[Review] Northern Ballet’s Romeo and Juliet – more commercial than refined

Protests aren’t a surprise of late… but it is interesting to arrive at Sadler’s Wells with one taking place.

The musicians of the Northern Ballet Sinfonia have taken to the streets to highlight the important role live music plays in the theatre. Due to funding freezes and cuts Northern Ballet have had to massively reduce their touring schedule, and basically lose all live music accompaniment. The knock-on effect is huge, as we can imagine, and who knows where all of this arts and culture austerity will end…

To the show, and Christopher Gable’s 1991 production (with choreography by Massimo Moricone) of Romeo and Juliet. No one can deny that Northern Ballet put on a show and a half, but I’d argue that subtlety and nuance don’t always feature.

The set by Lez Brotherston is a masterpiece in its minimalism and adaptability – think crumbling, marble columns on wheels – however the same can’t always be said for the choreography or the role interpretations.

Act 1 starts and mostly doesn’t stop. There’s lots of story to get through, yet Gable’s take seems to be more is less. It feels overfacing from the outset, and key moments get drowned out due to the endless action from all sides.

Romeo has to grab Juliet to get her attention in the Ballroom – bizarre. And the iconic Dance of the Knights has become a mashup of Bōjutsu and the last spin cycle of an industrial strength washing machine.

The important first pas de deux of Juliet with her betrothed, Paris, is busied with four wannabe Juliets and partners dancing in and around the principal couple. Why? Worse – Juliet doesn’t even get a solo. The besties are back again!

The balcony pas de deux fairs a little better with some intimate emotion and visceral use of the back to show the physicalising of internal feelings… young love indeed.

Act 2 starts heavy-handed with bare-chested bird men and head-scarfed women for the Montagues, and aggressive, Darth Vader mask-wearing Capulets. The latter are named as ‘Cats’ in the programme, which explains the utterly bizarre miaowing and hissing that comes from the stage. It’s a new one on me. Perhaps I need to do further Shakespeare study, or did someone call Andrew Lloyd Webber in the interval?!

Aaron Kok as Mercutio is the real deal from the beginning of the evening, bringing agility and humour to the jester-like choreography. He also does well with the 2nd Act death scene – a dancer to watch out for.

Speaking of death scenes, Joseph Taylor’s likeable and loved up Romeo does some serious damage to Tybalt. Stabbing alone doesn’t seem to quench his bloody thirst, so he goes in for strangulation also.

Gable has created an interesting role for Lady Capulet, especially at the end of Act 2. Harriet Marden gives her everything, but like others, misses the layering of the character, and the power of subtlety in narrative communication. And the wig doesn’t help matters.

Act 3 should be where Juliet takes her dramatic journey even further, but I found Dominique Larose lacking in the role. She’s a beautiful dancer, with molten, lower leg work, but the overall characterisation needs further attention. Currently it goes from superficial to demented too quickly, and with nothing much else in-between.

The Act 3 bedroom pas de deux feels a bit flat, like it lacks choreographic structure to evoke emotional depth. And none of the duos between the star-crossed lovers suggest equality either with Juliet always presented as passive and being manhandled. I think Shakespeare had different ideas for his headstrong heroine. It’s a shame Gable and Moricone didn’t have the same vision.

The end of the ballet is poignant, when the two Lords of the opposing families embrace each other, standing over the corpses of their beloved offspring. Will lessons finally be learnt?

Northern Ballet dancers in Romeo and Juliet. Photo Emily Nuttall

Rachael Gillespie in Romeo and Juliet. Photo Emily Nuttall

Dominique Larose and Joseph Taylor in Romeo and Juliet. Photo Emily Nuttall

Dominique Larose in Romeo and Juliet. Photo Emily Nuttall

I can imagine that many people find this a satisfying show, as did I at times, but when one’s spent decades with other productions that really are plays without words, showing mastery of storytelling through stillness, pulling focus to the smallest of details, and letting Prokofiev’s epic score do most of the talking, then the bar is set very high I’m afraid.

This production ends up feeling more commercial than refined – the difference between drip feeding and waterboarding a narrative – and the only evident depth of character was in Heather Lehan’s Nurse, which was much appreciated!

I adore live music and believe that most good dance is inspired and instigated by the score that underpins it, so it pains me to say that Northern Ballet Sinfonia didn’t sound that great, but they didn’t. Specifically, the brass. And do we really need each Act to start with a rumble of thunder? Literalism at its worst. I’m sure Prokofiev is turning in his grave.

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.