Romeo and Juliet

Joburg Ballet marks 400^th Anniversary of Shakespeare’s death in remarkable production of literature’s star-crossed lovers

By Jaco Lotriet

Following the successful run of Giselle, Joburg Theatre presents the most endearing love story of all time, in a ballet presentation of William Shakespeare’s timeless Romeo and Juliet. This production reunited Giselle leads Jonathan Rodrigues and Shannon Glover, amongst others, as the main characters in a breathtakingly beautiful rendition, that elicited heartfelt applauds from the audience on opening night. I must confess that I hold this magical story close to my heart.

It is not customary to relay a story of any theatre production in a review but I feel compelled to do so in a brief. Set in the old, picturesque town of Verona, Italy, we find two prominent, feuding families. The Montagues, Romeo’s family and the Capulets, Juliet’s family. Their cantankerous outbursts toward each other does not phase the two lovers, in a battle that seems to be diffused only by Escalus, the Prince of Verona, as played commandingly by Otto Nhlapo. He commands they lay down their arms and declares whoever disobeys him shall be banished from town. In a remarkable twist of fate, it is Romeo that eventually befalls the wrath of the Prince that would eventually see him take his own life after mistakenly believing that the love of his life is dead, upon visiting the Capulet family tomb. But she isn’t…Shakespeare’s classic tale of tragic love has moulded many a modern love story, including the ever popular Westside Story, which bears testimony to the power of Romeo and Juliet, even 400 odd years after it was written.

Joburg Ballet in conjunction with Vuyani Dance Theatre has brought this epic to life in a dazzling three act display of delightful ballet that captures the essence of the play as well as the imagination – right from the first scene in the market place where we meet the love-struck hero, accompanied by his lackadaisical duo of friends, Benvolio and Mercutio, played by Milwhynne Williams and Michael Revie.

It is interesting to note that Revie was also part of Artistic Director Iain MacDonald’s’ production team, together with Lauren Dixon-Seager. Revie’s part as a dancer in the ballet, lends a light-hearted, comical escape from the ‘heaviness’, so often associated with Shakespearean plays. Williams’s portrayal as his counterpart, may well be seen as two silly jokers, poking fun at everyone. His taunting of Juliet’s’ mighty nephew Tybalt, played by the impressively large statured Juan Carlos Osma, leads to his death by the latter’s’ sword. This act of cruelty enrages Romeo and ultimately climaxing in Tybalts’ own death, leading to Romeo being banished, after sadly only spending one night with Juliet…

What immediately drew my attention, was the stage décor and set design. One might be forgiven for thinking that you have been invited to the party in the Capulet garden. It is a case of less is more and yet its ostentatious functionality aided in enhancing the overall look and feel of the production, whether it be a grand staircase, the balcony from the infamous balcony scene, grand pillars or exquisite draping.

The Capulet crypt in the final scene where Juliet’s body is laid to rest, was especially eye-catching. Sombre, yet stirring – perfectly capturing the mood and further enhanced by the sublime, almost eerie lighting that somehow accentuates the dance manoeuvres and décor. It magically pulls the audience into this mystic world of make believe. All of this is thanks to set design co-ordinator Vanessa Nicolau, set design consultant Peter Cazalet and lighting designer Simon King.

In this production, music was courtesy of original Russian composer Sergei Prokofiev. Whether light and flowing or even bellicose-like and declamatory, such as the ballroom scene, it makes an impression that leaves one feeling exhilarated, to say the least. The storyline is complex and I found that the narrative sequences by Peter Terry, in between the scenes, were most helpful in maintaining a cohesiveness throughout.

Hand in hand with the music goes the duteous choreography that one comes to expect from a ballet of this scale, based on that of choreographer Nicolas Beriosoff. As with Gizelle, Romeo and Juliet is a subtle blend of acting and poised ballet routines that culminates into a precision, unfailing delivery. The unwavering commitment, passion and dedication clearly evident in the performers’ eyes and smiles throughout. The act reminded me of how intoxicating the effects of falling in love could be and was certainly a heart-warming experience on a cold winter’s night. Positively dazzling.

Romeo and Juliet is being showcased on the Nelson Mandela stage at the Joburg Theatre Complex until 24 July 2016.