Kodak Theatre
September 26 2011

By Alex Little.

Who can take aerialists, dancers, character actors, acrobats, trampoline teams, hand balancing artists, contortionists, and hand-to-hand duets and immaculately tell the story and history of the silver screen? Cirque du Soleil can! Now add the extraordinary effects of live video feed and digital animation to enhance this cinematic journey and blend all of those elements together with Cirque’s signature ability to produce a show guided by incredible creators, directors, choreographers, composers and designers and you have IRIS. Lights, camera, action!

Cirque founder Guy Laliberté has described IRIS not as a tribute to the movies or Hollywood per se, but as a homage to cinematic craftsmanship, both behind and in front of the screen, and to the magical synergy of light, sound and motion. 

Writer and Director Phillipe Decoufle and Creative Director Jean-Francois Bouchard are the imaginative geniuses behind IRIS. They have constructed a fanciful, innovative, and playful show to present the magic of cinema in LA’s Kodak Theatre. The mind-bending score, sets, lighting and costumes of IRIS are a show in themselves.

Hand Balancing. Photo Matt Beard © 2011 Cirque du Soleil. Costume by Philippe Guillotel

IRIS started in the early days of black and white film with an incredible aerial strap duet, and continued along showing the evolution of this medium and the accompanying eras in film. The seamless transitions of IRIS are led by their funny character actors and clowns, who kept the show’s story of a composer named Buster falling in love with a young starlet, Scarlette, moving along, in and out of film and reality.

A clever film strip montage was impressive, utilizing the actors and dancers performing in a life-like three dimensional film strip resembling a train of box cars. NY gangsters flew back and fourth off trampolines in an exhilarating shoot-out that took place on the rooftops of skyscrapers in old New York City.

The piece that opened the second act was exuberant and colorful, incorporating the entire cast in a behind the scenes look at a multitude of well-known films. This number really showcased the talented dancers.

A hand balancing act performed by the aforementioned Scarlett and her lover Buster was lyrical and romantic, as was a trapeze and broom duet. The most fun was had when the actors included the audience in a spoof on the Academy Awards. Lastly, a finale of the trapeze artists flying from the top of the Kodak Theatre was phenomenal and invigorating.

Cirque du Soleil has outdone itself, yet again. IRIS is not only eye-candy, the experience is palpable, and it reminded me that there is no limit to how a story can be told or a subject, presented. I would go and see IRIS for a second time in a heartbeat, and thankfully I can because Iris is likely to be at the Kodak for the next 10 years! Hooray for Los Angeles!

Top photo: Praxinoscope in IRIS. Photo by Mark DeLong © Cirque du Soleil. Costume credit: Philippe Guillotel

A New Baby for Broadway

Broadhurst Theatre, New York City
April 2011

By Deborah Searle.

Still in previews, Baby It’s You is a new show for Broadway with a similar script to the stage and screen hit Dreamgirls. The strength of the show is its infectious sound track of popular 50s and 60s music that has the audience dancing in their seats. With a score of famous tracks like “He’s So Fine,” “I Say A Little Prayer,” “It’s My Party,” “Shout,” and “Rockin’ Robin”, this show is set to be a huge success!

Inspired by the life of Florence Greenberg, the woman who in the late 1950′s took the male-dominated music industry by storm, Baby It’s You tells the story of a woman trying to change her life and the music industry. Along the way she pushes social boundaries, falls out of and in love and changes the lives of four young African American singing hopefuls. On a trailblazing journey from New Jersey housewife to record mogul, Greenberg launched the careers of some of the biggest recording stars of the 50s including one of the greatest girl groups of all time; ‘The Shirelles’, and Baby It’s You is a tribute to her success.

The show starts with a bang, immediately engaging us with an energetic song and dance number and we know straight away that we’re in for an entertaining night. This energy doesn’t falter and after the interval the show starts off again in fine form with an explosive song that draws us straight back into the story.

