Romeo and Juliet

Northern Ballet

Nottingham Theatre Royal

Shakespeare’s Romeo and Juliet, the enduring tragedy of love and violence, unfolds on the stage of the Theatre Royal & Royal Concert Hall, Nottingham this week, in the hands of Northern Ballet, who produce a breathtaking interpretation of the 430-year-old text. Having had the opportunity to watch videos, and enjoy promos of this production over the last few weeks, it was with excitement that I took my seat.

As one of the most adapted works of not only Shakespeare, but all of literature, the ongoing appeal of this classic story lies in the themes of love, fate, and – as highlighted in this version – the barriers that the protagonists face. All too often in versions of the play text, it is the emotional love which is played out, but Northern Ballet director Christopher Gable, and Choreographer Massimo Moricone, showcase what it means for these young lovers to experience the brutal power-plays which contribute to their tragedy, and envelop everyone around them into the tempest of their passions.

This ballet, which premiered 32 years ago, delivers the heart of the Shakespeare story, without a spoken word, and it is in the absence of text, that this company understand and deliver the story, character and nuances of the work, in such a complete and visual way.

There is little need to dissect the plot structure of this story, but the choices that Northern Ballet have made to communicate the most important plot elements, and to develop the relationships between the characters, is what makes this so interesting and effective. Using costume as a device to separate the worlds of the Capulets and Montagues not only works in the practical sense that we can immediately see the allegiances, but also in terms of how stunning the impact of the colour choices is. Montagues dressed in white with black and gold, differentiated from the Capulets who have red, black and gold as their signature, immediately tells us how these different families sit in the world of this production. The Montagues are joyful, celebratory and fun, while the Capulets are presented in a more serious and sinister way. The party atmosphere in the opening scene of Act 1, swiftly gives way to a fierce battle, in which the choreography is the star. The violence and brutality of this first combat is elevated and heightened by the sheer beauty of the movements of the dancers; the juxtaposition of which enhances the meaning of the scene. The story is crystal clear, and this is the case throughout this performance.

Divided into three Acts, the ballet moves at a pace which means that it never wastes a second. We are introduced more fully to the Capulets in the second scene, with Abigail Prudames an immediately engaging and playful Juliet, having fun with her Nurse, superbly presented by Dominque Larose showcasing comedy and tenderness in her every move. The Capulet parents (Jonathan Hanks and Helen Bogatch) provide a foil to the Nurse’s nurturing character, demonstrating exactly what their relationship with Juliet is.

Joseph Taylor’s lovelorn Romeo is outstanding, and we feel every moment of agony and ecstasy, and the relationship between he, Mercutio (superbly presented by Harris Beattie) and the loyal Benvolio ( Filippo Di Vili) is excellent.

The Capulet Ball is a triumph of production, with specific characters showcased even amongst the critical plot point of Romeo and Juliet’s first meeting. Tybalt (Harry Skoupas) is an angry and powerful protector, and it is in this scene when Mercutio takes it upon himself to distract Tybalt from the young lovers’ developing relationship. This then sets up the conflict between the two of them, which leads to fatal tragedy in Act 2. The absence of dialogue requires these clever and intricate choices, and throughout this whole piece, this is what Northern Ballet have done so effectively. We understand the story, because of the elements they have extracted and presented to us. 

There are moments where you can almost hear the words spoken, so beautifully are the intentions portrayed – “Palm to palm is holy palmer’s kiss,” on their first meeting, “I think it best you marry with the County” as the Nurse advises Juliet to move on, and “no friendly drop for me?” as Juliet tries desperately to find a way to join her husband in death.

The beautiful set enhances the quick transitions between the Capulets, the Montagues and the neutral locations, made up of crumbling Italian walls, and mighty pillars which advance and retract as required, enhanced with curtains, beds and flowers to solidify location, and the lighting design is flawless. The live orchestra, conducted by Daniel Parkinson, is phenomenal, and it is hard to imagine a version of this, or any other ballet, which doesn’t include that element. The campaign to ensure live music has never been more vital.

There is so much to say about this production, but the stand-out moments include the Capulet’s Ball and Prokofiev’s famous Dance of the Knights filling the auditorium, the impeccable battle scene in Act 2, which sees the deaths of Tybalt and Mercutio along with Romeo’s banishment, Romeo and Juliet’s first night, and ultimately the very end, which although inevitable, was also emotional.

 This piece is presented with humour, sadness, joy and heart, and Northern Ballet demonstrate here why they are so beloved around the world. The ensemble is magnificent throughout, and the entire show an absolute joy. If you are a fan of ballet, of Shakespeare, of music, of talent, of theatre or of humanity, you will find something to love in this production.