With creative courage, the New Adventures Production at the Ahmanson Theatre understands that the trauma at the heart of William Shakespeare is about the failed freedom of the kids.
By John Lavitt
Los Angeles, CA (The Hollywood Times) 02-03-2024
The creative courage of Matthew Bourne is exemplified in his willingness to reimagine classics for the 21st Century. In the modern world, the warring families of Romeo and Juliet’s Verona seem like relics of the past. Instead, digging deep into the trauma of young love stymied, Matthew Bourne chooses to set a new vision of the play in the Verona Institute, a locked-down mental ward for youth. It is the start of another incredible production by the Center Theatre Group, where innovation and excellence go together.
Directed and choreographed by Michael Bourne to the music of Sergei Prokofiev, this modern dance version of the classic tragedy is entirely new while still being refreshingly familiar. The stark setting of a locked-down mental ward for youth is a powerful visual metaphor. The facility pretends to be a center of rehabilitation but is really about the control of sexuality and identity. The youth are divided by sex, with a transgender male forced to be with the boys. There is no expression of individuality in this oppressive institution of abusive guards, callous doctors, and greedy administrators.
In a fascinating twist, the violent Tybalt (a menacing Adam Galbraith) is re-envisioned as a heartless guard who takes advantage of the female inmates. Before Romeo enters the storyline, he brutally abuses and traumatizes Juliet (a stunning Monique Jonas), a beautiful African American young woman with a tragic flare and an angry charisma. Hence, before Romeo arrives at the Verona Institute, the early dances are about control and abuse.
As the lackadaisical son of a powerful political family, Romeo (Paris Fitzpatrick) is dropped off at the Verona Institute by his disapproving parents. They want the boy to learn discipline and get on the right track. They do not realize that the Verona Institute will change young Romeo in ways they never imagined.
Once Romeo meets Juliet, everything shifts for both of them. Although the past abuse has almost broken a cautious Juliet, Romeo’s caring nature helps her to heal. The best moment of the entire production, the first romantic dance between Rome and Juliet, is sensual and captivating. Jonas and Fitzpatrick have lovely chemistry, expressed in their movements as they bring Matthew Bourne’s incredible choreography to life.
Indeed, the performance has no words, and everything is communicated through movement. The company is fantastic and robust, supporting the leading players while highlighting themselves in special moments. With such complex choreography like a mathematical equation, every piece on the chessboard needs to be in the proper place. It would be so easy for one dancer to screw up the rhythm of the rest, but nobody falters in this fabulous performance. Although some dancers stand out, they all play their roles perfectly.
As Mercutio, Cameron Flynn highlights the sexual oppression of the Verona Institute. The oppressive institution forbids his love affair with Benvolio (Euan Garrett). Indeed, the two young men are punished for wanting to be together. Thus, in the performance’s first half, Mercutio becomes the inspiration for rebellion among the youth. His determination not to comply is contagious and inspires the rest to follow suit.
However, the best moments of a grand show are between Romeo and Juliet. Both their first and second romantic dances are two of the most inspired moments of sensuality on stage. The inventiveness of Matthew Bourne’s choreography takes their passion to the next level. Since multiple actors switch parts on different nights, the other leads must also be excellent. However, the highlight of this critic’s night was the connection between Paris Fitzpatrick and Monique Jonas. Since no pictures of the two dancing together were available, you will have to go and experience their chemistry in person.
Photos by Johann Persson
