The State Opera of South Australia have reimagined Shakespeare’s story of The Tragedy of Romeo and Juliet as a beautiful ode to the power of love. Director Radula Gaitanou has taken Gounod’s distillation of Shakespeare’s play and imagined it as a love story that transcends time and space. It is a story of two young lovers who risk everything for love and the inherent beauty of that emotion.
Artistic Director Dane Lam has created a spectacular experience, with the Adelaide Symphony Orchestra and the State Opera Chorus delivering a larger-than-life event that genuinely represents the transcendent nature of the story. Set and costume designer takis has given a modern twist to the 400-year-old story with a cross between New York gangster and Berlin underground party atmosphere. Crumbling industrial LED-lit structures inlaid with mesh give way to an ethereal expanse of star-studded lights, symbolising a connection between solid family ties and the freedom of true love and emotion.
The opening scene takes place in Verona, where Count Capulet (Eugene Raggio) has thrown a grand ball for his daughter Juliette’s coming of age and to introduce her to Count Paris (Oliver Dinnessen), her intended suitor. The Montagues are sworn enemies of the Capulets, and this is visualised as a stylised gangster scene. In a poignant moment, two children wander through the warring parties, taking the guns, symbolising the innocence of peace.
Roméo has snuck into the party, and Juliette confesses to her nurse, Gertrude (Catriona Barr), that she has been captivated by him. Juliette’s cousin Tybalt (Tomas Dalton) recognises Roméo and chases him away. Dashing lead Kyle Stegall as Roméo and angelic Siobhan Stagg as Juliette have such natural chemistry between them that the story comes alive. The ensuing story of love longed for yet not to be is a classic tale, and this production imagines a lavish retelling. Everything about the performance is superb. From the costumes, the wigs, the lighting, the stage set, the chorus, the orchestra, the voices, everything comes together to create a sumptuous feast for the senses.
Costumes play a significant part in setting the tone. The masked ball takes inspiration from A Midsummer Night’s Dream and references fashion icons Thierry Mugler, Alexander McQueen and Elsa Schiaparelli. The feeling is one of high-fashion couture excess, symbolising wealthy families. The contrast between the gangster fashions is deliberate and inspired. The lovers are treated differently; Juliette is cocooned in layers and headpieces, stripped away as her love becomes purer. The final scene when she is to marry Paris, has her transforming her wedding dress into a funeral gown, symbolising the purity of true love.
Of course, opera is about the music and the Adelaide Symphony Orchestra, led by Dane Lam, was full-bodied and sumptuous to match the heady excess of the storyline. Mercutio, played by Morgan Pearse, has a delicious baritone that commands attention. Charlotte Kelso, in the “pants” role as Stéphano, Roméo’s page, brings a playful energy to her role. Tasmanian-born baritone Oliver Dinnessen, at just 20 years old, brings a subtle warmth to Paris. Classical bass singer Pelham Andrews brings geniality to the priest’s role of Frere Laurent. It takes a village to raise a child, and in this production, there is a relative village both on stage and behind the scenes to make this an extraordinary and sumptuous event.
This bold opera is a South Australian spectacular that is due to tour Europe and North America.
FOUR AND A HALF STARS (OUT OF FIVE)
State Opera South Australia presents the global premiere of a reimagined production of Charles Gounod’s Roméo et Juliette at Her Majesty’s Theatre, Adelaide
The season runs until 1st Nov: tickets and more information here
The reviewer attended opening night on 23rd October
All photos copyright Andrew Beveridge
