Reviewed at The Lyceum, Sheffield, by Michelle Rawlins
This latest reimagining of Shakespeare’s original love story is truly spectacular from start to finish.
As you would expect from Matthew Bourne, a radical revamp has given the ballet a contemporary new feel.
There are no feuding families, no Montagues or Capulets, and the streets of Verona have been swapped for a stark, cage-like psychiatric unit come borstal, where the troubled young lovers meet as inmates.
The traditional theme of doomed love is still present. But the battle, which is set at some point in the future, isn’t between gangs from opposing sides of town. Instead, it’s centred around an abuse of power between a sexually predatory guard and his sickeningly sadistic desire to have and control a terrified and vulnerable Juliet.
Romeo is introduced to the story when he is handed over to the institute by his cold and uncaring political parents. They have zero affection or interest in their tender-hearted, endearing son, preferring to publicly accelerate their own careers instead.
Paris Fitzpatrick and Monique Jonas make a superb leading pair, their on-stage chemistry palpable. Moving from innocent and playful, to a tumbling lip-locked tryst perfectly reveals the desperation, desire and affection felt by the troubled couple. Their visceral passion reaches a pinnacle when tragedy finally strikes and the tender love that pulled them together literally kills them in a powerfully and bloody end.
The rest of the talented, young cast should not be ignored. There are individual stories of courage, fear and friendship from the incarcerated prisoners. A close-knit squad, their battle with their psychologically disturbed nemesis, Tybalt, illustrates the fight against a tyrannical regime of authority. Danny Reubens, as the manipulative guard, encapsulates angry, fear-inducing power, as he torments, taunts and assaults his powerless charges.
The storytelling is paired with electrifying and perfectly executed choreography. Every move packs a sharp punch. The cast, all dressed in white, move between marching around the stage in a submissive, drug-induced, regimented, staccato like fashion, to a ‘Dirty Dancing’ style, grinding at the institute disco when they get a small taste of liberty thanks to the kindly chaplain.
The clinically simple, black and white set designed by Lez Brotherston, perfectly complements the bleakness of the situation, supported by Terry Davies’s orchestra performing Prokofiev’s magnificent and dramatic score.
The combined result is a seismic and exhilarating piece of theatre.
Mathew Bourne’s Romeo and Juliet is touring Until February 2024
Tickets here
Pictures by Johan Persson