Tony Award winner Beth Leavel plays Florence Greenberg and is perfect for the role. She is believable, passionate and a consummate performer.  Leavel is backed by a brilliant cast that brings the story to life with impressive acting and piercing vocals. There isn’t much dancing in the show, but Kyra Da Costa as one of the Shirelles, is the strongest dancer of the cast, outshining the other performers with her obvious training and technique, and is a joy to watch.

Although the second act was a little drawn out, overall Baby It’s You is thoroughly entertaining and empowering. It’s the popular music that will drive the audience in, but it’s the convincing acting, interesting storyline and even the backdrop (complete with ever changing imagery across large screens) that will keep audiences strong.

Baby It’s You had me entertained, educated about the 50s/60s music scene, and literally dancing in my seat. Although I didn’t grow up in the story’s era, I enjoyed the show immensely proving that Baby It’s You is a great show for both young adults and Baby Boomers.

Joyce Theater, New York
April 17 2011

By Deborah Searle.

As I took my seat for DanceBrazil, in New York’s renowned Joyce Theatre, I wasn’t sure what to expect. I gathered I’d see some Capoeira and maybe some traditional tribal dancing, but I didn’t know how well this would translate on stage. However, very quickly I was engaged and energized by the dancers performing before me. DanceBrazil has a strong cast of vibrant and expressive dancers that kept me entertained and artistically challenged throughout the show.

Performing three distinct works we were treated to a display of extraordinary athleticism, strength and stamina as both the men and women in the company highlighted their Capoeira expertise. I enjoyed seeing not just tricks, but real choreography blending the Capoeira balances, stunts and high kicks together into beautiful dance movement that was at times soulful and at other times explosive. There were so many amazing acrobatic movements within each dance phrase that it was hard to see when one move finished and the other began – brilliant choreography!

The second act, ‘A Jornada’, allowed the dancers to show their modern dance training and strong dance technique. After the first act I wondered how technically trained the dancers were in the more popular styles of ballet and modern, but I was left without any question after their flawless performances in ‘A Jornada’.

The last piece, ‘Memorias’ was joyful and vibrant, celebrating Afro-Brazilian culture, and was a fitting end to an evening celebrating one of Brazil’s best dance companies.

DanceBrazil was thrilling and thoroughly entertaining. The combination of live and recorded music was uplifting and rhythmic, and the dancers brought every beat to life with the perfect combination of choreography, committed performance and colorful costuming. Congratulations to Artistic Director Jelon Vieira and his talented artists.

Fox Theatre, Atlanta
March 2011

By Deborah Searle

Burn The Floor is a ballroom blitz! The new Broadway production of Burn The Floor, currently touring the States, is adorned with glitz and glamour and gets the audience dancing in their seats. You know you’ve seen an inspiring show when the audience member beside you inquires about taking up dance classes for the first time, in her 40s!

Directed and choreographed by award winning Aussie Jason Gilkison, the show has the correct mix of slow and fast, romantic and sexy. The talented team of 20 dancers is accompanied by two outstanding vocalists and two percussionists who bring the music to life and add to the overall sensory appeal.

It is a star studded cast, smattered with celebrity dancers from So You Think You Can Dance US and Australia, Dancing with the Stars and Superstars of Dance. Vocalist Vonzell Solomon was even the second runner-up in the fourth season of American Idol.  Dancers Anya Garnis and Pasha Kovalev, ‘All Stars’ from SYTYCD US  were definite crowd favorites as they played leading roles in the production.

A highlight for me was watching young Robbie Kmetoni, winner of SYTYCD Australia, perform with such style and commitment. Robbie, who had never taken ballroom dance before competing in the TV phenomenon, is a contemporary and jazz dancer. Before the show I wondered if he’d be able to hold his own surrounded on stage by award winning ballroom champions from across the globe. Robbie, however, was given some jazz based choreography, mixed with ballroom partnering where he could highlight his strengths such as his flexibility, leap and kicks. He was a strong performer and a joy to watch. He had great attack in the quick ballroom group numbers and was very convincing, dancing next to his colleagues, many who have been ballroom stars since childhood.

