ABT 2024: Romeo and Juliet
Devon Teuscher and Aran Bell in Romeo and Juliet. Photo: Rosalie O’Connor.
On July 9, 2024, American Ballet Theater raised the curtain on the fourth production of their summer season with 'Romeo and Juliet'. Sir Kenneth MacMillan's classic staging and choreography bears a perennial beauty which blends magically with the depth and power of Prokofiev's score.
Leading the orchestra this evening was Charles Barker, who brought a wealth of color and strength to the unfolding drama. This work in particular takes to beautiful heights the various street scenes of Verona, and creates ample time for the dancers to inhabit their current dramatic space. Some particular highlights include the utter enormousness of Prince Escalus' declaration as he brought the fighting families to a hold, the orchestral swells as Romeo approaches Juliet's balcony, or the measures of grief and contemplation as she prays for guidance before imbibing the sleeping potion.
In the role of Romeo was principal dancer Aran Bell. After his initially love lorn entrance, pining for the distant Rosaline, Bell soon demonstrated a variety of hopeful leaps and turns as he, Mercutio, and Benvolio readied for the Capulet ball.... After catching sight of Juliet, his solo number featured no shortage of elegant spins and moments of excitement yet restraint as he courteously made his rounds about her, all adding up to a very charming appeal.
The opening measures of their balcony scene pas de deux saw him let loose with an infatuated charge through his intricate turns, and emphatic tours before supporting her through a promenade which elaborated into beautiful turns and stunning, extended lifts as he gently bore her about the stage on his shoulders, into a nearly upside-down hold, or through an extended swoon as he lowered her back to Earth. This constant sense of weightlessness was featured prominently as the lovers parted and rejoined with great intensity, and was but one way both artists demonstrated tremendous artistic sense and chemistry.
As Juliet, Devon Teuscher was breathtaking in her portrayal. From her utterly beaming entrance, full of swift turns and leaping tours, she instantly conveyed youthful vivacity with her nurse before her arranged nuptials with Paris brought out more concerned and shy tones, as seen from her demuring pointe work as she floats away from his attempt to kiss her hand to circle around her nearest guardian. Their later dance during the Capulet ball carried with a gentle and deliberately tame energy as he supported her through sequences of soft lifts and dives, and finely set the mood which would be so powerfully contrasted by her interactions with Romeo.
Their initial dance opened with playful touches as he tried to grab her waist or seemed to whisper sweet nothings into her ear, but Tybalt and the public gaze kept them at a distance until all these building emotions from the prior encounters reached a beautiful peak for the balcony scene.
Their time together during the opening scene of Act 3 was a moment a grand passion as her affections were overcast by the recent murder of Tybalt and Romeo's impending exile, drawing from Teuscher a fascinating palate of expression seen through the yearning reaches as she's supported in promenade, or how certain lifts melted downward into a variety of disconsolate or ecstatic poses. While much of the plot keeps these lovers apart, it's these moments that truly make all the buildup worth it as dancers of Teuscher and Bell's caliber bear all.
As Mercutio, Carlos Gonzalez was unfailing in the mirthful charm. His presence during the opening scenes and the pas de trois before the ball saw him display great energy and whimsical turns and leaps, features with which he stole the spotlight as he cleared away the awkward air left by Tybalt accosting Romeo. During his fateful duel and death scene with the former, Gonzalez was expressive and articulate through the dire mummery; one could practically trace which line from the play he was evoking as he worked through the realization of his approaching end. While not much of prominent role in this work, Gonzalez's Mercutio nonetheless makes the most of his time in the spotlight with all the skills needed to shine.
Everything from the hazy, red lighting of the set to the constant brushes and confrontations of the crowds suggests a city just brimming towards a brawl, so moments where the whole stage erupts in swordfighting were particularly enjoyable. Besides this fun chaos, order also pervaded much of the scenes and ensembles, with the Act 1 "March of the Knights" being a display of extreme refinement as the Capulets advanced in measured, weighty steps mixing with the courtly orchestral texture to create an atmosphere of oppressive grandeur. Less refined, yet more fun, were numbers for the corps such as the "Morning Scene" or "Dance of the Five Couples" where Romeo, Mercutio, and Benvolio are free to stir up some trouble shortly before the plot reemerges.
Carlos Gonzalez in Romeo and Juliet. Photo: Mena Brunette
Through the hectic and bustling scenes or the enchanting, romantic moments, the corps de Ballet and principal artists were at the top of their game and, even for a work as well-known as 'Romeo and Juliet', often kept the audience at the edge of their seats through their spirited portrayals and honed technique. Lovers of ballet will not want to miss the remaining performances of this timeless tragedy.
-written by Logan Martell.