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Twist Of Fate.
Byline: GIA KOURLAS editor: Valerie Steiker
Mark Morris breathes new life into Romeo and Juliet-- as it's never been seen before.
Leave it to Mark Morris, the boldly inventive and musically exacting choreographer who transplanted The Nutcracker to a debauched 1960s cocktail party and illuminated every bar of Handel's L'Allegro, il Penseroso ed il Moderato with free-spirited poetry, to stage Romeo and Juliet with a happy ending. "They go off somewhere, in love, forever," Morris says. "It's ambiguous on purpose. They're alive--or at least their love is alive."
Based on Sergei Prokofiev's original score, Morris's groundbreaking new production Romeo & Juliet, On Motifs of Shakespeare will premiere in July at the Bard SummerScape Festival (it will arrive at Lincoln Center next summer). Thanks to Princeton musicologist Simon Morrison, the choreographer looked at Prokofiev's initial scenario, which was composed in collaboration with the Soviet dramatist Sergei Radlov in 1935. The ballet took as its subject love's ability to rise above a repressive, feudal society and had Juliet waking up from her potion-induced sleep right before Romeo kills himself.
Outraged, Stalin's arts committee censored the ballet's new ending, and Prokofiev was forced to alter the music--replacing the triumphant fourth act with a funereal epilogue and adding solo dances for the ball and balcony ...
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