Written by Gabrielle
Nomura
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| Pacific Northwest Ballet principal dancers James Moore and Kaori Nakamura in Jean-Christophe Maillot’s Roméo et Juliette. Photo © Angela Sterling. |
From the outpouring of emotion, applause, and the multiple
standing ovations, it was clear that a Montague and a Capulet were not the only
ones who fell in love during Pacific Northwest Ballet’s opening night of Romeo et Juliette at McCaw Hall, Friday
night, February 1, 2013. Choreographer Jean-Christophe Maillot’s reinvented
version of the ultimate love story first premiered at PNB in 2008. Now on its third
time around, and with PNB’s own sets and costumes this time, the ballet remains
fresh and provocative to Seattle
audiences. A storyline familiar to most anyone, when infused with Maillot’s
innovative, quirky choreography, this production has a lot to offer both
balletomanes, and new audience members.
The ballet unfolded cinematically as remembered by Friar
Laurence, the first character the audience meets (on opening night portrayed by
Karel Cruz). Right from the start, it is clear the Friar wants to change the
fate of this tale. Throughout, he endeavors to do good but ultimately only creates
tragedy; he is helpless to stop the inevitable. This concept was represented by
his constantly being manipulated and partnered by two dancers dressed in white,
the acolytes (characters not in Shakespeare’s play, but helpful to the telling
of this story from the Friar’s point of view).
Kaori Nakamura and James Moore were perfectly suited, both
physically and emotionally, for the title roles. In the balcony pas de deux, a boyish and infatuated
Moore is so overcome he could do nothing but lie on the ground, head in hands,
only to catch the flirtatious Nakamura in his arms when she least expects it. Despite
being one of PNB’s longest-standing dancers and most serious technicians,
Nakamura softened for the role, optimizing a playful, yet fierce and fiery
young Juliet.
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| Pacific Northwest Ballet principal dancers Kaori Nakamura and James Moore in Jean-Christophe Maillot’s Roméo et Juliette. Photo © Angela Sterling. |
The two surrendered themselves completely to the integrity
of the movement, seeming to blur the line between acting, dancing and simply
“being.” At times, it truly felt as if one was watching something so intimate
and sacred, it almost wasn’t allowed to be seen by others. In one such moment,
the entangled dancers seemed to notice they were being watched, and, throwing
the covers over themselves in Juliet’s bed, resumed their passion in privacy. It
was an explosive night for both lead dancers, but especially for Moore, whose promotion to
principal dancer was announced following the show.
The audience was treated to other PNB all-stars such as
Rachel Foster as the Nurse, in addition to up and coming stand-outs: Andrew
Bartee, who also performs with Kate Wallich and Whim W’him, and Leta Biasucci,
who was named one of Dance Magazine’s “25 to Watch for 2013.” Not that the dancers can take all the credit for the
standing ovations. Each production element, from the simple long dresses and
conceptual costumes by Jérôme
Kaplan, to the sparse, architectural sets by Ernest Pignon-Ernest, (including a
single, continuous beam, raised at an angle that served as Juliet’s balcony),
worked harmoniously together to deliver a package that felt well-designed at
every angle.
Then there was the intelligence of Malliot’s choreography.
The physical interactions and movement vocabulary were perfectly designed; it’s
as if the dancers don’t even have to try to act. The audience was able to see
the human spirit with an honesty and authenticity usually only seen in modern
dance. Romeo’s friends for example, Mercutio (Jonathan Poretta) and Benvolio
(Benjamin Griffiths) weren’t simply leaping bodies with Shakespearean names.
Their movement showed them as real young men--horny, boyish teenagers--getting
into trouble and chasing girls.
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| Pacific Northwest Ballet principal dancers Batkhurel Bold as Tybalt and
Jonathan Porretta as Mercutio in Jean-Christophe Maillot’s Roméo et Juliette. Photo © Angela Sterling. |
Finally, the unimaginable splendor and heartbreak of Roméo et Juliette was made vivid by an
aspect of the ballet that was heard, but not seen. Sergei Prokovief’s music so
clearly lends itself to a ballet like this; it sets an emotional tone essential
to making the entire performance so moving, and the PNB Orchestra, led by Conductor
Emil de Cou, played it majestically. From a young love filled with splendor and
exuberance; to the pensive and anguished themes danced by Friar Laurence, to
the surging and thrilling violence of the Montague/Capulet battle, the music
alone tells the story. At the very end, as Juliet howled a silent scream lying
with her beloved limp in her arms, the emotional strains of Prokovief’s score
swelled with raw heartbreak and longing; it alone was enough to bring tears to
one’s eyes.
Roméo et Juliette continues
this weekend with four performances. Tickets and performances times can be
found here.