(image from atg tickets)
Friday lunchtime saw me impatiently sitting on the world’s slowest bus, on my way to the Festival theatre for standby tickets for the Scottish Ballet’s Romeo and Juliet. Thankfully, I got there just in time, and scored what might be the best theatre seats I’ve ever had. Standby tickets are the best idea ever, by the way.
A few hours later, glad rags on, I headed back to the theatre, where we made it to our fifth row centre seats in perfect timing for curtain up.
I’d successfully avoided any reviews of Romeo and Juliet, and all I knew was that it was created specifically for the Scottish Ballet, choreographed by Krzysztof Pastor, and that it was set to the Prokofiev score. As it turns out, it was a slightly modernised version, set somewhere between the 1930s, 1950s, and the present. And it was absolutely stunning. I definitely didn’t cry. Not at all. Not a bit. Mercutio and Tybalt’s deaths, and the aftermath? God. Just beautiful.
The Scottish Ballet Orchestra were utterly superb – really, really perfect. I definitely need to spend more of my money on things like this – it was so good, and every time I go to the theatre, or the ballet, I think why don’t I do this more? So I’m going to start.
The Scottish Ballet’s next project is The Crucible with Ten Poems, which I’m definitely wanting to see – Arthur Miller as ballet? Yes please. They’re also doing A Streetcar Named Desire next year, and if I’m still in Edinburgh then, I’m already very excited.