If you are in search of a good introduction to contemporary ballet, then Matthew Bourne’s new version of Romeo and Juliet gives Shakespeare’s enduring story of forbidden love a coruscating infusion of feverish longing and spirited youth – with many new twists.
Constrained against their will by forces that seek to divide them, two young lovers throw all else aside as they risk everything to pursue their passionate yearning for each other. Bourne’s is a deft and innovative retelling of this timeless tale of teenage discovery and the heady rush of first love. Romeo and Juliet was met with universal critical acclaim when it premiered in 2019, and now returns to New Adventures’ portfolio of productions alongside the very best of Bourne’s globally renowned dance theatre ensembles. The company is currently touring the production around the UK before moving on to France, so audiences would be well advised to catch it over the coming autumn season.
The ballet is directed and choreographed by Matthew Bourne in collaboration with the New Adventures artistic team; Etta Murfitt (associate artistic director), Arielle Smith (associate choreographer), Lez Brotherston (set and costume design), Paule Constable (lighting design), Paul Groothuis (sound design). To complete the staging, composer Terry Davies has devised a fresh and exhilarating orchestration of Sergei Prokofiev’s rousing score.
An unfamiliar and enigmatic Verona
The ballet is still set in Verona, Italy, though for this production the audience are taken to the ‘Verona Institution’ where young people seem to be incarcerated in what could be a prison or asylum or youth offenders’ institution – the suggestion is vague leaving you to make up your own mind as to where we are.
As the characters were slowly introduced, we discover the ruthless guard Tybalt (Danny Reubens), who assaults Juliet (Monique Jonas) within the first fifteen minutes of the opening sequence – Bourne has never shied away from dramatically drawing the audience into the plot and this this production does exactly that from the outset.
Romeo (Rory Macleod) is enrolled into the institution by his parents, Senator Montague (Andrew Monaghan) and his wife (Daisy May Kemp). A humorous interlude follows where Romeo is introduced to the institution by way of his fellow inmates taking off his clothes and dressing him all in white – just like them.
Naturally, he is introduced to Juliet at a ball – again you must use your imagination as to where this could be. The highlight of the first half of the show is the balcony duet where the couple are overcome with love for each other. The stage set is a simple one – the colours are either black or white with lighting to match creating a stark and suitably austere atmosphere.
Universal themes echo down the centuries
The second half ramps up the tragic intensity with death being the dominant theme as Mercutio (Ben Brown) and Tybalt are both executed with yet more to come in the denouement – those who are familiar with Shakespeare’s classic will know how the ballet ends.
The producers do not shy away from introducing current themes and issues into this enthralling and engaging ballet: mental health, knife crime, sexual and physical abuse, and bullying are tackled head on – something you would not expect to witness in a ballet. There is also a relationship between Mercutio (Rory Macleod) and Balthasar (Jackson Fisch) – although this is cleverly woven around the central plot to avoid overshadowing the two central characters.
By the end of the evening, I had been won over with this enthralling and captivating production. Bourne has breathed new life into a tried and tested ballet by transplanting the classic tale into the 21st century and imbuing it with contemporary themes. Highly recommended.
Romeo and Juliet runs at the Alhambra until Saturday 16 September and then continues around the country, returning to Sheffield on 3 October.
