The Richmond Ballet’s ROMEO & JULIET: Shakespeare’s Family Feud on Pointe
A Dance Review by Julinda D. Lewis
By: The Richmond Ballet
At: Carpenter Theatre at Dominion Energy Center, 600 East Grace Street, RVA 23219
Performances: February 18-20, 2022
Ticket Prices: In-Person Tickets $25-$125
Info: (804) 344-0906, etix.com, or richmondballet.com
Romeo & Juliet
Choreography by Malcolm Burn
Music by Sergei Prokofiev
Performed by The Richmond Symphony,
Erin Freeman, Conductor
Scenery & Prop Design by Charles Caldwell
Costume Design by Allan Lees
Lighting Design by MK Stewart
It’s that time of year again. February. Some of us still have Valentine’s Day candy and flowers on our desks. It’s Romeo & Juliet season.
I’ve often mentioned to staff at the Richmond Ballet that my biggest – my only – problem with Romeo & Juliet,a ballet that is always performed around Valentine’s Day, is that it is one of the world’s greatest love stories, but the lovers end up dead at the end. Sigh. I think Romeo & Juliet has a higher body count than many action-adventure plots. But it also has some of the greatest – and largest – hats ever to appear on stage (kudos to costume designer Allan Lees).
On a serious note, Romeo & Juliet, running nearly three hours including two twenty-minute intermissions, is an immersive theatrical experience. There’s young love, friendship, family loyalty, classical ballet, folk dancing, comedy, drama, a fabulous score, and more.
This large-scale ballet, created by Richmond Ballet’s long-time Artistic Associate Malcolm Burn premiered August 1977 and was first performed by the Richmond Ballet in February 1995. The ballet includes a huge cast that highlights the students of the School of Richmond Ballet, the Richmond Ballet Trainees, and the Richmond Ballet II company. I found many of the supporting roles provided some of the most interesting and delightful moments of the evening.
Trainee Gabrielle Goodson was cast as the figure of Fate. A non-dancing role, Fate would appear before a death occurred. I never managed to see Goodson move, but suddenly she would appear or shift to a new position on stage. The black-robed and hooded figure was even more ominous because of the silence, stillness, and unimposing stature.
A trio of Harlots (Celeste Gaiera, Sarah Joan Smith, and Izabella Tokev) provided several amusing interludes, with their dancing (sassy romps through the crowd scenes and seductive moments with the men of the town – all of the men) as well as with their costumes (off the shoulder frocks and outrageous wigs that reminded me of a combination of Marge Simpson and the wigs worn by the step-sisters in the Cinderella ballet).
Among other supporting figures that made a big impact was Susan Israel Massey as Juliet’s Nurse. A character role that did not require much dancing, Massey was delightful: loving and loyal to Juliet, daring and subversive in her support of her young charge, and humorous in the marketplace scene.
Ma Cong, the company’s Associate Artistic Director, who took on his role in June 2020 in the midst of a pandemic, was cast in the role of Lord Capulet, Juliet’s stern and unyielding (abusive might not be too strong a word) father. If I am not mistaken, this was his first onstage appearance with the Richmond Ballet.
Ira White was thrilling in the role of Tybalt, Juliet’s passionate and short-tempered first cousin. White engaged in a lot of swordplay with the gentlemen of the rival House of Montague – Romeo and his sidekicks Benvolio (Colin Jacob) and Balthasar (Zacchaeus Page). The fight scenes lit up the stage with a perfect balance of athleticism and art.
As for the title roles, Sabrina Holland danced the role of Juliet, and Khaiyom Khojaev was her Romeo, roles that require equal parts dancing, acting, and mime. There are no long dance scenes in Romeo & Juliet, and no grand pas de deux, so viewers must soak up every brief encounter, every precious stolen duet between the young lovers. The brevity of each encounter, each step, each lift makes their partnership all the more endearing. Personally, in his group scenes I would have liked to have seen Khojaev adopt some of the feistiness required of White. Tybalt certainly had confidence to spare. But in his solo turns Khojaev’s Romeo soared flawlessly.
Paris (Joe Seaton) the contender favored by Juliet’s parents (Ma Cong and Lauren Fagone), is given short shrift. Juliet flicks away his hand every time he tries to touch her. The poor guy is never even in the running. The tension and family dynamics in the scenes with Juliet, her parents, her nurse, and Paris is palpable and presages the unhappy ending that is sure to come.
Overall, Romeo & Juliet is a family-friendly ballet, and one that can be enjoyed by people who say they do not “understand” ballet. And if you don’t recall the details of Romeo and Juliet from high school, there is a handy scene-by-scene synopsis in the digital program. And the familiar score, played live by the Richmond Symphony, can easily stand alone.
I enjoy the intimate Richmond Ballet Studio Performances that are scheduled four times each season, but there is nothing like a full-scale, evening-length ballet and Romeo & Juliet is a personal and audience favorite, judging by the size, diverse composition, and positive reactions of Friday’s opening night house. At the time of this writing, there are two remaining opportunities to see this run of the Richmond Ballet’s Romeo & Juliet.
Julinda D. Lewis is a dancer, teacher, and writer who was born and raised in Brooklyn, NY and now lives in Eastern Henrico County, RVA.
Romeo & Juliet Performance Schedule
Friday, February 18 @7:00PM
Saturday, February 19 @7:00PM
Sunday, February 20 @2:00PPM
COVID-19 Protocols: Upon entering the theatre, all audience members ages 12 and above are required to show printed or digital proof of full vaccination against COVID-19 or of a professionally-administered negative COVID-19 test taken within 72 hours of the performance. Patrons ages 18 and above will also need to show a photo ID. All patrons ages 2 and above will continue to be required to wear masks. Eating and drinking are allowed only in designated areas of the lobby.
Photos of the Richmond Ballet’s Romeo & Juliet. Photos by Sarah Ferguson. All rights reserved.
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