12 September 2023 I 19:30 I Alhambra Theatre, Bradford I AD - PR Invite
⭐⭐⭐⭐
Matthew Bourne's New Adventures presents a revival of their critically acclaimed Romeo + Juliet, a contemporary, passionate and gritty take on the Shakespearian tale of forbidden love. This is the first time I have seen a performance told wholly through the medium of dance, surpassing my expectations of what a movement piece can be. I haven't encountered any version on Romeo and Juliet before, with this adaptation feeling incredibly relevant using modern societal thematics.
The setting largely stays within Verona Institute, a deliberately vague establishment of incarceration and control against young individuals. We are introduced to Juliet (Monique Jonas) within the Institute, where she is mercilessly mistreated by the operating prison guards, a step out of line potentially fatal. The wealthy Montague's are worlds apart from this misfortune, and Romeo (Rory Macleod) is soon inducted into this controlled atmosphere. The idea of segregation and is so clearly reflected through stylised movement. The show follows less of the conventional Romeo And Juliet, rather a united front of Verona's people against their oppressors, under immense pressure.
Matthew Bourne's form of storytelling (through his choreography and direction work) is enthralling, and arguably more powerful than the use of spoken word. The precision and attention to detail is immaculate with every scene. Interestingly, this show differs from other New Adventures productions, with more viscerally intense imagery, politically motivated to demonstrate an evolving society. As the vision features a modern approach, elements including knife crime and authoritarian rule are frustratingly relevant to international issues.
Bourne's choreography is absolutely pin perfect. Movement is sharp and united for regimented sequence, earthy and grounded attributes to aggression, and beautifully intimate stance where it needs to be. Dance compliments Prokofiev's compositions, where the score feels revolutionised and not bound by the constraints of history. I particularly enjoy how movement both marries and goes against the music in acts of rebellion, using pace and body percussions to enhance this further.
Leading as Juliet, Monique Jonas holds such impassioned body language, and performs the tragic with great honesty. Jonas' solo dances are beautifully investing, most memorably in Act 2 to represent her grief, she performs with a punchy vigour where the body cannot go any further, expression leading the context of the performance. Jonas' duets alongside Rory Macleod's Romeo find the order amongst the chaos, with body and eye contact building the grounds of their intimacy. Macleod has some cheerfully enthusiastic moments, yet also endeavours heartbreak expertly, a more fragile essence of masculinity on stage.
Performing the role of Tybalt, Danny Reubens is tyrannically unlikeable, a sign he has executed the role brilliantly! His guttural shrieks send shivers across your body, and the way that his movement is designed to dominate and control would make anyone nervous. Lez Brotherston's costume work is simplistic though creates a clear barrier between the stereotypical good and bad roles. Romeo and Juliet are often featured in white, an essence of purity whereas Reubens' Tybalt wears an all black outfit as he reaches his demise, filled with corruption.
I also want to give a mention to Ben Brown's portrayal of Mercutio, as Brown is an utterly magnetic performer. With every scene he features in, I found myself glued to the way he moves, as his cheeky chappy persona allows for a burst of comedy within the tragic tale. Truly infectious joy, which as you can hear from laughter, translates perfectly to audiences. The whole ensemble have the choreography and expression defined to sublimity, and wider group numbers are utterly mesmerising to get lost in!
The modernised and autocratic style is really impactful, though the vagueness of setting makes it difficult at times to engage. The themes of the piece are extremely clear, and character relationships are understandable instantaneously, though the lack of context regarding Verona Institute left me struggling in terms of physical setting, to understand why this classic confrontation takes place in such a space. However, the vision is brutalist and Brotherston's set is explored to its full extent.
A huge thank you to Bradford Theatres for inviting me to Matthew Bourne's New Adventures' revival of Romeo + Juliet, as well as a really interesting Q&A session with some of the cast to round the evening off. For anyone, like myself, who hasn't previously seen a dance production, I couldn't encourage this show more. It really opened my eyes to the world of choreographed communication, evolving Prokofiev's compositions to benefit modern audiences and carry essential messages on the transience of life.
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