Almost four years after taking the helm as Artistic Director of Northern Ballet, Federico Bonelli is making sure that his inaugural commission is also a statement about the company’s direction.
Gentleman Jack is a world premiere choreographed by Annabelle Lopez Ochoa that brings the life of Anne Lister to the ballet stage for the first time, a story that – according to Bonelli – feels groundbreaking yet overdue. This may be the first time a gay woman’s life story takes center stage in a full-length ballet.
With opening night just around the corner, I had a chance to chat with Bonelli about bringing Lister’s inspiring independence to ballet audiences – including those who will be experiencing the art form for the very first time.
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Interview with Federico Bonelli
‣ Gentleman Jack is your first new commission as Artistic Director of Northern Ballet. What made Anne Lister’s story the right choice for this significant milestone, and what does it say about the artistic direction you envision for the company?
As an artistic leader, I’m committed to presenting diverse stories on our stages. Anne Lister was an inspirational woman, a complex character and shares Northern Ballet’s Yorkshire heritage.
I wanted Northern Ballet to champion narratives that challenge conventions and celebrate remarkable individuals, so it was an easy decision to tell this story.
‣ Anne Lister’s diaries reveal an incredibly complex woman – landowner, industrialist, traveler, and lesbian in Regency England. Which aspects of her character and life story do you feel translate most powerfully to ballet?
Well, the artistic team is aiming to represent all of these characteristics – this is why this woman was so interesting. She lived life on her own terms and did not let society dictate what she could or could not do as a woman; and at the same time she had aspects of her character that we would find less endearing…
It will make for good storytelling on stage. She was a prolific journal keeper and left us with a huge quantity of writing; with the ballet we will have to distil the essence of her character, and the choreographer and creative team made some clear choices on what to include.
I think this woman that lived 200 years ago still has plenty to say to today’s audiences.
‣ What led you to commission Annabelle Lopez Ochoa for this project? What qualities in her choreographic voice made her the ideal collaborator for bringing Anne Lister to life through dance?
Annabelle is a terrific choreographer and storyteller. I had seen and enjoyed her work, and she has a track record of successfully telling the stories of strong, complex women through ballet. When I pitched Anne Lister’s story, Annabelle’s immediate enthusiasm confirmed to me that she was the right choice.
‣ Could you talk us through how you assembled the wider creative team, i.e. composer, dramaturg, lighting, set, and costume designers? What were you looking for in each collaborator to ensure the production would do justice to this story?
I wanted talented people that could bring this character and her world to the stage. I was also clear that lived experience of being a lesbian was essential to tell Anne’s story authentically. Some on the artistic team were Annabelle’s previous collaborators, and some others were new and started working together specifically for this project.
Overall I am happy that to tell the story of this incredible woman we have a talented, majority female artistic team.
‣ How involved have you been in the creative process itself? How do you balance your role as Artistic Director with allowing the creative team space to develop their vision?
I see my role as curator and facilitator, creating the conditions for the team’s creativity to flourish while ensuring the work aligns with the company’s artistic standards. I contribute my perspective when helpful, always with deep respect for their artistic process and expertise.
‣ What has the development process been like from initial concept to world premiere? Have there been any unexpected discoveries or challenges in translating this historical story into ballet?
As I write this, the production hasn’t premiered… But the process has been stimulating and challenging at the same time. We have had an incredible level of support from many sides. Right at the start, when I was developing the concept, I reached out to many very generous people that encouraged, supported and advised me.
I was conscious from the beginning that this story had already been very impactful for so many people around the world, and that it was a responsibility to bring it to the ballet stage for the first time.
‣ Northern Ballet has a strong tradition of narrative ballets that connect with diverse audiences. How does Gentleman Jack continue and perhaps expand that tradition, particularly in terms of representing LGBTQ+ stories on the ballet stage?
Well, I think it might be the first time that the life story of a gay woman is the subject of a ballet. This is both significant and, in another sense, should be unremarkable; Anne Lister deserves a ballet because she was a fascinating, accomplished individual, not despite or because of her sexuality.
At the same time, I hope that this ballet will help us reach a new audience. Just last week, we had a feedback session with a group of queer women from the Halifax area where Anne lived. I understand that some of them bought tickets to see the ballet following the session, and that it will be the first time they go see a ballet.
‣ What do you hope audiences – both regular ballet-goers and those who might be coming specifically for Anne Lister’s story – will take away from experiencing Gentleman Jack?
I hope that they will be inspired by the life of a remarkable woman.
They might not like all aspects of her personality, but I hope they will see someone that lived fiercely, writing her own story.
Featured Image of Northern Ballet‘s Artistic Director Federico Bonelli. Photo by Emily Nuttall.
