Sadler’s Wells, London
May 28, 2024
Northern Ballet returned to London with their beautiful and rightly beloved landmark production of Christopher Gable and Massimo Moricone’s Romeo and Juliet.
That the production is so carefully crafted is obvious from the very first scene. There is not one detail missed nor out of place. The costumes are breathtaking, the lighting perfectly captures its changing moods and Lez Brotherston’s sets are intelligently put together and allow settings to be switched in seconds. The townscapes add layers of depth to the action, in particular. Choreographically, the neoclassical steps added give new movement options and contribute to the ballet’s dynamism. The dancing, of course, was also excellent.
Photo Emily Nuttall
Romeo and Juliet is so loved by fans because of the great range emotions it conveys. Dominique Larose played a beautiful Juliet. She was so technically adept, every foot, every step, every lifted finger so carefully placed. She was in complete control of everything.
She’s a fine actress too, as evidenced in the way she showed every step of Juliet’s journey. We met her as a playful little girl and saw her fall desperately in love. We felt her struggles when realising her hopeless future, desperation and borderline madness that drove her to take a huge risk that only ended in more sadness. She walked us through it all, making us believe.
Joseph Taylor, her Romeo, was a attentive, excellent partner, at his best in the pas de deux.
Photo Emily Nuttall
In the scenes with his two friends, he was somewhat overshadowed by the excellent Aaron Kok, as Mercutio however, who was outstanding as he showed what it is to be a character instead of just playing someone. It seemed like the dance was Mercutio’s language, rather than steps imposed on the role He stole everyone’s hearts and made us laugh with a great performance.
The production contains much of interest that is different from other versions, not least the Dance of the Knights, which starts with a powerful section for the men, who show off their fencing skills. The ladies then follow, the intricate combination of torso movement, hair pieces and heavy dress trains creating beautiful circular patterns of movement.
Elsewhere, hearing the Capulet couples ‘meow’ while they faced the Montagues in the town square felt decidedly odd. It also seemed a bit out of context and left the audience more puzzled than anything else.
The Balcony pas de deux is a little disappointing, although that might be because it’s impossible not to compare it to Kenneth MacMillan’s iconic version, even subconsciously. While the dance was well-executed, with much of the familiar pattern and structure retained, it struggled to transmit emotion and felt a bit static. The highlight of the ballet actually comes at the end of Act II, when water falls on stage reflecting the tears shed by the characters.
Northern Ballet’s Romeo and Juliet tours again in the autumn. Click here for dates and venues.