The old tale of star crossed lovers is wonderfully exhibited by Staatsballett with choreography by Nacho Duato. Polina Semionova really captures the child-like spirit of Julia, helped of course by Duato’s choreography which has no pointe work, and Federico Spalitta, Olaf Kollmannsperger, Ivan Zaytsev, Affairs Ghalumyan and Nikolay Korypaev, who create a clear contrast through the masculine competition of Tybalt, Paris, Romeo, Mercutio and Benvolio. 

Although our seats were to the side, meaning we only had a partial view of the stage, the powerful music of Prokofiev was delivered in a way that we could envision more of what was happening. Paul Conelly as Music Director is to be praised for this. The dancing is sublime with perfect lines, modern hands and perfect synchronisation between the dancers. The costumes were devised by Angelina Atlagic through inspiration from the Renaissance era, and help create clear character portrayal, especially helping the audience identify the main characters in the crowd scenes. The mimes portrayed by Beatrice Knopp (Juliet’s Nanny) and Tommaso Rendo (as Later Lorenzo) assist in telling the story of the two young lovers from different sides of the track, who end up suffering through longing for one another.

Duato’s new theatrical choreography to Prokofiev’s stunning score adds some new variations to the classic tale of these lovers – Romeo infiltrates the Capulet’s party as a jester – don’t we all want a partner who can make us as laugh as well as being devastatingly romantic? Juliet’s ‘death’ is resembled by a transparent blanket draped over her, which she then uses to cover Romeo. If you’re interested in seeing a twist on an old classic, Staatsballett’s production of Romeo und Juliet would be one to make note of. The traditional score combined with modern choreography only adds to the storyline, making this a must see.

For upcoming performances of Romeo and Juliet, visit here.