Review: Romeo and Juliet (Joffrey Ballet Chicago)

  
  
Romeo & Juliet

Choreographed by Krzysztof Pastor
Music by Sergei Prokofiev
Conducted by Scott Speck 
at Auditorium Theatre, 50 E. Congress (map)
thru May 11  |  tickets: $31-$152   |  more info
  
Check for half-price tickets 
  
  
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Pure emotional brilliance

Joffrey Ballet Chicago presents

Romeo and Juliet

Review by Lauren Whalen 

I’ve been a Joffrey Ballet subscriber since 2009 – a full two years before I started reviewing theater and dance – and there’s never been a production I didn’t enjoy. The company has long been a veritable treasure trove of intricate yet enjoyable choreography, executed by a gifted group of near-physically perfect specimens. However, with Romeo and Juliet, the US premiere of Krzysztof Pastor’s choreography of Sergei Prokofiev’s classic score, the company takes its stellar work to an unparalleled level. Joffrey has always done strong work, but Romeo and Juliet is supreme.

Two doomed young lovers from warring families, and misunderstanding that leads to tragedy: William Shakespeare’s classic play is perfectly suited to ballet. Though there’s no spoken language, the emotional journey rings clear and true. Prokofiev’s score is old-school Russian, dripping with emotion and drama, and a fascinating juxtaposition with Pastor’s organic choreography. The steps look and feel so natural, I could almost hear Shakespeare’s words. So much traditional ballet has an otherworldly feel, leaving the audience scratching its collective head: how do the dancers leap so high, turn so quickly and seem lighter than air? It’s a wonderful quality for certain, but this Romeo and Juliet’s choreography feels utterly real, from the first group dance, to the exquisite balcony pas de deux, to the devastating final tableau. Even though I knew exactly what was going to happen, I found myself swept away in the story, scared to look away for fear I’d miss something.

Another unique feature of this Romeo and Juliet is its setting. We’re still in Italy, but a different era for each act: the 1930’s, 1950’s and 1990’s. Tatyana van Walsum’s sets and costumes change accordingly (and make spectacular use of projections), while retaining a timeless quality that brings home the ubiquity of the story: teenagers will always fall deeply and impetuously in love, groups will always needlessly fight, deaths will be senseless. In other words, humans will be humans.

  

Each cast member shines, the Montague and Capulet ensembles providing a delicious moving backdrop for the action. Yoshihisa Arai’s Mercutio gifts every step, turn and leap with the sharpest of wits and a dark sense of humor. His ongoing tension with Temur Suluashvili’s superiorly frightening Tybalt is sizzling. Lucas Segovia brings a peaceful, serene air to the ultimate referee, Friar Lawrence, and Amanda Assucena and Anastacia Holden are perfectly perky as Juliet’s friends. Joffrey star Fabrice Calmels brings his trademark animal magnetism to the domineering Capulet, and as his wife, April Daly (who has immensely grown into herself as a dancer over the past few seasons) is the perfect blend of compassionate mother and dutiful spouse. And as Romeo and Juliet, respectively, Rory Hohenstein and Christine Rocas are believable in every way. Hohenstein’s Romeo is a lover at heart: very young to be sure, but confident in his passion for the girl he sees across the room at a party he crashed with his pals. Rocas’ Juliet is thoughtful yet awkward, a woman not quite fully realized. Together, they are the picture of youthful sweetness in a ravaged landscape – until they realize the world may be too much to handle.

Anyone who loves the story of Romeo and Juliet, even those new to ballet, will find themselves transfixed by the Joffrey’s latest production. Romeo and Juliet hits every high and low, from the breathless first meeting to the heartbreaking end, with tremendous aplomb. I could watch this ballet, and only this, for the rest of my life and feel satisfied. More than satisfied. Elated.

Rating: ★★★★

Romeo and Juliet continues through May 11th at Auditorium Theatre, 50 E. Congress (map), with performances Thursdays and Fridays at 7:30pm, Saturdays 2pm and 7:30pm, Sundays 2pm.  Tickets are $31-$152, and are available by phone (312-386-8905) or online through their website (check for half-price tickets at Goldstar.com). More information at Joffrey.org/Romeo.  (Running time: 2 hours, includes an intermission)

 

Photos by Cheryl Mann 

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artists

cast

Note: cast varies according to performance.

Matthew Adamczyk, Derrick Agnoletti, Yoshihisa Arai, Amanda Assucena, Guillaume Basso, Miguel Angel Blanco, Ogulcan Borova, Anais Bueno, Fabrice Calmels, Raul Casasola, April Daly, Elivelton Das Gracas, Fernando Duarte, Erica Lynette Edwards, Yumelia Garcia, Cara Marie Gary, John Mark Giragosian, Dylan Gutierrez, Elizabeth Hansen, Rory Hohenstein, Anastacia Holden, Dara Holmes, Victoria Jaiani, Graham Maverick, Caitlin Meighan, Jeraldine Mendoza, Jacqueline Moscicke, Amber Neumann, Alexis Polito, Christine Rocas, Aaron Rogers, Lucas Segovia, Aaron Smyth, Temur Suluashvili, Shane Urton, Alberto Velazquez, Mahallia Ward, Jenny Winton, Joanna Wozniak, Kara Zimmerman

behind the scenes

For Romeo and Juliet:

Krzysztof Pastor (choreographer), Scott Speck (music director), Chicago Philharmonic (orchestra), Amanda Eyles (staging), Tatyana van Walsum (set and costume design), Bert Dalhuysen (lighting design), Willem Bruls (dramaturg), Cheryl Mann (photos)

For The Joffrey Ballet:

Ashley Wheater (artistic director), Greg Cameron (executive director), Scott Speck (music director), Nicolas Blanc and Gerard Charles (ballet masters), Graca Sales (ballet master, principal coach)

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