English National Ballet's Romeo and Juliet Review
Posted on: 2017-11-22
Our rating:
A show full of dramatic moments as well as delicate ones. Tragically romantic, it remains as timeless as it always has been and always will be.
Full of action, humour and drama, Rudolf Nureyev’s award-winning production based on Shakespeare’s heart-breaking tale made a triumphant return to the Bristol Hippodrome for its 40th anniversary year.
Sumptuous costumes and sets transported the audience to Renaissance Verona. Amidst the grandeur of the Capulet's ball, the star-crossed lovers meet, unleashing a fateful sequence of events, from the romantic bedroom scene to their tragic final embrace.
Nureyev’s inventive and passionate choreography is accompanied by Prokofiev’s exhilarating score, performed live by The English National Ballet Philharmonic.
(1).jpg "Romeo and Juliet English National Ballet at Bristol Hippodrome")
Sat inside the elegant and historic Hippodrome theatre, we were only a few rows away from the orchestra in front of the stage.
The dancers begin their introduction, to the melodic opening scene of the market square. The city of Verona is split by feud between the Montague and Capulet families. A tremendous curtain falls centre stage and the dancing errupts. Romeo (Aaron Robinson) was courts Rosaline in a series of dainty Pirouettes, Sissonne and Allegro motions.
The mood is soon stifled by the huge brawl that brakes out between the two families. The stage in chaos. The music reaching high crescendos. Dancers mock fighting each other, jumping and diving, spinning and stomping - an exhilirating moment, breaking the usual grace of ballet. However, the action soon comes to a halt as the Prince of Verona arrives, temporarily restoring the peace.
I could not keep my eyes off the lavish costumes. They seemed to move effortlessly with the flow of the dancers, the fabric complementing their every step.
The scene that highlighted this the most was during the Capulet dance. The choreography was stunning and Jane Howarth shined as Lady Capulet, centred amongst her company. Performing almost ritualistic moves, to the music of Flight of the Concords, it was utterly powerful and captivating. The fabric of their long gowns twisting with each step, red as the colour of blood, eerily foreshadowing the fate of the plot.
The solo dances of Romeo (Aaron Robinson) and Juliet (Jurgita Dronina) were perhaps the most romantic of the show. Genuine emotion poured from every movement, the pair were electric together, their facial expressions worn to match. Romeo stunned with his perfectly refined Grand Jete, Tour Jete, and Cabirole movements. Which refers to a series of leaps and jumps. The most impressive were the Barrel Rolls, a controlled series of low-torse, arms extended leaps (as if one is jumping over a barrel), the torso bends as the leading knee pulls the body up and over into a travelling turn in the air. In true Nureyev style, Romeo soared with his Double Tours. His turns effortlessly beautiful, commanding the stage as the audience watched with awe.
Juliet was both fragile, yet powerful. Her Grand Jete was noticeably graceful. She was light on her Pointe, her Fouette’s and Pirouettes fast and perfectly positioned every time. She performed an impressive Arabesque Penché, with her leg almost vertical in the air whilst her other remained on the ground on Pointe.
The athleticism of every dancer was incredible. In Act 3 there were a monumental 60 jumps between Romeo and Juliet during the balcony duet and one lift every 20 seconds. Hardly time to catch a breath, the endurance and skill of the dancers was mesmerising to watch.
The men even supported swords for the fight scenes, 30 sword clashes occurred between Romeo and Tybalt during the Market Square scene which sees Tybalt dead at the hands of Romeo.
The chorography incorporated a range of dance styles, both contemporary and classical to enrich the production. It comes as no surprise that it is winner of the 2017 Olivier Award for Outstanding Achievement in Dance.
A show full of dramatic moments as well as delicate ones. Tragically romantic, it remains as timeless as it always has been and always will be.
Article by:
Hannah recently graduated with a degree in English with Writing. She is an avid writer, freelancer and creative. She is currently writing her first full-length novel and a collection of poetry. Always out and about in Bristol's music scene, she attends music events on a weekly basis.
