45 years since its inaugural performance, Kenneth Macmillan’s production of Romeo and Juliet is again playing to a packed theatre in Covent Garden. Memorable stage designs, Prokofiev’s striking and experimental score, emotionally-charged choreography, and of course, that immortal tale of two star-crossed lovers will make sure it stays that way.
Two finely-tuned balletic instruments are needed to sketch the finer shadings of love, hate and everything in between that Shakespeare’s lyrical score dictates. In the lead roles, Tamara Rojo’s Juliet and Rupert Pennefather’s Romeo meet the challenge with an accomplished technical mastery. Rojo’s dancing is simultaneously ambiguous and teasingly captivating, her dragonfly-like lightness always suggesting more than she is willing to give. In the throes of passion, she breaks away from Romeo more than once and like all great actors, she is a magnetic presence on stage. The ‘trespass sweetly urged’ is particularly well done, a wilful kiss that both seem to enjoy, carrying long and sweetly enough to hint at the storm ahead.
The production offers a series of stunning contrasts as well. The grandeur of Verona’s grand houses jostles with the hoodlum street-brawls outside, just as the intimacy on the balcony is undercut with the impudent chatter of blades as each bragging Capulet meets his match on pointe. Then there are Prokofiev’s hot tides of emotion that rise and fall incessantly, adding precious emotional layering to the silent adagio of each dancer. This ballet has a lot of guts and gusto, and with a good dash of Rojo, parting is such sweet sorrow.
Until 16 March. Royal Opera House, 7 Bow Street, WC2. www.roh.org.uk
