New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,




Description: A production by Mark Morris, of Shakespeare's love-tragedy, set to the original Prokofiev score performed by the London Symphony Orchestra.
Trains: Tube/BR: Barbican/Moorgate
Phone: 0845120 7550
Website: www.barbican.org.uk
Email: info@barbican.org.uk
Extra info: Food, Parking, Pub
omeo and Juliet is the story of a girl and a boy who would rather die than be apart. The play and the ballet must make their love palpable, not just in words or steps but also in the chemistry between the leads. We need to see her budding femininity, and his rousing manhood, and how the lovers luxuriate in each other.
To say this was lacking in Mark Morris’s new version of the ballet is an understatement. His Romeo (David Leventhal) was more interested in Friar Laurence than Juliet (Rita Donahue), while she drifted through a drama she is meant to drive.
If Morris had choreographed to his usual standard, the mismatch would still be hard to fathom but with the sub‑ballet pitter-patter, the wooden swords, the pointless trans-gender casting, and weak acting, the piece disappoints. Combined with Morris’s lack of interest in the central love story, you wonder why he bothered.
The answer is Prokofiev’s original score with arrangements we don’t know. But the happy ending should have deterred a man of Morris’s intelligence. Prokofiev having Romeo and Juliet swan off into the sunset robs the story of its integrity, which is why Shakespeare didn’t write it that way. And no one is above the Bard.
Until 8 November (0845 121 6823.).
Details are correct at the time of publication - please check with venue before booking.