REVIEW: Romeo & Juliet at Newcastle Theatre Royal

Romeo & Juliet

Theatre Royal Newcastle

Until Saturday 26 October 2024

Photo Emily Nuttall

The welcome return of Northern Ballet’s critically acclaimed adaptation of Shakespeare’s eternal tragic love story does not disappoint, with Massimo Morricone’s achingly romantic choreography and Prokofiev’s seductive score given full value by captivating soloists and a strong, expert corps de ballet.

This adaptation was created in 1991 by Christopher Gable, then Northern Ballet’s artistic director, and Italian choreographer Massimo Morricone. Given Gable’s second career as an actor, it is unsurprising that he gave detailed attention to the dramatic elements of the production as well as the dance. The production won many awards and has been an enduring hit for Northern Ballet until scenery and costumes were, sadly, damaged by flooding in 2105, effectively removing it from the repertoire. It has taken a special appeal and a huge amount of work to enable the production to tour again and I am happy to say that it more than justifies all the effort.

Photo Emily Nuttall

Given its constant revivals, both as a play and a ballet, plus at least three musical adaptations, it seems redundant to recount the plot of this tragic love story, set against the backdrop of two feuding families in Renaissance Italy.

What is interesting, however, is the secret of its enduring appeal. Based on this production, I would say it is the straightforward depiction of young love, intemperate and all-consuming, taking no account of outside influences. This strikes a chord with almost everyone, taking them back to their own youthful passions and making them feel the poignancy of the outcome, rather than becoming irritated by the foolishness of the protagonists.

Photo Emily Nuttall

For this to be effective, the audience must be charmed by the freshness and innocence of the young lovers. Here, this is accomplished in great style by Sarah Chun’s light-as-thistledown Juliet and Kevin Poeung’s yearning, matinee idol Romeo.

Marrying rock-solid technique and youthful athleticism with strong, sympathetic partnering, Poeung is a splendid Romeo. As in the play, Juliet is, of course, the pivotal role, making great demands, both as a dancer and an actress. Chun is more than up to the task, believable both as a playful adolescent and as a passionate lover. In the transcendent pas de deux, the partnership effortlessly conveys the beauty of both Prokofiev’s exquisite score and Morricone’s sinuous and passionate choreography.

Photo Emily Nuttall

Filippo Di Vilio, in the demanding but rewarding role of Mercutio, is suitably mischievous and dances with great flair, as he jests his way to the grave, thereby precipitating the tragedy that seals the young lovers’ fate. Helen Bogatch extracts significant humour from her portrayal of the warm-hearted nurse.

Antoni Caňellas Artigues is a strong, imperious Tybalt, mirroring Harry Skoupas’ commanding portrayal of Lord Capulet and Harriet Marden’s forbidding Lady Capulet, nonetheless very affecting in her response to the loss of her son.

Photo Emily Nuttall

The Capulets are richly dressed in black, red and gold, clearly portraying them as the villains of the piece, whilst the Montagues favour lighter, more cheery colours. If this is a little simplistic, it is highly effective in identifying the two sides in the skirmishes. This is just one of the ways in which this production delivers clear storytelling.

All the elements of this timeless story are here, with stirring swordfights, vigorous horseplay and a wonderfully moody ball sequence, where the Capulets’ dance with staffs might have inspired elements of Star Wars and even Harry Potter.

Photo Tristram Kenton

Lez Brotherston OBE’s magnificent sets and beautiful costume designs provide a rich backdrop to the dancers’ efforts and Paul Pyant’s lighting is effective and sympathetic throughout. 

This is a highly effective and engaging production of the classic ballet, which drew richly deserved cheers from the Theatre Royal audience. The one disappointment of the evening was the absence of the splendid Northern Ballet Sinfonia. Owing to the harsh vicissitudes of Arts Council cuts and the escalating costs of touring, the company has made the hard decision to perform to recorded music on the tour. With the best will in the world, recorded tracks cannot hope to compete with the urgency and splendour of a live orchestra and I hope, for everyone’s sake, that a way is found in the future to address this.

Photo Tristram Kenton

Nonetheless, in the capable hands of Mollie Guilfoyle, billed as Assistant Director, the evening was a fitting tribute to its late director, Christopher Gable CBE, on what I noticed, poignantly, was the anniversary of his tragically early demise.

Review: Jonathan Cash

Tickets:

Romeo & Juliet plays Newcastle Theatre Royal from Wednesday 23 – Saturday 26 October 2024. Tickets can be purchased at https://www.theatreroyal.co.uk/whats-on/northern-ballet-romeo-juliet/ or from the Theatre Royal Box Office on 0191 232 7010.