Romeo and Juliet
by Anne-Marie Daly-Peoples
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'Juliet's House', Verona |
Shakespeare never visited Verona. The original story of the star-crossed lovers, came to him by word of mouth. However, it is where its origins lie. It was written for the first time and performed as a play in Verona in the 1520s, quite some time before Shakespeare's version was performed on an Elizabethan stage.
'What lady's that which doth enrich the hand of yonder knight?
O she doth teach the torches to turn bright;
Her beauty hangs upon the cheek of knight,
Like a rich jewel in an Æthiop's ear.'
- Romeo and Juliet, Act 1, Scene 5, William Shakespeare
Shakespeare's Romeo and Juliet has long been fodder for some of the most exquisite ballet works in existence. Being outstanding and a lamentable tragedy, was not Shakespeare's invention. He used common currency of European literature that has since been played out to a vast array of musical descendents.
Romeo and Juliet, is ubiquitous in ballet circles. Whilst the well-known versions are by the South African born John Cranko and the classically trained Kenneth MacMillan, virtually every self-respecting artistic director is determined to make his mark. Matthew Bourne is working on a gay version.
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Mark Morris's premier of Romeo and Juliet |
In 2006, the renowned choreographer Mark Morris received an honorary doctorate from Bard College, New York. Leon Botstein, the Bard President and conductor, asked him whether he would be interested in seeing the original script that had only recently been discovered in the Russian State Archive of Literature of Art in Moscow. Not one to decline an offer of convention, he willingly took up the challenge. Morris, who is intuitively musical, set about unravelling this Renaissance play set against a 'Veronese' setting. Its premiere fell on Independence Day in New York with a standing ovation. It is programmed to perform at the Barbican Centre in London from 5 - 8 November 2008. http://www.fishercenter.bard.edu/romeoandjuliet/production/tickets/
Of Shakespeare's tragedies, Romeo and Juliet, offers itself to operatic treatment, as its popularity with composers attests. The theme of young love is set against a family of disapproval and quarrelsome behaviour. And it has glorious ingénue roles in the two lovers, as well as an extra large character role of nurse. The original score was composed around 1935 on commission by the Kirov Ballet. But it would be some five years later, before the Russian premiere would be unveiled in Leningrad.
This was due to the Soviet cultural authorities, who were outraged at the original score. Forced to rewrite the conclusion, they insisted that Prokofiev insert new roles into the ball scene. The balcony scene also required a total reconstruction. Prokofiev was formally instructed to beef-up the orchestration, before they would be prepared to accept, what would become the most passionate and adored ballet.
This past month we have been fortunate to see the Royal New Zealand Ballet carry us through Prokofiev's live music, by the Auckland Philharmonia Orchestra, plus the undoubted skilful pieces of choreography by Christopher Hampson, that carry us through all the recitatives involved in the plot telling.
Auckland
23 - 27 July
Aotea Centre at THE EDGE
Featuring the Auckland Philharmonia Orchestra
Napier
1 - 3 August
Municipal Theatre
Invercargill
7 - 9 August
Civic Theatre
Christchurch
13 - 16 August
Isaac Theatre Royal
Featuring the Christchurch Symphony
Wellington
20 - 24 August
St James Theatre
Featuring the Vector Wellington Orchestra