BWW Reviews: NEW YORK CITY BALLET's R+J Mixes Slapstick With Tragedy

I've never been a fan of Peter Martins' choreography so I was surprised to find myself moved by the "balcony pas de deux" in Romeo + Juliet, his adaptation for the New York City Ballet of Shakespeare's tragic tale about star-crossed lovers. Sterling Hyltin as Juliet and Robert Fairchild as Romeo, returning to the roles they originated when the ballet had its premiere in 2007, used the beautiful but difficult intertwinings and lifts to convey their youthful passion in a way that was entirely believable to me.

That said, most of the rest of the ballet that I saw on the evening of February 14th 2015 at the Koch Theater in Lincoln Center did not come close to rising to the level of the iconic iteration by Kenneth MacMillan dating from 1965. The saucy Harlots are gone from the opening street scene and Martins has also done away with the effective device of having Juliet, unwillingly on the verge of womanhood, tease the Nurse with a doll rather than accept the impending arranged engagement to Paris. Instead, the Nurse keeps trying to persuade Juliet to put on a decidedly unflattering orange dress that is presumably meant to signify her coming of age. This unconvincing bit of stage business is further muddied because the Nurse, danced by Georgina Pazcoguin, is portrayed as a slapstick character who doesn't look old enough for the job.

Worse yet, Prokofiev's stirring score did not inspire Martins to create equally powerful choreography for the ballroom scene. Most of the time, the corps simply hangs out on the sidelines while the principals gallivant center stage. Lord and Lady Capulet, unaccountably, are sprightly rather than dignified. In later scenes, they dash in from the wings at an unseemly clip given their station in life.

Another problem is the unattractive set with stagehands behind it so they can open and close the contraption in order to signify changes in locale. The most unfortunate moment during the performance I attended was when the scenery emitted a loud clunking sound just as Romeo was reaching up toward Juliet on her balcony with a reluctant farewell gesture at the end of the pas de deux when the music is tender and soft.

There were, however, some wonderful highlights. Most notably, Daniel Ulbrecht as Mercutio treated us to his trademark pyrotechnics and did a poignantly riveting job of his death scene. In addition, I was charmed by the youngsters who performed the Mandolin Dance. The littlest one with his tumbling skills and effervescent grin was the best of all.

Romeo + Juliet - and, yes, the plus sign is correct in the title of this production - will be on the boards again February 20th, 21st, and 22nd. There is much to enjoy so I do recommend catching this event, if only to see the top-flight dancers of one of the world's pre-eminent ballet companies. During the intermission, be sure to have a look at the sculptures by artist Dustin Yellen on the Promenade level of the theater. Yellen calls them "Psychogeographies". An excellent article by Luke Crisell in the Playbill explains the artist's process and intent. I believe you'll be as fascinated as I was by his unique creations.

Photo by Paul Kolnik

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