Prokofiev’s ultimate masterpiece makes a comeback to the London stage, through Matthew Bourne’s imaginative retelling of the world’s most harrowing love story. Guillermo Nazara shares his views on this new montage – to let us know if, in this case, the course actually ran smooth.
A broken heart might never beat again. The most unfortunate love story has however proven the most successful at making audiences fall for it. Two young companions finding actual happiness in each other, only to feed the egotistical hatred coming from the absurd feud of their rival families. A blasting mixture of high and lower passions, its plot has also captured the imagination of more than a few creatives – finding new ways to express and experiment with the aching enthrallment that Shakespeare immortalized (yet not originated) over four centuries ago.
To the untrained ear, Prokofiev’s take on the piece might as well come as a contradiction in terms and sounds. Though blazing out its inner fire through an intricate, textured score, the apparent sobriety of its style (especially, the main theme) may seem as the opposite to the plot’s expected fever. But it’s precisely that roughness that encapsulates the truthfulness of the material – and it’s closeness to the genuine human experience. Love is often presented to us as charming fairy tale – but in reality, there’s no joy without some hurt.
Matthew Bourne re explores the classic with an updated interpretation (sort to speak) of the ballet’s narrative. Now set in an authoritarian boarding school, the basic structure of the plot has however been preserved: same friends, same enemies and the same random encounter between the two – that will soon unravel a sea of fervor, but also unleash a tide of fury. Though maintaining the innocence of first young love throughout the development of the tale, the visual approach is nonetheless more visceral and highly sexualized – bringing out a more instinctive, ardent angle to expose the piece’s natural eroticism.
Exuding excellent recounting skills, his choreography masterfully blends precise technique, beautiful aesthetics and compelling storytelling to take us through a journey of conflicting, unruly emotions – guiding us with sufficient freedom to let us fall (or even drop us) into the allure and rawness of those sections closer to our souls. That’s also supported by its highly evocative lighting (credit to Paule Constable), able to both suggest feeling while creating a extremely immersive atmosphere at the same time – successfully complementing, too, Lez Brotherston’s grand and (much cleverly) re-purposable set design.
On the other hand, the whole company achieves a rotund triumph at making the montage come together – exuding complete rapport and understanding of the material, and delivering their parts in an almost impeccable rendition. Another mention is fairly earned by Terry Davies, for his marvelous conducting and orchestrations – brilliantly mixing the work’s generally forceful vibe with a more sensitive, delicate touch on top.
With all of its elements flawlessly assembling in what’s no doubt one of the strongest offers of this summer, Matthew Bourne’s Romeo and Juliet takes the audience’s breath away as its leads take their last – regaling us with an astounding display of theatrical mesmerism. Did my heart love till now? Forswear it, sight. For I never saw true beauty until that night.
All pictures credit to Johan Persson.
Romeo and Juliet plays at London’s Sadler’s Wells Theatre until 2 September. Tickets are available on the following link.
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