What word describes a ballet that is more than just the choreography? “Drambalet” is the perfect description of the production I enjoyed on Thursday night, when the Varna International Ballet and Orchestra company brought its production of Romeo & Juliet to Hull.
This most famous of William Shakespeare’s stories was brought to life by a musical score composed by Sergei Prokofiev, in 1935, who, according to historic reports, endeavoured to model his work on the idea of a drambalet – “a ballet rooted in dramatic storytelling”.
And it’s to his rousing music, played live by an amazing orchestra, conducted by Peter Tuleshkov, that the most talented performers danced and acted out the tale of the star-crossed lovers.
Set in Renaissance Verona, Italy, the huge backdrop throughout, mostly in a sepia colour, depicted scenes of splendour (huge archways leading onto checkered marble floors and stone staircases); a magnificent church, ordinary street scenes and, of course, THE balcony (wherefore art thou etc etc) to name but a few.
There can’t be a person on the planet who doesn’t know the story of the two feuding families, the Montagues and the Capulets. But, suffice to say, there are many different ways for it to be told, and this Bulgarian ballet company got it just right.
The costumes, for starters (take a bow Dmitry Tcherbadzhi), were simply glorious throughout – rich reds and golds, blues and silvers, reds and silvers, black and white, black and silver – all truly a feast for the eyes.
And as I mentioned above, this drambalet was more than a ballet. Choreographer Sergei Bobrov incorporated all the steps one expects in a performance such as this, but I also espied a few tipple tails and a couple of piggy-backs that amused and surprised in equal measure.
The two lovers, Juliet (Andrea Conforti) of the Capulets, and Romeo (Mirko Andreutti) of the Montagues, not only danced beautifully, but their facial expressions showed every emotion as their romance developed.
Romeo & Juliet is a well-known tragedy, but there is plenty to laugh about in this production, especially whenever Romeo’s friend, the mischievous Mercutio (Giacomo Ammazzini) is on the scene, which is often.
There is non-stop action from the curtain up, with masked balls, sword fights, merry-making and high spirits; plus a wedding.
And it’s no spoiler to reveal that people die, and when they do the scary-looking Death Heralds, bedecked in black and silver, add even more energy to proceedings.
Space prevents me from naming all the main dancers on the night, so apologies to them. But special mention must go to Conforti as Juliet and Andreutti as Romeo, who were rarely off the stage all night long and, to my untrained eye, never put a ballet shoe wrong.
The theatre was far from full on Thursday night; maybe theatregoers had booked for this company’s next two productions at Hull New Theatre this week – the more well-known Swan Lake and The Nutcracker.
As the curtain fell on this unforgettable spectacle, these multi-talented ballet dancers, and amazing orchestra, received rapturous and well-deserved applause. Bravo.
Reviewer: Jackie Foottit
Reviewed: 20th February 2025
North West End UK Rating:
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