A cross between Prisoner Cell Block H; Grease and Saturday Night Fever. I would recommend watching all three films,
along with Baz Lurman's version, and to play Bourne Bingo. Probably too few similarities to call house! I'm not surprised there have been no reviews, so far. Too confusing to be called R & J. Actually perhaps being titled by the intials only might have indicated how little this referenced the great play. I had high expectations of this production but, unfortunately Matthew, this did not live up to your previous works. Better luck next time. We expect much from you, you have much to live up too.
3 Reviews
A Bewildering Ballet: A Review of Matthew Bourne's Romeo and Juliet
cynsm-166473 February 2024
I saw this in early 2024 at the Ahmanson Theatre in Los Angeles. Upon hearing the title "Romeo and Juliet," one's mind instantly conjures images of Shakespeare's tragic lovers, the feuding Montagues and Capulets, and the timeless tale of love that dares to cross the lines of familial discord. Therefore, it was with a sense of eager anticipation that I attended Matthew Bourne's adaptation, expecting a modern twist on the classic. Unfortunately, my anticipation quickly turned to perplexity.
Firstly, for those uninitiated like myself, it's crucial to note that this production strays far from the traditional theatrical experience. Bourne's "Romeo and Juliet" is an entirely wordless endeavor, communicated solely through the medium of interpretive dance. While the power of dance to convey narrative and emotion is undeniable, this production faced significant challenges in doing so clearly and compellingly.
The storyline, a cornerstone of any "Romeo and Juliet" adaptation, was nebulous at best. Without the familiar dialogue and soliloquies, the narrative attempted to unfold through choreography and expression. However, the abstract nature of interpretive dance combined with a plot that deviates from the expected rivalry between two families to a more ambiguous conflict made it challenging to connect with the characters and their plight.
Moreover, the side characters, who ideally should complement and enhance the story of the central lovers, often diverted attention with their actions, further muddying the narrative waters. Rather than elucidating the storyline, their movements felt disjointed, making it difficult to discern their relevance or the dynamics at play.
Compounding the issue was the setting. Abandoning the iconic Verona backdrop, Bourne opts for a nondescript dystopian universe. This choice, while bold, further distances the production from its namesake, leaving the audience adrift in an unrecognizable setting without a clear narrative anchor.
The absence of spoken word or traditional singing was another layer of unexpected challenge. Music and dance are undoubtedly powerful storytelling tools, yet the exclusive reliance on these elements demanded a level of interpretive engagement from the audience that, for some, may prove too demanding. This is not to discount the talent of the dancers, whose skill and commitment to their art were evident. Yet, the choreography's ability to tell this particular story in a coherent and engaging manner was, in my view, lacking.
To its credit, the production's design elements-from costumes to set design-were visually striking, offering a contemporary aesthetic that might appeal to those seeking an avant-garde theater experience. And yet, the beauty of these elements could not fully compensate for the production's narrative shortcomings.
In conclusion, Matthew Bourne's "Romeo and Juliet" is a production that dares to reimagine a classic in a highly unconventional manner. While innovation in the arts should always be encouraged, this rendition may not resonate with traditionalists or those seeking a clear narrative thread. It's a performance that, while visually and stylistically bold, may leave audiences divided in their ability to connect with its core story.
As always, art is subjective, and what fails to resonate with one may profoundly move another. Therefore, I encourage potential viewers to approach this production with an open mind but tempered expectations, prepared for an experience that is as bewildering as it is bold.
Firstly, for those uninitiated like myself, it's crucial to note that this production strays far from the traditional theatrical experience. Bourne's "Romeo and Juliet" is an entirely wordless endeavor, communicated solely through the medium of interpretive dance. While the power of dance to convey narrative and emotion is undeniable, this production faced significant challenges in doing so clearly and compellingly.
The storyline, a cornerstone of any "Romeo and Juliet" adaptation, was nebulous at best. Without the familiar dialogue and soliloquies, the narrative attempted to unfold through choreography and expression. However, the abstract nature of interpretive dance combined with a plot that deviates from the expected rivalry between two families to a more ambiguous conflict made it challenging to connect with the characters and their plight.
Moreover, the side characters, who ideally should complement and enhance the story of the central lovers, often diverted attention with their actions, further muddying the narrative waters. Rather than elucidating the storyline, their movements felt disjointed, making it difficult to discern their relevance or the dynamics at play.
Compounding the issue was the setting. Abandoning the iconic Verona backdrop, Bourne opts for a nondescript dystopian universe. This choice, while bold, further distances the production from its namesake, leaving the audience adrift in an unrecognizable setting without a clear narrative anchor.
