Review: Romeo and Juliet at the Lyric Theatre, QPAC
Review by Grace Swadling
“Two households, both alike in dignity, In fair Verona, where we lay our scene…From forth the fatal loins of these two foes, A pair of star-cross'd lovers take their life”
Romeo and Juliet is perhaps one of the most recognisable and famed stories of all time, and dance is perhaps one of the most perfect mediums for the dramatic emotions and passion inherent in this iconic and tragic love story. Whether you’ve never been to the ballet before in your life, or you are a regular patron and connoisseur of the arts, there’s something so powerful about dance and the stories it can weave.
There was an undeniable buzz in the air on opening night of the Australian Ballet’s production of ‘Romeo and Juliet’ at QPAC’s Lyric Theatre. Most audiences are somewhat familiar with Shakespeare’s classic tragedy, which traces the secret romance of young Romeo Montague and Juliet Capulet, set against the backdrop of a bitter, longstanding feud between two powerful families. After a chance encounter sparks an instant connection, the pair wed in secret, setting off a chain reaction of violence and misfortune. Despite the story’s inevitable outcome, audiences find themselves desperately clinging to the impossible hope for a different fate for the star-crossed lovers.
In this production of the Australian Ballet’s ‘Romeo and Juliet’, John Cranko’s expressive choreography transformed the dancers' bodies into instruments of pure dramatic tension, reinterpreting Shakespeare's well-worn narrative into a deeply moving and visceral experience. Alas, alack, the tragic ending remained immutable, but the emotions and energy driving the momentum of this production provided a perfect opportunity for audiences to fully engage with the narrative’s emotional core, beautifully scored by a live orchestra.
Jürgen Rose’s set design was impressive and elegant, transporting audiences from the bright marketplace of Verona, to the dark opulence of the Capulet’s ballroom, to the evocative and recognisable balcony where Juliet calls for her Romeo. The hand-painted scenery backdrops worked in tandem with the lavish and richly-detailed costumes, evoking a fairy-tale and dream-like quality. Jon Buswell’s lush lighting design built upon William Akers’ original lighting, complete with flowing moonlight, the warmth of day break and soft shadows to highlight intimate moments. It was through this masterful interplay of opulent design and subtle staging that the production conjured a world that felt both sprawling and deeply personal. Every beat of triumph and tragedy landed with emotional clarity and it is a testament to the professionalism and athleticism of the dances that every lift, turn and jump seemed effortless.
Gliding across the stage, Principal Artists Grace Carroll and Davi Ramos shone in the titular roles. Carroll seemed born to dance as Juliet, perfectly encapsulating the girlish innocence and sweetness of Juliet in Act 1 that eventually and almost inevitably descends into passion and despair by the end. Ramos carried all the charming arrogance required to portray the swoon-worthy lover but he also skillfully showcased Romeo’s tenderness and devotion. The chemistry between the two was lovely to watch, which made the ending all the more devastating. One of the strongest performances of the night came from Drew Hedditch’s Mercutio, who captured the wit and swagger of Mercutio and delivered Cranko’s choreography with playfulness and humour. Special mention should also go to Katherine Sonnekus, who showcased impressive stage presence as Lady Capulet, and Joseph Romancewicz’s believably menacing Tybalt.
Another highlight of the performance was the carnival of Act II, Scene I, which was vaguely reminiscent of a “dream ballet” sequence from musicals gone-by (in that for the most part it did nothing to move the plot along). However, it allowed the rest of the company an opportunity to shine amongst explosive colour and the sweet silliness of Cranko’s choreography, and the high energy created such a sense of playfulness and fun. The stark tonal shift when Tybalt entered the marketplace was subsequently played to perfection and served as a reminder that there is no true happy ending to the story unfolding before us. Throughout it all, the production was heightened by the exceptional Queensland Symphony Orchestra, conducted by Jonathan Lo, who performed Sergei Prokofiev’s compositions exceptionally.
Although some might baulk at this production's structure of three acts with two intervals, this is a performance not to be missed. Whether serving as a gateway for newcomers or a nostalgic return for seasoned patrons, this rendition delivers an irresistible, passionate and captivating evening of ballet for all to enjoy.