Dancer Giselle Peacock was a stand out.  Much shorter than most of the other dancers, she made up for her lack of height with her attack and feisty execution. She was the perfect blend of technique and sex appeal. Her shorter legs seemed to make her foot work crisper than her long legged counterparts and her black curly hair whipped up a frenzy.  A slow rumba duo to Burn for You, with partner Kevin Clifton was breathtaking, yet her fast Cha Chas were just as exciting.

Burn The Floor is a celebration of all things ballroom. The costumes are stunning, ostentatious and colourful and the dancers are technically strong and passionate performers. We enjoyed everything from Viennese Waltz to Jive, Cha Cha, Swing, Salsa and even Paso Doble.  A Paso Doble dance off between two couples was a highlight and a Quickstep/Lindy/Jive/Swing performance to “I’m a Ding Dong Daddy” was fun and energizing, leading us into the interval wanting to see more.

My only criticism of the show would be that a storyline, even if just a lose one, would have been helpful to tie all the dances together and keep the mind engaged. However, there was enough variety, adroit dancing and dynamic vocals that the show was enjoyable without one. I left the theatre inspired and in awe of the dance talent that I had seen. Burn The Floor definitely has a ‘wow’ factor and an energy of its own.

Dance Place, Washington D.C.
January 23

By Angella Foster

Tonight I ventured out into the cold to catch a performance of TAKE Dance at Dance Place in Washington, D.C.  Based in New York City, TAKE is a small, athletic company of ten dancers, including Artistic Director Takehiro “Take” Ueyama.  No stranger to the D.C. area, Ueyama performed here many times during his eight years with Paul Taylor, but this weekend was special. It was his company’s debut in our nation’s capital.  I had never had a chance to see TAKE before and I wasn’t sure what to expect, so I happily grooved to the pre-show mix of 80′s hits ready for anything.

As the curtain opened, a single female dancer stood in a stark block of light performing a series of small, direct gestures and repeating them with increasing intensity and speed.  Soon, a whole company of dancers, three men and six women, dressed in quasi-business casual were barreling into the space with newspapers in hand.  Alternately springing into the air, crashing to the floor or racing through the space, the performers created a moving wall of frenetic, desperate energy that was more corporate than personal. It was an excerpt from a full length work entitled Salaryman which will premiere in New York later this year. I wonder how the final work will end?

Linked, the second piece on the program, was upbeat and full of Taylor-esque virtuosic dancing.   Full of explosive jumps and break-neck turns, Linked was exciting and beautifully executed. However, it turned out to be the least captivating work of the evening.  It was lovely, but it faded in my memory as I watched the final work of the evening unfold.

During intermission, the stage was transformed into a winter dreamscape complete with snow falling gently through a foggy haze, accumulating in low drifts across the stage.  Closing the program, Footsteps in the Snow began with an intimate duet featuring Artistic Director Ueyama, whose commanding presence served as the work’s center of gravity.  The remaining ensemble layered in slowly, moving with small, deliberate steps that barely disturbed the drifts of faux snow.  The movement seemed spacious and completely present even as the momentum built. At times it was punctuated with ecstatic moments when the dancers tossed handfuls of snow into the air.  For me, it was like being immersed in a landscape of memory, at once permanent and fleeting – like the dancers’ imprints in the snow.

When I asked Ueyama himself about Footsteps, he seemed reluctant to translate the work into words and just smiled, suggesting I talk to his dancers.  During the reception that followed the show, I had the chance to chat with dancer Jill Echo, who also serves as TAKE’s Assistant Director. For her, performing Footsteps is like a spiritual practice, “throwing the snow in the air, it is as though I am remembering the joy I had here, in this place, before it passes away.”  The thoughtfulness of her response was reflected in the power of the performance from the whole company.  They seemed to really know what they were dancing about. It was a joy to experience.

