Contemporary spin on Shakespeare
Romeo + Juliet blends classic score and modern choreography to create ‘beautiful movement’
For Program 2 of its 2017/18 season, Ballet B.C. is presenting the world premiere of a new production of Romeo + Juliet. The contemporary version is set to Sergei Prokofiev’s 1935 score but features choreography by Medhi Walerski, a rising star in the international dance scene.
According to the company, the commission showcases Walerski’s signature style. This “brings together dazzling landscapes woven with poetic, unpredictable and complex imagery” and adds “a contemporary familiarity” to the story.
“It’s Medhi Walerski’s vision, it’s his movement style, and storytelling style,” said Brandon Alley, the North Carolina native dancing the role of Romeo.
“The things that he’s given us inspiration-wise to create movement with him and to tell the story are different from what I’m used to seeing. His movement style and the language that he uses are very human. It’s entertaining, but not in a flashy or showy way. It has a lot of depth to it.”
Emily Chessa, originally from Richmond, dances the role of Juliet.
“We’ve worked together quite often,” Alley said. “We’ve built a partnership where we trust each other. Having her by my side in these iconic roles has been so helpful.”
Dutch set and lighting designer Theun Mosk, an international team of collaborators, and the Arts Umbrella Graduate Dance Program are also collaborating on the production.
Romeo + Juliet will be Walerski’s second full-evening commission for Ballet B.C., and his first full-length narrative work.
“I think he’s perfect for Romeo + Juliet,” said Alley, who has worked previously with the French choreographer. Walerski’s other creations for Ballet B.C. include Petite Cérémonie, Prelude and Natus.
Walerski has helped the dancers refine their movements, Alley says, whether “small gestures or sweeping arm movements that take over the space.”
“Originally, we had a lot of dance steps. Then he would chisel it down when he felt
that the underlying idea of the story wasn’t being pulled out enough. He would say, ‘find a connection.’ This could mean looking at each other or walking together or running, or doing lifts that are just holding each other without doing something extraordinary.”
For preparation, Alley and his fellow cast members dived into William Shakespeare’s original.
“I also have this Shakespeare app with the play and breakdowns of characters and different scenes. It’s been amazing to have that information in my back pocket. And Mehdi would give us recommendations of videos of different versions that inspired him.”
These included Baz Luhrmann’s 1996 film, Romeo + Juliet.
“Certain scenes are really beautiful,” Alley said. “I loved the death scene, when Romeo finds Juliet in a church with all the candles. I really enjoyed the part where (Romeo’s friend) Mercutio is getting ready for the ball. He’s this flamboyant, energetic, crazy kind of guy. He’s trying to pump Romeo up to go. The visuals used in that scene are amazing.”
Ballet B.C.’s version also has much to offer audiences, Alley says, not only in the way it tells the story but by showing the possibilities of contemporary dance.
“It doesn’t have to be strictly ballet,” he said. “It doesn’t have to be this fixed thing. With this version, there’s beautiful movement in it, there are all kinds of different ways the dance tells the story without text. Dance can encompass a lot of different emotions.”
For the dancer, Romeo + Juliet is a high point in his career.
“I never thought I would do a production like this. Once I was thrown into it, I’ve been consumed by it. It’s been an amazing and challenging dream for me.”