You may know how the Philadelphia Ballet’s ‘Romeo and Juliet’ ends but very little is predictable
In Juliano Nunes' new ballet, the music is the same, the dance largely classical, the story followed Shakespeare’s play. But the movement does not follow expected ballet traditions.
Philadelphia Ballet opened the world premiere of Juliano Nunes’ Romeo and Juliet Thursday night at the Academy of Music, and it had a very different and new look compared to any I’d seen before.
Nunes, the company’s resident choreographer, had said he wanted the story to translate into today’s time.
The music is the same, the dance largely classical, and the story followed Shakespeare’s play. But the movement does not follow expected ballet traditions. Yes, there are group sections, solos, pas de deux. There are jumps, turns, lots of drama, but none of it is by rote. Little is predictable beyond the endgame.
Thays Golz was the opening night Juliet, with a different take on the role. Her Juliet is fresh and joyous but not a naive child. She is a teenager who knows what she wants and figures out how to make it happen. She is happy to dance with her parents’ choice of partner, Paris (Jack Thomas) until she meets someone better: Romeo.
She and her real life husband, Zecheng Liang, as Romeo, are wonderful dancing together; tender but also taking risks. Golz leaps blindly toward Liang with her back arched, he catches her, and they move on to the rest of the pas de deux as if they really are 13 and 14 without a care (or ache) in the world.
The acting is excellent throughout, especially when Liang’s Romeo is delighted to be with Juliet but still tortured over the fight scene that left members of both of their families dead.
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Some of the deaths are exaggerated to the point of being cartoonish, especially when Tybalt (Arian Molina Soca whose dancing, especially his turns, was among the best of the night) kills Mercutio (Isaac Hollis). Mercutio took so long to die that I almost expected him to wave and then keel over like the mouse king in the Nutcracker.
From the program, it looks like the ballet has a few starring roles; large, somewhat anonymous corps de ballet dances; and many character roles.
The smaller solos and groups dances are not afterthoughts. The harlots are particularly good, danced on Thursday by Dayesi Torriente, Mayara Pineiro—both principals—and Kyleigh Johnson, a standout and first-year corps de ballet dancer.
The group dances are lush and full of plenty of good dancing with jumps, turns, and stylized positions. No one just mills around.
The character roles are fully realized parts. On Thursday night, Siobhan Howley was Lady Capulet. She is a corps dancer who turns out to be an excellent actor, filled with purpose and emotion.
Even though Nunes had told me Act I closed with the wedding and Act II opened in brutality, I was still lulled into calmness when the curtain opened again after intermission and the action ramped up.
Instead of the traditionally decorated marketplace and glittery homes of Verona, the stage is mostly bare. Some backdrops and a large book place the audience at each scene.
Juliet’s balcony is a modern chunky design turned in profile to the audience, which might have been confusing except that she abandons it quickly to go down and dance with Romeo.
The costumes are lovely but not highly decorated. They are color coded to help the audience keep track of the large cast: blue for the Montagues, reds and pinks for the Capulets. Nunes’ partner, Youssef Hotait, designed both set and costumes.
Philadelphia Ballet is closing its Academy season on a high note with this Romeo and Juliet, although there is one more event before the company breaks up for the season. The spring festival at Red Rose Farm in Villanova features duets from classic ballets and a performance by the School of Philadelphia Ballet.
Philadelphia Ballet in “Romeo and Juliet.” Thursday through May 10. Academy of Music. $29-$290.80. 215-893-1999 or ensembleartsphilly.org
