This classic ballet gets a modern and macabre shake up in this surprising new production.
Varna International is known for its fairly traditional approach to ballet, with talented young companies of dancers from around the world performing well-known pieces.
This current touring version of Romeo & Juliet shakes that up, with some vibrant and creative choreography from Sergei Bobrov matched with flamboyant costumes by Dmitry Tcherbadzhi, half period half fantastical.
We rattle through the story pretty quickly, with minor characters and plot lines dispensed with to make room for some very ribald scenes from Mercutio (played with joyous abandon by Giacomo Ammazini) and his troupe of dark clowns. I don’t recall the death dance, cross dressing, or giant codpiece from the play, but they have a remarkably Shakespearian flavour to them.
Much more chilling are the death heralds that grow in number as we approach the tragic endings of our Romeo and Juliet. With dark robes, skull-like caps, and white gloves, they urge on Romeo and Juliet in grim unity; it is a fantastic and eerie use of the corps.
There are more traditional elements: Romeo (Timofei Fedotov) and Juliet (Martina Prefetto) have several skilfully danced pas de deux, starting with their meet cute at the masque ball. There is a youthful joy to both of them, with hand gestures that you can imagine being combined with shouts of OMG or whatever it is the youngsters say these days.
Post-Tybalt’s death however, Fedotov shifts from boyish grin to blank-faced numbness; Prefetto is less transformed and a scene where she trashes a set of costumes has interesting symbolism but lacks passion.
Roberta Estrela is fun as the nurse, whether blindfolded playing with Juliet or wearing the biggest wimple in history when she meets Mercutio and Romeo. Danylo Motkov’s Tybalt appears to be semi-freestyling at points, with moves that feel like deconstructed classical ballet.
Conductor Peter Tuleshkov’s orchestra isn’t quite as sharp as the dancers – there were a couple of slips – but it remains a pleasure to have live music accompanying the movements.
This production feels something of a gear chance for Varna and a welcome one. There are clear classic elements here, but also some beguiling twists that bring something genuinely new to the story, all performed by a talented young company.
- Varna International’s residency at Norwich Theatre Royal continues until 19 February 2025 with performances of The Nutracker and Swan Lake, then touring.
- Read our interview with Giacomo Ammazini
