Review: ROMEO & JULIETTE at Four Seasons Centre For The Performing Arts

The aesthetic of the COC’s 25-26 production of Gounod’s Romeo & Juliette leaned into opera’s French comedia dell’arte roots with modern panache. Most of us are familiar with the Shakespearean source material and aware that in fair Verona, where we lay our scene, the story opens with Juliette’s birthday party in her father, Capulet’s home. Things get interesting when an entourage of young men from the Montague household gatecrashes. In this production, Juliette’s 15th birthday coming-of-age celebration is circus-themed with a sinister “creepy clown” vibe that foreshadows the tragic outcome we all know is coming. From the opening strains of the overture, the orchestra conducted by Yves Abel sets a slightly driving pace and sombre dramatic tension that ensures we never forget this is a tragedy despite the opulence and bling we’re seeing on stage.

No matter the medium, I always have doubts about whether or not I’m going to be engaged by this story - it’s just so well-worn. And yet there’s a reason it’s been so beloved for 400 years. It contains timeless experiences we can all easily relate to. The heady intensity of a first teenage love. Having to sneak around behind your parents' backs because they don’t approve of your choices. Feeling like you just want to die when your tender adolescent heart gets broken.

Directed by Amy Lane, this production embraces an “If it ain’t broke, don’t fix it” philosophy of storytelling and doesn’t pull any punches in spinning this timeless tale. The characters are as we expect them, with no sociopolitical insertions to the setting or context. Just a story about two ids crazy in love, whose families hate each other violently.

While the sets and costumes are spectacular, this production is worth it just for the singing and choreography. I had not seen Kseniia Proshina perform for COC before - she is quite a find for the company! Her voice leaves the same emotional impression as a Georgia O’eef painting. Elegant floral simplicity with sensual, radiant strength. Her Juliette was fresh, charming, bold and determined, delivering a fearless and luminescent performance of “Je veux vivre” that brought the house down. 

Stephen Costello was a dashing and endearing Romeo to her Juliette. Vocally and dramatically, he has everything we want from our teen heartthrob in this story. Bravado, but also tenderness and vulnerability. His voice also has a distinctive, unrestrained edge, giving a reckless and devil-may-care quality to the performance.

Gordon Bintner gives a surprisingly thoughtful performance as Mercutio, his rich, throaty baritone bringing nobility and gravitas to the moment when he engages Owen McCausland as Tybalt in mortal combat to protect Stephano, the young lad from the Montague court. Local favourite McCausland gets a great chance to show off his talent for movement as a very lithe and ruthless “Prince of Cats” in this production. Mezzo Soprano  Alex Hetherington as Stephano gives an ephervescent performance of “Que fais-tu, blanche tourterelle?” that is a true showstealer, in my opinion.

Other notable performances include Megan Latham as Gertrude Juliette’s nanny, whose voice has a warm honey quality that is maternal yet somewhat lusty, gently alluding to the character’s saltier dialogue from Shaespear’s play that doesn’t make it into the libretto.

This production incorporates a dance ensemble. Their athletic and over-the-top choreography by Michael Barry, in keeping with the circus theme, is at the intersection of ballet and modern dance in a way that evokes the traditional role of dance in stagecraft during Shaespear’s time while assertively situating us in the 21st century. The use of choreography and movement for storytelling was not confined to the dancers in the piece. There were many visually and emotionally captivating instances of the singers using their bodies to communicate with the audience - Juliette’s reaction as though falling over a cliff when she learns what house Romeo is from comes to mind.

This production is comfort food without being boring and sure to appeal to opera lovers and Romeo & Juliette lovers of all ages, stages and walks of life.

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