Although Ueyama didn’t elaborate on what his dancers had already spoken so clearly on-stage, he wasn’t shy about offering up his advice to aspiring young choreographers. “Be true to yourself”, he said. “When I started choreographing, I thought I was an American, a New Yorker.  Then I started realizing, I am Japanese.  This is who I am.  I have to stick to this”.  Full of wise words, Ueyama also advised that “too much information can be dangerous” because it can tempt young artists to borrow from other sources rather than develop their own voices. 

Ueyama has certainly developed his own voice, and if he continues making works like Footsteps in the Snow, he should stick to it!

If you’re in NYC later this year, you can see TAKE Dance for yourself at Dance Theater Workshop May 18-21, 2011.

Lunt-Fontanne Theatre
205 West 46th Street, NYC
Nov 2010.

By Jessica Innes.

Trick or treat? The Addams Family is a bewitching Broadway musical and an indulgent treat for anyone wanting a heart-warming experience full of madness and mayhem. This hysterical feast for the senses proves to be much more than just a comical farce, as it explores the universal themes of love, family, acceptance and growing up. Based on the original works of American cartoonist Charles Addams, the story hones in on Wednesday Addams newfound love Lucas and how their opposing families collide over an explosive dinner party.

With the spotlight focused on Wednesday Addams played by the bright eyed and incredibly talented Krysta Rodriguez, we were able to witness the young star’s piercing vibrato which was beautifully showcased in the number Pulled. However, it was the dynamic duo of Gomez and Morticia Addams, played by the side-splittingly funny Nathan Lane and the smouldering Bebe Neuwirth, that stole the show.  They commanded the stage with the nonchalant flair of true Broadway stars. The comic timing of Lane was impeccable as he reduced the audience to peels of laughter with just a single wink. Oozing sex appeal, Neuwirth was the envy of every woman in the audience with her svelte figure clad in a dress ‘cut to Venezuela’.

The music and lyrics of Andrew Lippa created a culturally diverse musical score with Spanish, Operatic, Big band and even Hawaiian influences. This added a little insight into the characters’ heritage and hidden talents… Who knew Uncle Fester could play the ukulele? Each musical number was the perfect accompaniment to Serjio Trujillo’s picturesque choreography, which ignited the imagination of the audience. 

The Tango de Amor was an essential moment of passion between Gomez and Morticia, however it also revealed the technical abilities of the company, whose staccato footwork was executed with attack and vigour. The Moon and Me was a dazzling display of lights, illusion and humour as Uncle Fester appeared to fly up to the moon, which he toyed with like a basketball all star. With an entirely blacked out set, the beautiful simplicity of this number showed that the sheer brilliance of the content is what drives the success behind this musical.  Nevertheless, the rest of the show was a true mega musical spectacular with huge sets boasting intricate details right down to photo frames and cobwebs on the mantelpiece.       

I felt like one of the family as the characters continuously broke the ‘fourth wall’ and spoke directly to the audience. Set in New York City, the show seemed to be custom made for a Broadway audience and the personal jokes further strengthened the actor/audience bond. The script was bursting with inter-textuality as the writers Elice and Brickman drew from many references including The Sound of Music and children’s nursery rhymes, which were morbidly mutilated to become moments of sheer brilliance.

The mood intensified in Act Two through an array of duets which showed the vulnerability of even the most robust characters. Nathan Lane showed touching tenderness in the ballad Happy/Sad which dealt with Gomez’s paternal reluctance to let Wednesday grow up. Writers Elice and Bickman noted the importance of the word ‘family’ in the musical’s title which they claimed was it’s “point of origin, and the guiding principle.”

The show continued to deliver hit after hit and the finale was a knockout with the triumphant number Move Toward the Darkness. The Addams family brought light to the darker side of life with a truly stellar array of musical numbers and a star-studded cast. They’ll make you laugh, they’ll make you cry and they’ll definitely make you blush. The Addams Family was a frightfully fun night not to be missed!

