will find themselves fully immersed in the drama, relationships and emotions unfolding on stage.

Gentleman Jack is stunning, mesmerising and progressive.  Powerful and intimate moments are interwoven with perfectly placed moments of humour, keeping us engaged throughout the memorable performance. 

WE SCORE GENTLEMAN JACK...