I love Prokofiev’s score, Shakespeare’s story, and I love going to the ballet. So with all ingredients in place, it is natural that I have seen multiple ballet productions of Romeo and Juliet in the past and either because of or despite this, I happily wanted to see the latest brought to Manchester; this time by the Moscow City Ballet at the Palace Theatre.
And so what would this production of the infamous star-crossed lovers bring to the stage?
The Company were in town for two nights, bagging a brace of big production ballets, accompanied by a live orchestra, the Hungarian Simfonieta Orchestra, conducted by Igor Shavruk.
The second was Swan Lake, the first; this the most famous of love stories.
The costumes were something to behold, the colours dazzling, the flowing fabrics of the female dancers as graceful as the steps performed in them, and the sets simple yet vibrant with curtain backdrops depicting Verona including the infamous balcony and the church where the short-lived marriage took place.
I can’t speak of the aesthetics and costumes, designed by Natalia Povago, without mentioning the challenge posed to principle dancer, Kseniya Stankevich, who, as Juliet, not only stole the show with her heartfelt, honest and moving performance, but even did so for quite some time with a dress which hadn’t quite been zipped up during a scene with her nurse. The tension!
Speaking of the nurse, special mention must be given to Ekaterina Lebedeva who gave a perfectly pitched comedic performance, an almost slapstick affair, as she stomach-juttingly stomped across the stage, gurning away providing a laugh out loud moment and the perfect light relief. And let’s face it, I shouldn’t think I’m giving much away when I point out that whilst Romeo and Juliet is a love story, it is one shrouded in sorrow and devastation.
In fact the production provided perfect light and shade throughout. The shade, whilst most expected, had added dark dimensions by way of the dancers bedecked in swathes of black fabric, depicting pending and eventual death. None more so than in the final scene of the production when the four victims of death, two Capulets, two Montagues, are held aloft in formation – almost symbolic of crucifixion.
But let’s get back to that light – the marriage scene where Juliet and Romeo (Dzimitry Lazovik) charmingly, naively and sweetly steal frantic kisses at the altar behind the Friar’s back, was again a welcome injection of humour to a story that even the least experienced in the texts of Shakespeare knows will end in heartbreak.
In summary, the entire Russian company put on a spirited performance, bringing an oft-told tale of young love and family rivalry alive once again, adding artistry and a touch of beauty, to what would normally be another dark and dreary January night in our dear old city.
For dates of future performances by Moscow City Ballet throughout the UK, see http://www.pmbpresentations.com/
For all upcoming productions at the Palace Theatre, visit https://www.atgtickets.com/venues/palace-theatre-manchester/
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