Review: Matthew Bourne’s Romeo and Juliet at Wolverhampton Grand Theatre

There is nothing quite like the work of this much-admired director/choreographer, so it is beyond exciting to see that his take on the greatest love story ever told is set to dazzle local audiences.

Yes, it may challenge some theatre-goers, as this is not traditional ballet as you may know it, but at the same time there is no denying the talent within Matthew Bourne’s company is outstanding and the idea behind this ballet is incomparable.

Do not expect a textbook version of the plot either, as some of the characters have been adapted to fit in with the setting. Instead see if you can identify the parallels or simply enjoy New Adventures' adaptation as it is. You need to be open minded.

The action takes place inside the Verona Institute, where young people are separated by gender and sexuality. It could be either a hospital, a prison, a school for youth offenders - you decide; a perfect example of adapting the plot.

Every aspect of the problems modern youth face today is covered, from knife crime to homophobia, from child abuse to bullying, which is naturally thought-provoking and at times, very disturbing, but so important to bring to the fore.

That said, Matthew Bourne always brings a little of his own subtle humour into his ballets and believe it or not, even manages to do this amid this dark, sad tale.

In the opening scene, we find the cast executing regimented movements, with strong use of chairs which perfectly represents the institutionalised feel of the piece. Every dancer, dressed completely in white, moves in unison until they almost become one, depicting the uniformity of the establishment. Later we see the dancers perform a scene which could be compared to The Dance in The Gym from West Side Story, yet another version of the Shakespearean classic.

If you have never seen a New Adventures production, the choreography may shock as it is so unusual. Romeo and Juliet is no exception.

Matthew Bourne has mixed pure ballet moves with contemporary dance and of course, his own inimitable style to create physical interchanges between the dancers, never seen before, such is the strength of his technique. Some moves seem impossible as the dancers hardly even touch physically, and yet are danced with ease and flair by this talented troupe.

A standout moment was the depiction of two bedrooms where the boys and girls roll underneath their beds and the scene changes from one room to the other. So slick and well executed was the scene that you felt as if you were watching two completely different places, but at the same time.

Paris Fitzpatrick is appealing and boyish as Romeo and Cordelia Braithwaite as Juliet invokes pure emotion. Together they dance with the wild abandonment and recklessness that young love brings, but perfectly control the technical aspect of the dance moves. They cover the whole stage with strength and tireless energy and they make you want to take the love of your life and open your heart completely.

A stark contrast to the white backdrop of the ballet and the purity of the young love, is Adam Galbraith, dressed in black, who is menacing and alarming as the warden who threatens Juliet and is the parallel character to Tybalt in the original story. His characterisation is so believable I winced at his every entrance.

It feels unfair to pick out any individual from the cast, as each and every dancer is a named character and are all equal in terms of performance, but Jackson Fisch as Baltasar certainly catches the eye, as does Cameron Flynn as Mercutio. Their movements together and particularly Mercutio’s untimely death brought a tear to my eye as they clung to each other in heart-breaking despair. It was tragic and distressing to watch such was the power of their portrayals.

On the creative side, Lez Brotherston's set is sterile, smooth, and sleek with a curved bridge and ladders either side, and the whole production is bedecked in white, from the scenery and props to the costumes which are in soft, tactile materials and create wonderfully flowing lines, only enhanced by the balletic movements of the cast.

The lighting, for the most is stark and yet strangely atmospheric, but a glitter ball creates a warm and joyous feel in the lighter moments and there is a wonderfully heart-wrenching moment with a cloud of confetti when the young lovers are supposedly married.

The famous balcony scene will delight even though it is portrayed in a completely different way to how you may expect, with the lovers dodging the search lights of the asylum’s wardens, which creates tension and anxiety of the vista. The couple’s portrayal of this iconic moment in the story retains the Matthew Bourne’s choreographic aspects and yet there are moments which felt reminiscent of previous, more traditional productions of the ballet too, which I absolutely loved.

Prokofiev’s soaring score has been very cleverly adapted by the New Adventures orchestrator, Terry Davies and a band of outstanding musicians, and whirls through the air, with incredible light and shade The talent is not just visible on the stage itself it would seem.

Whether you are a ballet aficionado or simply a fan of The Bard, this completely new take on the tale of star-crossed lovers is unmissable. Go, relax, and embrace Matthew Bourne’s unique and distinctive dance style. It won’t be long before you are longing for his next production.

Runs until Saturday. For tickets visit grandtheatre.co.uk or call 01902 429212.