Romeo & Juliet: Relevant to our world:
Guest company offers a fascinating version of the stage play in a German-Israeli co-production
... on the occasion of the events commemorating 50 years of diplomatic relations between Germany and Israel and supported by the Goethe Institute, the Israeli Choreographers Association and the Israeli Association "Stage for Life", they invited three Israeli artists for a joint new revision of their creation "Romeo & Juliet" ... Hillel Kogan, Shlomi Biton and Noa Zuk were asked to work with the dance company, each for a specific movement in the piece. The result, as far as their contribution can be seen in the whole, connects with the original choreography, which ..., contains a beauty of movement and fascinating ideas.
... The piece, which is danced to the all-familiar music of Sergey Prokofiev, does not follow the flow of the stage play, but has been inspired in its movement material by the themes therein, which do not always follow exactly the linearity of the play. Who is "one of us" and who is "not one of us"? This is depicted in large ensemble scenes or shown in beautiful solos or impressive duets, many of them on two large stages that can be tilted like slants or connected together to form a large moving stage-ne, with a trio of women who seem to be the "narrator" in the new narrative.
... The play does not feature defined characters of the protagonists. Everyone can be Romeo or Juliet at times, a family member, lover or rival. And this is the central and essential idea that leads through the piece: in its texture and its stage interweaving of the dancers with the stage design by Till Kuhnert, with the wonderful light design by Marko E. Weigert and with Markus Pysall's costumes, which remind of the epoch of the play... After the intermission, I sat mesmerized by the movements, which reached dramatic proportions.... The movement reached a particular peak of intensity in a solo by Juliet, whose wedding dress turns into a straitjacket. As a whole, the choreography is not revolutionary and therefore does not blind the eye, which allows its overall texture to shine through, and the 13 technically accomplished dancers manage to express again and again the emotional dimensions of their changing roles and the idea that the conviction that what determines who "they" are and who "we" are is intrinsic and unshakable is an illusion."