Silvia Kargl
Marcos Morau is among the most sought-after choreographers working today. A trained photographer and director, he brings a distinctive movement language and striking visuals to his work. This weekend, his interpretation of Sergei Prokofiev’s ballet “Romeo and Juliet” was presented at the Festspielhaus St. Pölten.
The production departs significantly from William Shakespeare’s original story, offering little in the way of familiar plot points or characters, including the tragic lovers. Instead, Morau focuses on the idea of future generations, framed by children who open and close the performance in a circle. His interest lies in the families – the Montagues and Capulets – and the origins and execution of violence. The choreography eschews traditional pas de deux and solo performances, with dancers from Oper Ballet Vlaanderen emerging briefly from the ensemble.
Prokofiev’s ballet music “Romeo and Juliet,” one of the 20th century’s most celebrated scores, provides the framework for the piece. Its rhythmic structure serves as an ideal foundation for Morau’s interpretation, and was skillfully performed by the Tonkünstler-Orchester Niederösterreich under the direction of Gavin Sutherland, who will make his debut with the Vienna State Ballet at the Vienna State Opera later this month.
A Hauntingly Timely Work
The performance gains a somber resonance from recent reports detailing the looting of the museum in Prokofiev’s birthplace, Sonzowka in the Donetsk Oblast of Ukraine, by Russian occupying forces. Throughout the piece, the stage remains largely dark, with all performers wearing black, unisex costumes featuring wide skirts and armor-like elements.
Morau’s choreography is powerfully expressive, shifting between grief, revenge, anger, indignation, and melancholy. The movements are fragmented, with arm and hand gestures often appearing detached from the body. The work moves beyond a simple exploration of good versus evil, suggesting that evil has already prevailed.
The production offers a stark and timely commentary on conflict, and highlights Morau’s growing reputation for innovative and thought-provoking work. The performance underscores the enduring power of Prokofiev’s score to inspire new interpretations across artistic disciplines.
