Throw away everything you know about Shakespeare’s iconic tragedy, the story doesn’t apply here.
Bourne takes one of the most revered tragedies, and somehow makes it more tragic; Romeo and Juliet are no longer merely star-crossed lovers torn apart by fate and misfortune. With heavy themes of abuse and sexual assault this production is not suited for everyone. Juliet is no longer caught in the crossfire of family rivalry, but a perpetrator and victim of violence herself.
Some scenes evoke familiarity – longing looks across a party, clinging to the balcony – but set in the Verona Institute, a possible mental institute with shiny white subway tiles and metal fences lining the stage, there is no romantic Italian backdrop.
It’s not only the traditional story that’s upended here, the traditional notions of ballet are too. The diverse cast are dressed in white by Set & Costume Designer Lez Brotherston, but there’s no dainty tutus in sight, instead wearing for the most part shorts and baggy tops giving more weight to the desperate movements of Bourne’s choreography.
The company was led by Paris Fitzpatrick and Cordelia Braithwaite as Romeo and Juliet respectively in this evening’s production, creating a hypnotic love story in front of our eyes. It may seem bizarre to take the Shakespeare out of classic Shakespeare, but this production just proves the unadulterated intensity of teenage love can be translated in many mediums.
Characters differ from Shakespeare’s text, or if they exist in name they are not the same. Rather than Juliet’s protective cousin, Tybalt is a thuggish guard (Richard Winsor), striking fear with every threatening movement, and Mercutio (Harry Ondrak-Wright) has a boyfriend Balthasar (Jackson Fisch).
The energy is palpable and mesmerising among the entire cast; despite the vulnerable situation of the characters you could not describe them as fragile as they clench their fists, fling themselves over beds and chairs, and descend into debauchery once the guards disappear.
Bourne may have pared down the grand orchestra Prokofiev originally scored for, but it certainly isn’t to the detriment of the performance. The iconic music (which you’re probably familiar with from The Apprentice) fills the Curve auditorium with dramatic strings, continuing to resonate almost 100 years since its composure thanks to Terry Davies’ skill as orchestrator.
With Paul Groothuis’ sound design there’s no lingering between acts, adding the frantic nature of the environment with sirens and other effects adding to the dissonant environment.
The final effect makes this by far one of the most visually interesting pieces of theatre I’ve seen this year.
You could watch this production ten times over and still spot a new detail or dancer, so make sure you see it at least once. Matthew Bourne’s Romeo + Juliet is at The Curve until 8th July 2023, book tickets here https://www.curveonline.co.uk/whats-on/shows/matthew-bournes-romeo-juliet/
*****
Katie Reviews 