I went to the Royal New Zealand Ballet‘s new production of Romeo and Juliet the other night. Francesco Ventriglia, the outgoing Artistic Director’s version is longer (three Acts) and more theatrical than previous productions by the company. Jon Buswell’s lighting combined nicely with James Acheson’s innovative sets to create a dark renaissance mood. Boswell’s costumes also provide a magnificent sense of pomp and grandeur for the nobles. This is also a grittier production; this production has a fight coordinator – Carrie Thiel – who gives the fights a sense of realism.
Joseph Skelton and Madeleine Graham are Romeo and Juliet – Skelton and Graham display chemistry during their pas de deux. Their balcony, morning after, and tomb choreography had innovative segments where they don”t dance – they just hold each other and/or step together. It actually reinforces their relationship. Graham genuinely looks like she could be 14 years old! Skelton gives the audience something to cheer for – when the secretly married couple wake up the day after the secret wedding – he is topless.
Paul Mathews’ Tybalt was impactfull; he was by turns: powerful, athletic, moody, angry, and passionate.
Massimo Margaria and Filippo Valmorbida were Mercutio and Benvolio. Margaria is the perfect loyal friend; Valmorbida is the friend who is always fooling around.
Abigail Boyle is the majestic and proud Lady Capulet. Watch out for her black mourning – for Tybalt – outfit as a harbinger of death.
Things I liked:
- Paul Mathews’ Tybalt; it is good to see him in a challenging role.
- Some of the fight sequences.
- The visual symmetry of the Prince’s guard: half the guards held their pikes with their right hands, and the other half held their pikes with their left hands.
- The noble ladies’ costumes – dripping in pageantry.
- Graham/Juliet’s pointed toes – when she was asleep, unconscious, and even when dead.
Things I did not like:
- The excess of divertissements.
