Created for New Adventures in 2019, Sir Matthew Bourne’s Romeo and Juliet is one of his most captivating productions. Like his 1995, award-winning version of Swan Lake, his Romeo is a masterclass in reinvention and innovation. It bears repeated viewings where audiences, curious to discover a multitude of nuanced interpretations, can still appreciate an ever-present spontaneity and often shocking realism.
Set in a time in the not too distant future, within the walls of an indeterminate institution for young adults, perhaps a psychiatric hospital or a young offenders facility, the characters live out their days in a series of regimented routines. With military precision they are medicated, exercised, educated and overseen by a ruthless guard, Tybalt (Danny Reubens). Juliet (Cordelia Braithwaite) is already a patient/inmate, we do not know why, but she is troubled, and this is further exacerbated by Tybalt’s unwanted attentions and subsequent brutal violation of her. It’s not for the fainthearted and quite frankly, strikes terror into one’s heart very early on in the first act. Romeo (Paris Fitzpatrick) is enrolled by his parents, Senator Montague (Andrew Monaghan) and his wife (Daisy May Kemp), one assumes because his errant ways are interfering with their political ambitions. A very humorous scene ensues where he is kitted out with his institution “whites” involving some assisted undressing and dressing. It is while he is in a state of undress and hiding, that he first sees Juliet. She is reeling from Tybalt’s assault and there is a poignant moment where his compassion prompts him to almost reach out to her, before they are interrupted.
They do, of course, eventually meet at what appears to be an in-house social event. This is great fun given the circumstances (as only Bourne can do!) complete with glitter ball, a kindly Rev. Bernadette Laurence (also Daisy May Kemp) and an agenda that quickly leads to frolics and debauchery. The first act would not be complete without the famous “balcony” duet. This is one of the major highlights of the evening. Lez Brotherston’s magnificent sets, a semi-circle of steps, clanking bars and platforms, lends itself supremely to all the action but in this, it feels custom-made. They feverishly kiss and clamber up and down the framework quickly becoming intoxicated with their uninhibited, overt passion. It’s simply glorious.
With the many plot twists that unravel in the most digestible of ways, it is the second act that always tips me over the edge. There are the inevitable deaths of Mercutio (Ben Brown) and Tybalt and yes, we know that the lead protagonists will die, but Bourne has devised a series of unexpected detours, some of which are so surprising that the heart races uncontrollably. The intensity with which the final scenes play out, is grimly devastating. It would be wrong to divulge the remaining narrative here because it really needs to be seen for the drama to have maximum impact.
Suffice to say, knowing what is going to happen does not diminish the horror when it does. This would not work as well without the extraordinary talents that make up New Adventures. I note that some of the cast, who at this performance were in smaller roles, will go on to dance the leads at alternative shows. Monaghan, always charismatic no matter what he takes on, will switch his Senator Montague for Romeo and Monique Jonas, a memorable Governor Escalus, will dance Juliet.
It would be deeply unpleasant to meet Reubens’ Tybalt in a dark alley. His Tybalt was savage, unrelentingly ferocious and unhinged, as he strode across the stage like an uncaged beast. His warm, smiling curtain call revealed what a persuasive actor he is. Braithwaite’s Juliet was multi-layered. After her experience with Tybalt, we realise her life up to the point of meeting Romeo has been filled with trauma. Her blossoming love provoked a miraculous transformation that evolved before us. She captured the urgency of first love with endearing optimism. It is Fitzpatrick, though, who genuinely broke my heart. His Romeo was an innocent. His vulnerability was like an infection, permeating the skin and insisting that every emotion, every painful thought, was experienced as intensely by us, as by him. His performance was among the most memorable I have ever seen, and it has stayed with me.
A note on Prokofiev's music, which has been pared down to a chamber orchestra of 15 players, conducted by Brett Morris. Terry Davies' re-imagining of the score loses nothing and while it's necessary to adjust one's expectations of the running order and repetition, it quickly becomes clear that it supports the narrative. Bourne’s Romeo and Juliet is a triumph of theatre, but if you go, and you should: make sure you take a couple of packets of tissues and wear waterproof mascara.