For tickets and information visit www.theaddamsfamilymusical.com

Photos: Joan Marcus

Celebrating the Career Transition For Dancers 25^th Anniversary Silver Jubilee.

New York City Center.
Monday Nov 8^th

By Jessica Innes.

For those of you blessed enough to feel the uplifting elation which dancing can provide, you will agree that it is not just a means to an end. Dance is a way of life.

However, the professional career of a dancer can be derailed by many factors and the gruelling demand on one’s body can eventually take its toll, thus like all good things it must come to an end. Career Transition For Dancers helps performers at the end of their on-stage career “jeté into the next act of life” with emotional support, scholarships, further education and career counselling. On November 8^th, 2010 they celebrated their 25^th Anniversary Silver Jubilee with an exultant evening of extraordinary entertainment.

The curtains rose to reveal a whirlwind of energy and colour as The National Dance Institute Celebration Team performed Shall We Dance from The King and I. The young dancers had stars in their eyes as they performed to a full house who cheered with encouragement as we witnessed the future of our industry.

Angela Lansbury hosted the evening and was the epitome of elegance as she honored the generous support of the many unions and individuals who have made Career Transition For Dancers possible. The audience were then treated to an array of the best performances New York has to offer which included Alvin Ailey American Dance Theater, ABT II, American Ballet Theatre, American Tap Dance Foundation Youth Program, The Joffrey Ballet, The Last Mambo, Louisville Ballet, MOMIX, National Dance Institute, Parsons Dance, World Cup All Stars and dazzling numbers from 42^nd Street and Chicago.  

The diversity of each act displayed the endless variety of ways dance can be expressed through the body, whether it was the casual swagger of the tappers from 42^nd Street to the flexibility and technical brilliance of the Joffrey Ballet. Each performer was beautifully unique, possesing qualities of fervent dedication, discipline, strength and joy. The programs at Career Transition For Dancers channel these virtues in order to allow such brilliant performers to share their gifts with the world long after their performing career is over.

A standout of the evening was a Pas De Deux from Don Quixote performed by the American Ballet Theatre’s Yuriko Kajiya and Daniil Simkin. Wearing a regal cream and burgundy tutu, Kajiya’s pointe work was floorless as she balanced in attitude, striking picture perfect lines and beaming with pride. Twenty-three year old Daniil Simkin had a boyish charm as he cheekily showed off his incredible jumps and turns to the audience. After repeatedly conquering seven consecutive pirouettes, Daniil took center stage to wow the audience with endless fouettés which was then challenged by Yuriko who shone equally as we watched her whip her leg with perfect execution. The friendly competition between the two was reminiscent of a modern day “dance-off” and allowed us to see the true foundations of dance.

In contrast, the modern and ingenious piece Caught choreographed by David Parsons and performed by Miguel Quinones was a mind-blowing illustration of how much dance has evolved. Parson’s signature stroboscopic was the perfect example of how modern technology can be utilized to aid a performance and this effect created the illusion of Quinones flying across the stage. Miguel’s timing was impeccable as he performed numerous split jumps in second ensuring that each time the strobe flashed he was in the air in full extension. The audience escaped reality as we marvelled at how the powerfully built dancer appeared to defy gravity and levitate in the air.

The 2010 Rolex Dance Award was presented to Twyla Tharp in recognition of her outstanding contribution to the industry. The spirit of the dancer was evident in her as she explained she felt a little “sheepish” accepting the award on a night dedicated to career transitioning as she stated “I never intend to retire…ever!” However the evening proved that it is beneficial to plan seriously for your future and that even when we stop dancing we never stop being dancers.

