This week, I had the pleasure of attending Scottish Ballet’s performance of Romeo & Juliet at Sadler’s Wells.
Shakespeare’s iconic love story is transported from the romantic Renaissance period to 20th century Italy, spanning from the 1930s through to the nineties. Choreographer Krzysztof Pastor created the exhilarating production for Scottish Ballet in 2008 and it returns to Sadlers Well’s under the guidance of Artist Director Christopher Hampson.
The ballet begins in 1930s metropolitan Italy and has an air of playfulness as the Montagues and Capulets encounter each other on the ritual evening walk. Romeo and Juliet lock eyes at the glamorous Capulet ball and he woos her at her ‘balcony’ which is in fact a simple, unfurnished lift.
The story continues through the second act in the sepia-toned 1950s, against the backdrop of rock ‘n’ roll and la dolce vita Italy. Friar Lawrence marries the star-cross’d lovers, however the tension between the rival families heightens, culminating in a brutal fight scene and the deaths of both Mercutio and Tybalt.
Act three takes place in the less glamorous nineties with Romeo and Juliet spending the night together before Romeo leaves town. The final scene is moving and powerful, as the lovers tragically end their lives.
Sophie Martin perfectly captures Juliet’s innocence and curiosity, torn between family loyalty and pursuing forbidden love. Erik Cavallari is a convincing Romeo with striking Roman features, Italian charm and chemistry with his on-stage lover.
The young lovers are obviously the focus of the performance, however the two feuding families are well-characterised. The raffish Montagues in their linen suits and summer dresses are the kind of gang that you’d expect to zip around on Vespas, stopping for Negronis and flirting by the fountains. The serious-minded Capulets have a fascistic demeanor, dressed in military-style black shirts and black boots with severe, slicked back hair.
Tatyana van Walsum’s costumes cleverly complement the simplicity of the production and capture the spirit of the families in each decade.
Mercutio (Victor Zarallo) charms throughout with his flamboyant moves and mischievous goading of Tybalt (Christopher Harrison). The fact that he receives some of the loudest applause is a testament to his excellent performance.
The orchestra masters Prokofiev’s soaring score and the intense ‘Montagues and Capulets’ theme is matched with Krzysztof Pastor’s strong, confrontational choreography.
Romeo & Juliet by Scottish Ballet is a minimalist triumph with a combination of classic and contemporary expressive dance, stylish costumes and a fresh approach to a much-loved tale.
Romeo & Juliet continues at The Festival Theatre in Edinburgh from 21-24 May. For more information on Scottish Ballet’s upcoming productions, visit: www.scottishballet.co.uk
Chérie City was a guest of Scottish Ballet
Photos by Christina Riley and Andy Ross
