Press tickets provided for review
⭐⭐⭐⭐

Matthew Bourne is a genius choreographer and one of the names that I revelled in studying back in the GCSE days. The way he stretches the norms around ballet and contemporary and musical theatre is something I have always admired.

The pure beauty of a Matthew Bourne production is that he brings stories to modern day and packs them with undeniable energy, exemplary determination and heaps of sexual tension. It’s dark, it’s sinister, it’s disturbing and it’s thought-provoking. It speaks volumes, without saying a word at all.

Set in Verona Institution which is intentionally left vague for the audiences to explore and make their own decisions but for me it felt very much reminiscent of the social experiment ward like on stranger things. We see a reimagining of characters such as Friar Laurence as Rev Bernadette (Daisy May Kemp) and Tybalt (Danny Reubens) becomes the guard.

With Romeo and Juliet, these themes remained. In fact, they were stronger than ever. The kiss between Romeo and Juliet which has to be the longest onstage dance kiss ever was oozing teen crush, whilst the raunchy scene in the Verona Institution with the company brought sexual tension by the heap-load. Whilst the guards are away, the company will play.

Now, I don’t think anybody goes into Romeo and Juliet expecting a happy and uplifting piece of theatre. But, what I hadn’t expected was to be so deeply affected myself by the outstanding performance of Cordelia Braithwaite. Watching her body language and facial expressions shift were so touching in the most disturbing of ways. The way she highlighted sexual and physical abuse was impactful to say the least.

Speaking of main cast, they really were exceptional. Paris Fitzpatrick was an interesting Romeo and embraced the sweet and sensitive role whilst being reminiscent of an early DiCaprio who really is my blueprint for a Romeo. Highlighting impulsiveness and immaturity well, Fitzpatrick wears his heart on his sleeve during the performance. He killed his final performance, pun intentional. The passion and sparks between the couple was evident throughout.

I enjoyed Mercutio (Harry Ondrak-Wright) and gravitated naturally towards his performances. He was comical. He was outrageous. He was brave. It seems I am loving seeing characters be killed off, but again, Ondrak-Wright’s death scene was iconic. The portrayal of homophonic bullying was evident but followed by a lot of hold your breath moments!

Tybalt played by Danny Reubens was a fearful guard and he was the perfect villain. I found my own heart racing when he’d be on route. Fear-inducing, violent and menacing. His presence on stage truly was felt.

It took me a while to piece together Romeo and Juliet and I ended up talking about it when I got home to comprehend it all which is the beauty of a Matthew Bourne dance. I do sometimes wish dance would have lines sometimes though! I’m desperate to fill in the silence with a shout, or a reaction! I’m not the biggest Romeo and Juliet fan often finding the story overdone or far too tragic.

I did find the new adventures adaption uncomfortable and disturbing which makes it not my favourite of watches, though for others that will be perfect. This is a must watch for young adult aspiring dancers or those who revel in a tragic yet powerful dance piece.

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Matthew Bourne’s Romeo and Juliet
Curve Theatre, Leicester
Mon 3 Jul – Sat 8 Jul 2023

Directed and Choreographed by Sir Matthew Bourne
Composed by Sergei Prokoviev
Set and costume designed by Lez Brotherston
Lighting directed by Paule Constable
Sound designed by Paul Groothius