Birmingham Royal Ballet launched the second part of their summer programme last night with aplomb, demonstrating just how versatile they can be in switching from contemporary to traditional with a luxuriant Romeo and Juliet.

This is a quality production throughout. Sergei Prokofiev’s masterpiece of a score ensures that any production gets off to a head start. The Royal Ballet Sinfonia conducted by Koen Kessels brought the Russian composer’s magic alive with a tremendously balanced and tight performance. They were certainly on top form and this was as good a sound produced by a pit orchestra as I have heard anywhere.

To accompany the aural stimulus was a visual feast in the Italian Renaissance style. The colours of the set were as warm as if under painted with a burnt sienna grisaille, the characters dressed in costumes seemingly made from the very canvas of a Titian or a Botticelli. Verona was brought alive in the vivid colours of yesteryear, and all was superbly lit.

The performance contrast in Romeo and Juliet, whether in theatre or ballet, must be between the excited tension of the crowd scenes and the profound forlorn intimacy of the young star-crossed lovers. Kenneth MacMillan’s choreography understands this well and delivers both contrasts in strength. The opening rambunctious rumble in the market place, the courtly ball in the Capulet’s Estate and the duel between Mercutio and Tybalt were brilliantly coordinated. The energy was abundant, the atmosphere tremendously taught and how the performers avoided serious injury in those swashbuckling sword fights is surely a testament to just how meticulously they have prepared.

The personal relationships between the key characters was also beautifully portrayed. There is some prodigious talent in the company and in this ballet, it is Brandon Lawrence as Romeo and Céline Gittens as Juliet that have been given the opportunity to shine. There is a sense of genuine onstage chemistry between them. This is essential if we are to believe that they could fall in love so fast, and with such ultimately tragic consequences. Lawrence is a tall, powerful physical presence. He has the ability, with just a stride and a facial gesture, to switch from a robust Jack-the-lad character to a subtle, graceful, and tender lover. His counter part in Juliet has also captured the part well. She emphasises Juliet’s naivety wonderfully, and her dancing was light, almost to the point of floating on occasion, and it she made it all seem effortless. Their fine acting abilities as well as their dancing skills meant that they were both able to captivate and convey the heightened emotions of the doomed love affair right until the final curtain.

Indeed, the whole cast carried the narrative well, and there were strong supporting performances from Tybalt and Mercutio in particular. Two scenes stand out involving other, more minor characters. The scene where Juliet and her nurse work through her progression from childhood to adolescent, and the scene where Lady Capulet expresses her grief over the death of Tybalt, demonstrated that there is strength in depth in the directing, the dancing, and the acting in this company.

I thoroughly enjoyed this production, which deserves all five stars. Let’s face it, with a legendary story by Shakespeare, music by Prokofiev, choreography by Kenneth MacMillan, and the top-notch performers and producers of the BRB, where can you go wrong?   ★★★★★   Robert Gainer  27^th June 2018