A fresh blend of passion and tragedy
ROBIN van Wyk’s fresh take on this timeless classic has produced a rewarding ballet, which engages its audience with an amalgam of drama, passion, beauty and tragedy. The plot and music by Prokofiev are unchanged, but the introduction of Death as a recurrent persona driving the action and the streamlined presentation of the narrative, both serve to intensify an already powerful work.
Maynardville is an ideal setting for the première of this Romeo and Juliet, its natural expansive simplicity conducing to stage a ballet whose impact needs no elaborate sets or props. Between Charles Petersen’s economical design and Luke Ellenbogen’s evocative lighting, nothing further is required to showcase the dancers’ execution.
A sombre prelude in the form of a funeral procession introduces the leitmotif of Memento Mori, death at the heart of Verona’s vibrant society, death that silences festivity, ends youth prematurely, and terminates the struggle for power between rival Houses such as the Montagues and Capulets.
Then comes the feverish gaiety of street life in Verona as the locals celebrate joie de vivre and young men court girls they fancy… until duelling replaces dancing and there are casualties on both sides, resulting in the Prince of Verona proclaiming permanent exile for miscreants. Choreography is martial, with male dancers taking centre-stage, rapier in hand, and energy is key. Conrad Nusser as Tybalt dominates, a sinister figure as he takes on the opposition with panache, surrounded by an aggression that extends even to the women.
A change of mood comes when the scene shifts to Juliet’s bedroom and we see her innocent interaction with her nurse. Laura Bosenberg is an enchanting Juliet, whose grasp of persona is matched by elegant technique: this is a dancer at the top of her form and Nicolette Loxton brings warmth and spirit to her portrayal of the nurse, whose role is expanded in this new production to give her greater stage presence.
The 13-year-old Juliet’s attention is equally divided between her doll and her suitor Paris (Daniel Szybkowski), but the pas de deux they dance on this first encounter is pleasing in its delicacy.
After the pivotal meeting of Romeo (Thomas Thorne) and Juliet, the entire ballet is centred on their serial pas de deux, characterised by challenging lifts and close physicality.
The duo convey teenage love with impressive conviction, their lines exquisite and the musicality impeccable.
Martin Milner (Mercutio) and Nusser shine in their dynamic pas de deux as they fight to the death in act two, and the sextet of danseuses (Juliet’s friends) give a polished account of their pas de six.
Finally, the grim pas de deux between Juliet and Death (Ivan Boonzaaier) gives additional dramatic impact to the tragic finale. Boonzaaier takes a masterful approach to his role, which calls for powerful technique rather than characterisation, and the combination of his strength and Bosenberg’s delicacy provides an arresting spectacle.