New York City Ballet
Romeo + Juliet 2010
Founders, George Balanchine and Lincoln Kirstein
Founding Choreographers: George Balanchine and Jerome Robbins
Ballet Master in Chief: Peter Martins
Ballet Mistress: Rosemary Dunleavy
Assistant to the Ballet Master in Chief: Sean Lavery
Guest Teacher: Merrill Ashley
Children’s Ballet Master: Garielle Whittle
Orchestra, Music Director: Fayçal Karoui
Chairman of the Board: John L. Vogelstein
Managing Dir. Communications and Special Projects: Robert Daniels
Assoc. Director Communications, Joe Guttridge
Assoc., Communications and Special Projects, Caitlin Gillette
The David H. Koch Theater, Lincoln Center
Dr. Roberta E. Zlokower
January 21, 2010
(Read More NYC Ballet Reviews).
Conductor: Fayçal Karoui
Romeo + Juliet (2007): Based on the Play by William Shakespeare, Music by Sergei Prokofiev, Choreography by Peter Martins, Scenery by Per Kirkeby, Costumes by Per Kirkeby and Kirstin Lund Nielsen, Costumes supervised by Holly Hynes, Lighting by Mark Stanley, Technical design by Perry Silvey, Fight scenes staged in association with Rick Washburn and Nigel Poulton, Performed by Kathryn Morgan as Juliet, Robert Fairchild as Romeo, Daniel Ulbricht as Mercutio, Antonio Carmena as Benvolio, Joaquin De Luz as Tybalt, Darcy Kistler as Lady Capulet, Jock Soto as Lord Capulet, Georgina Pazcoguin as The Nurse, Adrian Danchig-Waring as Paris, Ask la Cour as Friar Laurence, Albert Evans as The Prince of Verona, and the Company as The Montagues, The Capulets, The Ballroom Guests, Juliet's Friends, and The Mandolin Dance. Dedicated to Howard Solomon.
Tonight’s Romeo + Juliet was one of the finest, if not the finest interpretations of this gripping ballet I’ve ever seen. Kathryn Morgan, as Juliet, brought a freshness and robust honesty to a role I’ve seen dozens of times, in numerous companies. In fact, every time I see Peter Martin’s Romeo + Juliet, I appreciate it more and more. Per Kirkeby’s brightly colored costumes fuse the sharp emotions, just as his abstract scenery shapes the conflicting families and tragedies. But, I could not stop gazing at Kathryn Morgan’s ingénue illumination of this renowned role, with her total absorption of action and ardor, never grandstanding, never self-conscious, just Juliet, all the time.
Robert Fairchild, who usually partners other Juliets, filled in for the injured Sean Suozzi, and he exuded his quintessential mastery of the role, as well. But, I had seen Mr. Fairchild’s interpretation before, and I had eagerly anticipated seeing Mr. Suozzi’s rougher, fresher, less rehearsed take on Romeo. Next Season, hopefully. In the Chapel scene, with the elegant Ask la Cour as Friar Laurence, Ms. Morgan and Mr. Fairchild were trembling in the theatricality and possessed with the threatening consequence. Ms. Morgan’s scenes with Georgina Pazcoguin, as The Nurse, were youthfully exuberant, less petulant than other Juliets, and vastly more vulnerable. Adrian Danchig-Waring, as Paris, was persistent, persuasive, and poised.
Joaquin De Luz’ Tybalt was menacing, but his death scene evoked sadness, as he personified trouble and complexity. Daniel Ulbricht was the confident, coy, and athletic Mercutio that we expected, as colorful as the backdrop palette. My favorite scene in Mr. Martin’s ballet is Act I, Scene IV, The Garden Beneath Juliet’s Balcony, with Romeo and Juliet in the first throngs of attraction and infatuation. Mr. Martins choreographed such luscious lifts, such splendid and spontaneous spins, such emotional energy, that this scene should be regularly added to the repertory’s mixed programs. This is where Mr. Martins shines most ingeniously, and I’d love to see him create another full-length choreography with this level of robust romance. Kudos to Peter Martins.
Kathryn Morgan in Peter Martins'
"Romeo + Juliet"
Courtesy of Paul Kolnik