Happy New Year!

Golda Dopp

Tech 3

Concert Critique

17 February 2016

ROMEO AND JULIET

I saw Romeo And Juliet, choreographed by John Cranko and performed by Ballet West at Capitol Theatre on February 12th, 2016. The ballet was the most professional and well-done ballet that I have seen Ballet West perform. The costumes, sets, and props were luxurious and highly detailed. The dancers’ acting really told the story and I felt that every movement conveyed an emotion to the audience. Romeo and Juliet’s first meeting pas de deux was exquisite and innocent. The ‘dance of the knights’ was powerful and gave the ballet a strong sense of tension. The balcony pas de deux was my personal favorite. It was passionate and playful, with intense longing and impressive, sweeping lifts.

Romeo and Juliet exchange curious glances at the Capulet party. Juliet is promised to Paris, but as the scene progresses, she becomes noticeably interested in Romeo and more distant with Paris. Instead of politely dancing with him, she quickly ends introductions, curtseying to say thank you so that Paris will leave. Finally Romeo and Juliet sneak off alone, in the courtyard and dance together for the first time. The pas de deux is innocent and playful. Juliet has just danced a variation where she teases her nursemaid, jumping on her back and kicking her legs; she is very much a child. As Juliet dances with Romeo, her youthfulness is very much still present, but she begins to become less childish. She is in love, and takes that love seriously and focuses solely on Romeo. The couple come together by stepping back in arabesque a terre and reaching their arms toward one another. The shape creates an abstracted heart and also gives a sense of longing. The space between them is highlighted, and the reaching movement make it apparent that Romeo and Juliet yearn to be close to each other. The light fabric of Juliet’s dress rippled and flowed through the air when she and Romeo finally connected, making the lifts even more dynamic, impressive, romantic and sweet. Romeo puts his head on Juliet’s chest and Juliet throws her head back and extends her arm above them, as if presenting their love to the heavens. They are in ecstasy in love, and this motif is especially powerful because later in the bedroom scene, Juliet does the same movement, but the circumstances have changed. In the bedroom, the arm extension is more like a question to the heavens on why Romeo has to leave, or begging him not to. I feel the choreographer really got his point across because he is telling the story of a literary masterpiece, and still shows all the raw and intense emotions, without words. Because of the dancers’ acting and the simple, yet exquisite choreography, I feel the dance was genuine and that Romeo and Juliet’s love, however hastily found, was real.

The dance of the knights is an amazing juxtaposition to the amorous, gentle pas de deux. It includes a large group of dancers, dressed in deep reds and oranges with heavy drapery. The dancers are Capulets and have an arrogant, lifted heir. The women bend almost completely backwards and carry their cloaks in front of them, hiding their bodies and emphasizing their thrust-back heads. I am not sure why they do this, but the position was a powerful way to show pride and regality amongst the Capulets. The music for this dance is the most iconic and the booming chords in the score were met with long strides and direct facings and focus from the dancers. I felt a true sense of power that I interpreted as intimidating. The movement made the Capulets seem somber and official, so I feel the choreographer was very successful in characterizing them as a group and thus highlighting why the relationship between Romeo and Juliet is problematic.

The balcony scene is filled with emotions of excitement, possibility, love, and contentment. Juliet and Romeo’s love is still very new, but it is more daring and confident, almost reckless. The couple is meeting secretly and they declare their devotion dramatically. However there is still a tenderness to their interactions. Romeo lowers Juliet to a seated position, then places his head on her lap, clinging to the hem of her dress. She gazes down at him and strokes his hair. I interpreted this as contentment and disbelief at how much they love each other. Juliet also has Romeo put his hand to her heart, showing him how fast it is beating and how happy she is. Every movement is done together, or towards one another. Even when Romeo parts to dance a large jump section, he is arcing around Juliet, looking at Juliet, or reaching toward her. I feel Cranko was successful in portraying youthful love and the excitement of new romance. Cranko was also successful in showing the couple as more mature than the first pas de deux, making their relationship more realistic and engaging to the audience. It made me cheer on their love, even though I knew that they would both ultimately die. Since the story is so well-known, there has to be a connection to the characters, or the audience won’t care. The dancers were enthusiastic actors (in fact, they are actually dating in real life) and that made the choreography even more stunning, and the story even more tragic.

Romeo and Juliet is a gorgeously choreographed ballet filled with emotions. Romeo and Juliet’s first pas de deux oozes with anticipation, promise and elation. The dance of the knights provides a grandiose, imposing juxtaposition, making the ballet rich in style and setting an ominous tone for Juliet and Romeo’s fate. The balcony pas de deux is the crowning moment of their relationship. Romeo and Juliet are at the height of their love, eager for a life together, and characterized by a new, more sophisticated form of expression. It was a ballet I will never forget: one that is inspiring me to work harder at my technique and artistry.