How claims of cultural appropriation scuppered an acclaimed new ballet

On 14 March 2020 I was at Leeds Grand Theatre for the première of Northern Ballet’s Geisha. The curtains swung open on fishermen flinging out their nets, geisha, samurai, 19th-century Japanese village folk, followed by the sudden appearance of American sailors. It was in essence a Japanese Giselle: the tale of a geisha, spurned by her American lover, who dies of grief, and whose restless spirit returns from the grave.

Far from being offended, the Japanese Embassy offered their official imprimatur

It was a unique production. Many of the dancers at Northern Ballet are Japanese, Chinese or Korean and this was an east Asian story. The ballet was created by the young choreographer Kenneth Tindall with music by Alexandra Harwood (who created the music for the new All Creatures Great and Small) and a spectacular scenario by Gwyneth Hughes (Mr Bates vs The Post Office). I was the historical consultant. As a Japan specialist it was my job to make sure the production was as authentic and respectful of Japanese customs and traditions as possible.