1984: George Orwell’s dystopian novel, written in 1948 and widely regarded at the time as a futuristic and nightmarish, though not entirely inconceivable, view of the future. 

A powerful, mesmerising pas-de-deux suggested they might just pull it off

Ballet: an impenetrable-to-many art form, expensive and occasionally pretty, beloved of the middle class artistic elite and placed just one rung below opera in its ability to speak of our innermost feelings.

Two worlds then that shouldn't work together, so, of course, someone has tried.

Up to the challenge are Leeds-based Northern Ballet, well known in Manchester and a serial producer of unexpected ballet tales with strong story lines. Stepping out of the standard repertoire has worked for Northern Ballet in the past, the company is famous for A Simple Man based on the life and work of local painter LS Lowry and for its recent production of Kes.

1984 could prove more of a challenge for the ballet company; think of John Hurt in the 1982 film or, if you’re old enough, the rat sequence in the BBC's 1954 adaption, and you'll spot a distinct shortage of pink tutus.

In Orwell’s story, Ministry of Truth worker Winston Smith lives in a world of absolute conformity, his every action screen-scrutinised by 'Big Brother'. Whilst outwardly conforming to Party doctrine, he is secretly disillusioned, illegally documenting his thoughts in a diary. One day Smith receives a love note from colleague Julia and they begin a double life, hiding their affair above a second-hand store in the prole district, a place where ignoring the rules is the rule. Placing physical desire above Party Discipline and personal safety, their individuality and courage is strengthened moving them towards an act of political rebellion. Who can they trust as allies?

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But is it an unusual story structure for ballet? At the heart of the work is a love story, young lovers who risk everything, united not only in physical passion but through beliefs and values too. Society is strictly ordered; there’s a clear hierarchy, a group of workers who act as directed, no one out of step, with opportunities for slightly risqué excursions to an out-of-court idyll, where poverty rules but free-spirited locals demonstrate the richness of freedom. Then there’s the question of who to trust? 

This story rings a good few bells in the world of classical and romantic ballet.

And so Northern Ballet have allowed choreographer Jonathan Watkins to achieve a long held dream by bringing such an iconic and thought provoking book to life via dance. He’s not unaware of the difficulties: 

"It is a modern story and dance needs to delve into things that are modern and connect with people," says Watkins. "For me, creating this story makes sense in terms of trying to drive the possibilities of narrative ballet."

But can this production be successful?

A brief visit to Northern Ballet’s headquarters to observe principal dancers Tobias Batley and Martha Leebolt working with Watkins to create the piece pushed away my scepticism. A powerful, mesmerising pas-de-deux suggested they might just pull it off.

1984 visits Manchester’s Palace Theatre from Wednesday 14 to Friday 17 October. Tickets here.