Royal Ballet Revives Glen Tetley's Pierrot Lunaire in Sparse, Forceful Production
The midcentury melodrama Pierrot Lunaire returns in a fine new production at London's Linbury Theatre, marking the centenary of choreographer Glen Tetley's birth. Created in 1962, this classic of midcentury modern dance is presented by The Royal Ballet with richly detailed dancing and a live performance of Arnold Schoenberg's sparse, jagged score.
A Breakthrough Work with Star Roles
Pierrot Lunaire was Tetley's breakthrough work, featuring three star roles that quickly made it popular for both ballet and modern dance companies. The staging is brilliantly spare, dominated by Reuben Ter-Artunian's scaffolding tower. The characters are stock figures from Italian commedia dell'arte: a naive Pierrot wrestles with life, inspired and tormented by the beautiful Columbine and the sinister Brighella.
Joshua Junker's Pierrot displays beautifully clear lines, unfolding into stretched, flowing shapes as he reaches for unattainable desires. Tetley choreographs him to swing around the scaffolding like a gymnast on asymmetric bars, creating an effortless yet perilous effect where the set acts as both haven and cage.
Dynamic Performances and Bold Imagery
Natalia Osipova ripples through Columbine's steps with a weighted but light quality, throwing herself to the floor and up again. In early scenes, she floats untouchably past Pierrot in elaborate white costumes, though he attempts to touch her and receives a slap. She makes a striking entrance on Brighella's shoulders, wrapped in pale gauze to appear as one immensely tall person, then peeks out with a painted face and lurid red wig.
Where Pierrot is melancholy, Brighella is active and aggressive, full of swagger and suggestive humor. Patricio Revé excels in taking poses and twisting juicily into the next step, adding a dynamic edge to the performance.
Tetley conjures bold images from minimal elements: Columbine hooks a washing line over the scaffolding and releases it with a twang, sending vests and bloomers springing into the wings. In a poignant moment, she and Brighella attach strings to Pierrot's limbs, working him like a puppet. The final image cradles Pierrot between them, dangling high above the ground with their heads resting gently on his chest.
Intimate Revival in the Linbury Theatre
In 2007, The Royal Ballet last performed Pierrot Lunaire on the main stage. This revival benefits greatly from the intimacy of the smaller Linbury Theatre, offering a close-up view of a tightly focused piece. The chamber scale suits Schoenberg's score, which is tautly conducted by Yi Wei and sung with bite by Alexandra Lowe.
Between the sharp edges of Schoenberg's atonal score and the stylised nature of the characters, Pierrot Lunaire holds the audience at arm's length. However, the movement in this revival is visceral and distinctive, delivering sumptuous force that captivates viewers.
The production runs at the Royal Opera House until 20 February 2026, providing a rare opportunity to experience this influential work in an intimate setting.
