They lie together on the catafalque, Romeo and Juliet, in their white clothes stained with blood.
Behind a semi-circular wall topped with a balcony, and above it the name “Verona Institute” painted in huge letters.
The catafalque disappears and a horde of young people appear.
They dance to Prokofiev's music, that of the ball, the leitmotif of the score rearranged for Matthew Bourne's show.
From their choppy gestures and their disordered steps, we understand that the Verona Institute is located between a psychiatric asylum and a reformatory.
A nagging question that Matthew Bourne's very unexpected script constantly raises: where is the choreographer taking us and through what twists and turns will he tell the story so that we end up with this image of young dead lovers on which the curtain hangs? 'is open ?
“
When I worked on
Cinderella
, I entered the Prokofiev galaxy and I really liked it, the music and the rights holders I met…
This article is reserved for subscribers.
You have 83% left to discover.
Flash sale
€4.49/month for 12 months
I ENJOY IT
Already subscribed?
Log in