Five star review of Matthew Bourne's Romeo + Juliet

Set in the ‘Verona Institute’ which appears to be somewhere between a psychiatric hospital and a young offenders’ institution, Matthew Bourne’s Romeo + Juliet certainly doesn’t romanticize Shakespeare’s tragic tale of doomed young love.

This is visceral, powerful and hard-hitting on every level, yet it is also at times lyrical, funny and achingly tender. It is testament to Bourne’s consummate skill that the glowing wordless narrative consistently matches the soaring poetry of the play.

Lez Brotherston’s brilliant set design is all tiles, shiny surfaces and stairways leading into the dark with two entrances at the back, over which the words ‘Boys’ and ‘Girls’ are engraved, as you might see on a Victorian school building. There are barred doors and locks, guards patrolling and a doctor and nurse who appear at various intervals to check up on the inmates.

There is also a kind resident curate who genuinely cares for her wards and organises a ball for them – at which Romeo (Rory MacLeod) and Juliet (Monique Jonas) first meet and fall in love. The pas de deux between them, which includes a seemingly everlasting kiss that continues as they roll across the floor and climb the stairs, is completely stunning. The sense of youthful exuberance, playfulness, passion and sexual awakening is beautifully conveyed. It is certainly a highlight, but the ensemble pieces are equally compelling – each character feels completely authentic, individual and fully formed.

The production doesn’t soft-pedal on any of the difficult themes of Shakespeare’s original and addresses contemporary issues such as the mental health crisis among the young and the ‘othering’ of those who experience such difficulties or do not conform to social norms. There is certainly the suggestion, as Romeo is dropped off at the Institute by his busy, inattentive parents, that these young people might be considered to be some kind of embarrassment.

Prokofiev’s wonderful score has been specially adapted by composer, and regular Bourne collaborator, Terry Davies to create a more pared back version that perfectly complements both the spare, intimate storytelling and the raw energy of the choreography.

It’s an absolutely breath-taking production, full of heart and vigour. While staying true to the spirit of the original play, without being overly reverential, this is a Romeo and Juliet for and about a new generation. Bleak but beautiful – and totally mesmerising.

To September 16. At The Lyceum Theatre, Sheffield, October 3-7.