Review: ROMEO AND JULIET, Royal Ballet And Opera

Sir Kenneth MacMillan’s Romeo and Juliet continues to enjoy endless popularity, this being its third run by the Royal Ballet since 2019, but when the results are as good, there’s no reason why not. The depth and quality in the ranks was evident as the cast relished the challenges of the Covent Garden signature work. 

Yasmine Naghdi’s Juliet is a thing of beauty. Now an established Principal, she first danced the role ten years ago as a First Soloist, and so has had time to refine her particular interpretation which is vividly realised. Her storytelling is lucid, initially a very childlike figure full of energy and mischief, her potential suitor, Paris (Nicol Edmonds) holds absolutely no interest for her, too young to even entertain the idea of him. Later, she is heavy with responsibility, a woman who has lived and loved. 

Similarly, Matthew Ball is no stranger to Romeo, but on previous showings I felt he lacked some chemistry with his partners but his connection with Naghdi was an engaging watch. His Romeo has gained confidence since the last outing, more at home with the boyish bravado of the crowd scenes. 

And what a busy joy those crowd scenes are with Nicholas Georgiadis’ burnt orange and red designs, the abundant detail of the marketplace (even the non-dancing actors are credited in the cast list, all 32 of them) and luxury casting. Particularly eye-catching were the three wild-haired harlots portrayed by a trio of First Soloists; Claire Calvert, Isabella Gasparini and Annette Buvoli, breezy and self important, a kick here and a kiss there - they have great fun. 

Additional charisma is on hand from Joseph Sissens’ cheeky and provocative Mercutio and Leo Dixon’s smooth Benvolio. As they fly across the stage with Romeo on their way to the Capulet’s ball, so does the storytelling. Their interplay and characterisation immersing us further in the narrative.

It’s all of course lifted by the drama of Prokofiev’s timeless score. The opening moments of the ball scene to Dance of the Knights never fails to evoke goosebumps. The grand opulence of the march to the front of the stage is unlike anything else you’ll see in ballet. When Juliet meets Romeo, they lock eyes for several intense seconds, their attraction so immediate and magnetic it feels like a bolt of electricity, the ball is continuing but it’s impossible to look away.

Everything feels heightened by the time we reach the balcony pas de deux and finally some privacy away from Juliet’s parents and her fussy Nurse (Kristen McNally). It’s a slick operation, Naghdi transitions through the different lifts and poses with such smoothness, propelled by emotion. She reacts so naturally to Ball despite her experience in the role. Ball’s love for her is sincere, a contrast from the swaggering chap who snuck into the party. It’s a demanding physical scene, we see and feel them breathe even from the back of the stalls, here the story at its most absorbing. 

There is welcome distraction in Act II with the mandolin dancers, led by the ever agile and spritely Joonhyuk Jun, ominous in their bouncing joy before tragedy inevitably strikes and Ryoichi Hirano’s drunken brute of a Tybalt meets his demise. 

MacMillan’s imagining is undoubtedly the best modern interpretation of “the greatest love story ever told”, and Prokofiev’s score under the baton of Koen Kessels is unmatched. For my money there are still slower moments in Act III, it takes a long time until we’re in the eerie crypt and a lot of superfluous distractions with Juliet’s friends and a final rejection of Paris (has he not suffered enough). It’s too much for Juliet to carry the dramatic heft of it all. 

All this, but the understated conclusion is still devastating. The moment of stillness Juliet has sat on the edge of the bed as the score builds majestically, her silent scream when she sets her eyes on Romeo's lifeless body, anything less than full commitment would render it all meaningless, but Naghdi is profoundly affecting.

For a production that turns 60 this year, it’s certainly not in bad shape, there’s no reason why it won’t still be playing to audiences in 2085. For now though, the Royal have a wealth of star casts to showcase including Fumi Kaneko and Vadim Muntagirov who will step up for the cinema relay later this month, but on opening night Naghdi and Ball were a sparkling central couple. 

Royal Ballet's Romeo and Juliet runs until 26th May at the Royal Ballet and Opera

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