Nottingham Theatre Royal – until Saturday 4 May 2024
Reviewed by Louise Ford
4****
For never was a story of more woe that this of Juliet and her Romeo.
Last night’s performance of Romeo and Juliet has a long history with Northern Ballet, having been first premiered in Leeds in 1992. It was devised by Christopher Gable CBE and Massimo Moricone and has been performed across the globe to critical acclaim. However in 2015, in true Shakespearian fashion, the sets and costumes were destroyed by flood and the ballet was put on hold. Over the last year the company has worked to recreate the costumes and sets, originally designed by Lee Brotherston OBE, to breathe new life into this production.
The production sticks closely to the Shakespearian tragedy with all of the well known scenes, the fights, the first meeting between Romeo and Juliet, the balcony scene and the tragedy in the crypt.
The curtains open and we are transported to 16th century Verona, a city of crumbling Roman pillars which open and close to create the various squares and palaces. The pillars bear the broken words Amo Vi Om (amor vinci omniscient), love conquers all.
The town is busy getting ready for carnival with the Montagues decorating the square, all flags and bunting. Into the square strides three friends Romeo (Joseph Taylor), Benvolio (Filppo Di Visio) and Mercuitio (Harris Beattie). They are in high spirits, dressed in bright colours and colourful bandanas. However the carnival atmosphere is short lived as the Capulets enter the square. The Capulets, led by Tybalt (Harry Skoupas) are all dressed in black and red with gold trimmings and brocade ,a formidable force to be reckoned with.
The fight scenes, of which there are many, are expertly choreographed by Jonathan Howell. The frenzied action when Tybalt kills Mercuitio and when Romeo kills Tybalt are really electrifying.
The costumes (the list of people involved in the costume production is too long to replicate, but they are given full credit in the program) in particular for the Capulets, are a triumph of Renaissance head dresses . The costume for Lady Capulet (Helen Bogarch) is particularly splendid. The differences between the rival families is clearly shown in their costumes. The solid black masks and batons during the “Dance of the Knights” gives the routine an ominous military feel. The simplicity of Juliet’s and Romeo’s costumes gives them an ethereal feel, and sets them apart from the rest of the cast.
The production is around 150 minutes long but the frequent set changes, which are seamless, and changes in tempo means that the time flies by. The scenes between Romeo and Juliet are captivating. On one hand the strength and virility of Romeo on the other the delicate childlike naivety of Juliet (Abigail Prudames). The balcony scene and the pas de deux are powerful and sensual.
The role of Juliet’s nurse (Dominique Larose) was the main comic turn. She clearly dotes on Juliet but isn’t afraid to defy the family to try and help the course of true love find its way.
For me the stand out performance was that of Mercuitio with his jaunty striped leggings he embodied the role of loveable rogue. He was part jester and part knave. His energy and enthusiasm was clear to see in his dancing.
A shout out to the aspiring dancers from the Gedling Ballet School who swelled the ranks of the villagers Hopefully some future stars in the making.
The outstanding score by Prokofiev expertly delivered by the Northern Ballet Sinfonia, conducted by Daniel Parkinson, showcases the dancing to perfection. The orchestra and conductor were given full credit by the ensemble and the audience at the end of the performance. This is particularly poignant as it is likely that the live orchestra will be replaced by a recording for future performances, in a need to cut costs. This is a worrying turn of events and something that we should all fight against. We all need live theatre and music to enrich our lives and to make society a better place.