I’m sure many of you have had that moment where you’re stuck in traffic and a song you’ve performed to comes on the radio. You begin to reminisce about your moment on stage and you naturally groove along to the music as a neighbouring truck driver looks on in bewilderment. Dance never really leaves us and this was the essence behind the heart-warming finale I’m Really Dancing with music by Marvin Hamlisch and performances by a star studded cast of dancing greats including Charlotte d’Amboise, Chita Rivera, Marge Champion and Angela Lansbury herself. The emotional night came to a close amidst roaring applause and as the audience left, I took a look around at the beautifully bejewelled women and the smartly dressed men who had been a part of the event. It was evident that the night had touched the dancer in every one of us. Career Transition For Dancers must be commended for their support in improving the lives of dancers all over America for the past 25 years and for a night of truly unforgettable entertainment.

Photos: Richard Termine

The Fox Theatre, Atlanta.
Saturday Oct 16 2010

By Deborah Searle.

Dreamgirls is a dream.
It is a production that celebrates the exceptional vocal talents of African American performers. The cast is strong, and the performances are flawless. Dreamgirls is the story of vocal group, The Dreams’ rise to the top, giving us a glimpse into the lives of three 1960’s performers and the men behind them. Dreamgirls has an explosive energy fueled by jealousy, ego, ambition, love and betrayal.

Choreographed by Shane Sparks with Director Robert Longbottom, most of the dancing is reminiscent of the go-go era with touches of Fosse arms and hips. There is a large hip hop number involving suits, vinyl records and brief cases that shows Sparks’ work at its best. High energy crisp movement with fun patterning, the piece to Step Into the Bad Side is a highlight of the show.

The set is simple, but brilliant, without need for anything else. The backdrop consists of huge screens that change colours and display moving imagery depending on the scene.  As much of the show is set on a stage, these screens cleverly rotate to give us the illusion of watching the stage from the wings when The Dreams, or other characters, are on side of stage. In perfect unison the choreography also rotates to gives us the side of stage view.

The three leading ladies of Effie White, Deena Jones and Lorrell Robinson played by Moya Angela, Syesha Mercado and Adrienne Warren respectively, are perfect for their roles. Moya Angela as Effie steals the show and blows us away with her powerful, roof lifting rendition of “And I Am Telling You I’m Not Going” to close the first act.  In the second act Syesha Mercado shows her talents with a beautiful, emotional rendition to “Listen” that gives us tingles. Chester Gregory as the sleazy and explosive James “Thunder” Early is comical, entertaining and an audience favourite.

I commend Broadway Across America for bringing the country’s best talent out of New York theatres and into all the cities for all to enjoy. Dreamgirls is a mature and hard hitting musical that will touch your emotions and take a piece of your heart.

Photos: Joan Marcus

The Shubert Theater, New York
July 2010

By Rebecca Martin.

Amidst the plethora of tourists, bright lights, shows, and bustle of Broadway in New York, The Shubert Theater on 44^th Street played host to Memphis , winner of the 2010 Tony Award for best musical. With summer heat rising from the pavement outside, the cool interior of the theatre was a welcome relief for the excited audience who filled every seat in the house to see the “biggest hit on Broadway”.  With advertising slogans such as “The story is American, the thrill is universal”, my expectations were high and I was not disappointed.

As soon as the curtain opened, the dancers burst on stage and the musical began with sharp, fierce and lively dancing from the chorus.  The women were sexy, the men were sultry, and their voices made my hair stand on end.  The first scene, set in an African-American rock ‘n roll underground bar in Memphis ,Tennessee, during the 1950’s,  made me long for that era of music and dance. 

Memphis tells the story of Huey (Chad Kimball), a white man who cannot hold down a job but loves soul music, and Felicia (Montego Glover) a young African-American singer. Felicia is trying to make a name for herself in racist Tennessee where the “black music” she makes is banned everywhere except underground clubs, such as the one her brother Delray owns. 

Through a combination of timing, charm, and skill, Huey secures a gig as a radio DJ, gets Felicia played on the radio, becomes the most popular radio presenter in Tennessee, and wins over Felicia.  Unfortunately, in 1950’s Tennessee, inter-racial relationships were frowned upon and Felicia is badly beaten.  With Huey reluctant to leave Memphis, Felicia travels alone to the more liberal New York to pursue her singing career and escape the prejudice of Tennessee.  Sadly there is no ‘happy ever after’ for Huey and Felicia, which is possibly the only disappointment of an otherwise brilliant production. The ending was slightly anticlimactic and the absence of a fairy tale ending was a bit of a letdown.

