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.

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. I gave talks to the dancers about geisha and the historical background. I made suggestions and demonstrations on how to bow and carry oneself, Japanese-style. I provided details about Japanese ghosts, festivals and music.

The critics loved the ballet. Fate, however, was against us. Lockdown had already been announced and the theatre closed the next day. The work, two years in the making with endless planning and rehearsals, never had a second performance. The tour that had been scheduled, from Leeds to Sheffield, Sadler’s Wells, Edinburgh and Cardiff, was also cancelled.

At the beginning of 2021, restrictions were starting to ease and our hopes were rising. But then came unexpected news. Sadler’s Wells had decided not to stage the ballet. We, the creative team, were never given the story first-hand.