Never was a story of more woe told quite so often as that of Juliet and her Romeo. Shakespeare’s tragedy comes back to stage again and again, especially in ballet, but that’s because it has so many emotional flashpoints that can make theatrical magic: the moment the teen lovers’ eyes first meet, the balcony duet, Juliet’s potion-drinking, the denouement in the crypt.
Northern Ballet’s production has come back to life itself, after Lez Brotherston’s sets and costumes were destroyed by floods. It was devised in 1991 by Christopher Gable with Italian choreographer Massimo Moricone, who provides lyrical, lilting pas de deux for the lovers and hard-edged formations for the Capulets. Juliet’s clan are very much painted as the baddies in this production, with cold hearts and studded black leather. The famous Dance of the Knights at the ball is less welcoming party, more a warning.
Into this sinister setting comes virginal, giggling Juliet (Dominique Larose), blithely accepting her suitor Paris. Larose smiles blandly through her solo, but only because she hasn’t woken up yet. When she finally locks eyes with Romeo (Joseph Taylor) the smile drops in astonishment. The scene is cleverly done, the couple staring at each other in absolute stillness while the chaos of the party goes on around them. Then the rest of the world freeze-frames and they dance in each other’s arms, as if this is what’s happening in their imaginations.
It is Juliet who triggers and embodies most of the drama, and Larose works hard to show her tortuous journey. Aaron Kok’s Mercutio steals the show when it comes to character and explosive dancing, full of energy, flight and cheek, getting stuck in to the aggro that escalates between the warring sides. None of this would have the same impact without Prokofiev’s famous score, played live by the Northern Ballet Sinfonia (although later in the tour, budget means they’ll be replaced by a recording). The drama feels tight and pacy, if a little black and white. This version doesn’t quite scale the heights of Kenneth MacMillan’s masterful 1965 ballet, but it’s a show well worth reviving.
• Romeo & Juliet is at Leeds Grand theatre until 16 March then touring