Kimball was born for the role of Huey and was nothing short of brilliant.  He was endearing as the potentially annoying Huey, and portrayed him as a cool and nuanced character.  Kimball’s presence on the stage was mesmerising.  Glover also brought the house down with her portrayal of Felicia.  Her voice and commanding performance elicited rapturous applause from the audience.  The two performers carried the show with ease and confidence, with a sense of genuineness and without any forced showiness that often pervades Broadway musicals. 

Memphis had it all: laughs, surprises, outstanding dancing, fantastic sets, stunning voices, entertaining songs, interesting choreography and a message that stays with you long after the curtain has come down.  It showed that music has the ability to inspire change in people and it exposed the ugly impact of prejudice and racism.  Memphis put a spring in my step and a smile on my face, and after the show I could be heard uttering the words “musical of the year!”

Metropolitan Opera House
NYC July 5th 2010

By Rebecca Martin.

It was the 5th of July when I ventured to the Metropolitan Opera House in New York, the day after the city had celebrated Independence Day and the collective hangover was compounded by the 100 degree heat (38 Celsius). The Met provided the perfect relief through its supply of air conditioning, gorgeous architecture, a little hair of the dog, and of course, American Ballet Theatre’s production of Romeo and Juliet.

Kenneth MacMillan’s Romeo and Juliet is undoubtedly a masterpiece, with elaborate set designs, smooth scene changes, and colourful costumes that remain relatively true to the era of the Shakespearean tragedy. However, there are a few clunky moments that aren’t seen in John Cranko’s version. The most obvious of these is the awkward choreography in the opening market scene, namely from the gypsy girls clomping uncomfortably in character shoes. Fortunately, the dancers transcended the clumsy steps and musicality with suitably dramatic flair and energy. Soon after, Julie Kent as Juliet burst onto the stage with a display of great exuberance and youth as though it was the first time she had performed the role.

Marcelo Gomes (Romeo), Herman Cornejo (Mercutio), Gennadi Saveliev (Tybalt), Carlos Lopez (Benvolio), and Sascha Radetsky (Paris) were all flawless technically. MacMillan’s Romeo and Juliet allows the men to be the stars, while the women – even Juliet to some extent – have secondary roles. Gomes was a flawless technician and a convincing Romeo who had me entranced with his portrayal of the young lover and there was chemistry galore between him and Kent. The male solos and group dances were greeted with rapturous applause from the audience who were in agreement that the show was about the men.

Having said that, Kent was a stunning Juliet, with crisp footwork and clean, strong technique that allowed her to perform the role despite her maturing years. What sets Kent apart, particularly in the role of Juliet, is her incredible artistry and assured performances. During the balcony pas de deux in the first act, she was flung by Gomes like a rag doll and you couldn’t help but be swept up in the passion and excitement of the young lovers. The famous scene was fluid, beautiful, and breathtaking. The two dancers moved as one, and although they may have been acting, I believed them.

The adoration of the men by the American audience was reinforced in Act 2 and their appreciation was not misplaced. Act 3 was filled with all the drama, tragedy and redemption that the story is renowned for, without any contrived over-acting. It was truly heart-wrenching to witness Romeo and Juliet be torn apart and see them resort to death to be together. I had goose bumps, my hair stood on end, and there were definitely tears in my eyes. The spellbound audience leapt to its feet for a standing ovation and multiple curtain calls. As we poured out of the theatre and onto the street, the stifling heat no longer bothered anyone and we went our separate ways reminded that American Ballet Theatre is a polished company that delivers memorable performances.

Photos: Julie Kent and Marcelo Gomes in Romeo and Juliet.  Photos by Rosalie O’Connor.