By Bella Briscoe.
In fair Verona where we lay our scene, a story so often re-created and re-spun, I wondered if there was anything left to give. But Northern Ballet certainly delivered a visually stunning and emotionally charged adaptation of the Shakespeare classic.
It was an interesting choice to open the ballet with foreshadowing – the two lovers standing alone in the crypt before being dragged apart – but the director acknowledges that there is no such thing as “spoilers” for a centuries-old classic.
The production’s simple staging was used to great effect, with only a couple of moving pieces to connote new locations. This was complemented by clever staging, where crowd scenes appeared busy and full, despite only a few dancers on stage. Similarly, the use of props were few and far between, but effectively drove the narrative where needed.
There was a stark contrast between the Montagues and Capulets. This was portrayed through movement, with each family performing in a distinctly different style. Notably, the Capulets moved in sleek, feline-like motions – a reference to one of my favourite moments in the play where Mercutio refers to Tybalt as the Prince of Cats.
The Capulet’s Ball was a standout moment for me. The way dancers freeze in place like figures in a Baroque painting, created a strikingly beautiful visual. The hard edges to the Capulet’s variations contrasted with the gentle pas-de-deux of the two leads. Even in a packed theatre, it felt as though they were the only two in the room.
Mercutio provided much-needed comic relief, and the playful friendship between him, Romeo, and Benvolio was a highlight. Despite the fact that audiences know the tragic ending of Romeo and Juliet, we allow ourselves to be swept away in the light of the story.
These moments of humour made the darkness even more powerful.
I am always blown away by the ability to communicate such complex narratives without dialogue, and this ballet was no different. The musical score perfectly reflected moments of peril and heartbreak. Most memorably, was the death of Mercutio. The music remained up-tempo and playful, but there was a sinister heart-beat rhythm creeping in until he succumbed to his injuries.
The second act concluded with the death of Tybalt and heartbreak of Lady Capulet. This scene was a pivotal moment in the ballet as the remainder of the show was immensely dark and dramatic. A loud crash of thunder accompanied flashing lightning and a curtain of rain descended on the stage.
The third act at times felt a little rushed, but the tortuous journey was excellently portrayed. Juliet embodies most of the drama in this final act, with Romeo banished from Verona. There is one moment of fun, when Juliet’s friends come to wake her for her wedding, but the looming knowledge that Juliet has already taken the Friar’s potion tinges the joy with something much darker.
The scene in the crypt is beautifully heartbreaking, with motifs from Romeo and Juliets’ prior duets are woven in between mourning – both of them dancing with the lifeless forms of their lover in turn.
With an overall brilliant use of light and score, Northern Ballet’s Romeo and Juliet showcased innovative choreography, emotional depth, and excellent storytelling, making it a captivating reimagining of the beloved tragedy.
Tickets for Northern Ballet’s Romeo and Juliet (Thursday 3 – Saturday 5 October2024) are on sale at mayflower.org.uk or 02380 711811.
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