The absence of spoken word or traditional singing was another layer of unexpected challenge. Music and dance are undoubtedly powerful storytelling tools, yet the exclusive reliance on these elements demanded a level of interpretive engagement from the audience that, for some, may prove too demanding. This is not to discount the talent of the dancers, whose skill and commitment to their art were evident. Yet, the choreography's ability to tell this particular story in a coherent and engaging manner was, in my view, lacking.
To its credit, the production's design elements-from costumes to set design-were visually striking, offering a contemporary aesthetic that might appeal to those seeking an avant-garde theater experience. And yet, the beauty of these elements could not fully compensate for the production's narrative shortcomings.
In conclusion, Matthew Bourne's "Romeo and Juliet" is a production that dares to reimagine a classic in a highly unconventional manner. While innovation in the arts should always be encouraged, this rendition may not resonate with traditionalists or those seeking a clear narrative thread. It's a performance that, while visually and stylistically bold, may leave audiences divided in their ability to connect with its core story.
As always, art is subjective, and what fails to resonate with one may profoundly move another. Therefore, I encourage potential viewers to approach this production with an open mind but tempered expectations, prepared for an experience that is as bewildering as it is bold.
"Now, is the Winter of our discontent!"
adamjohns-4257522 January 2024
Matthew Bourne's Romeo And Juliet (2019) -
As much as I enjoyed Matthew Bourne's take on 'The Nutcracker' (2003ish) I immediately found this interpretation of Shakespeare's most well known story very hard to get in to, for it's different setting and for the lack of clarity as to who was playing whom and what their connections were. And as 'The Nutcracker' used a similar institutional set it didn't really show any originality in Matthew's interpretation.
As with a previous version* of this story, also told to Prokofiev's music, I found the dances too modern and too odd to get along with. Neither the movement nor the music seemed to be telling any story and it was unclear where the Bard's romantic tragedy fit within it all.
The actor playing Tybalt (Dan Wright) was nice to look at, but I couldn't understand why his character appeared to be forcing his cousin Juliet (Cordelia Braithwaite) to have sex with him? It might have worked better if the warden character had been the Prince of Verona from the original story instead, in the same way that Baz Luhrmann had turned him in to a police Captain with his version. Tybalt could then have been one of the other inmates along with the rest of the characters.
It was all very frantic and I'm sorry to say that Prokofiev's music didn't help. Maybe Mr Bourne just wasn't using it properly, but I certainly couldn't follow what was supposed to be going on based on any well timed crescendos or lulls in the melody.
When Romeo (Paris Fitzpatrick) appeared on stage and started jerking all around in a very strange dance style, akin to that of Fat Boy Slim's 'Praise You' video, I just thought that it was too weird to stick with and I had to knock it on the head. Life's too short to watch bad theatre.
Unscored as unfinished
*Romeo And Juliet: Beyond Words (2019)
As much as I enjoyed Matthew Bourne's take on 'The Nutcracker' (2003ish) I immediately found this interpretation of Shakespeare's most well known story very hard to get in to, for it's different setting and for the lack of clarity as to who was playing whom and what their connections were. And as 'The Nutcracker' used a similar institutional set it didn't really show any originality in Matthew's interpretation.
As with a previous version* of this story, also told to Prokofiev's music, I found the dances too modern and too odd to get along with. Neither the movement nor the music seemed to be telling any story and it was unclear where the Bard's romantic tragedy fit within it all.
The actor playing Tybalt (Dan Wright) was nice to look at, but I couldn't understand why his character appeared to be forcing his cousin Juliet (Cordelia Braithwaite) to have sex with him? It might have worked better if the warden character had been the Prince of Verona from the original story instead, in the same way that Baz Luhrmann had turned him in to a police Captain with his version. Tybalt could then have been one of the other inmates along with the rest of the characters.
It was all very frantic and I'm sorry to say that Prokofiev's music didn't help. Maybe Mr Bourne just wasn't using it properly, but I certainly couldn't follow what was supposed to be going on based on any well timed crescendos or lulls in the melody.
When Romeo (Paris Fitzpatrick) appeared on stage and started jerking all around in a very strange dance style, akin to that of Fat Boy Slim's 'Praise You' video, I just thought that it was too weird to stick with and I had to knock it on the head. Life's too short to watch bad theatre.
Unscored as unfinished
*Romeo And Juliet: Beyond Words (2019)
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