His Majesty’s Theatre, Perth
Reviewed: August 30
Andrea Schermoly’s Romeo & Juliet was originally created in 2023 for the Royal New Zealand Ballet. It is a three-act production which maintains a traditional take on Shakespeare’s classic tragedy.
The most impressive feat of this production is the set design, by James Acheson. As the curtain lifted on Act I, the audience is transported to renaissance Verona by the towering stone walls and distant cathedral, pulled together by sunset-auburn lighting (by Jon Buswell). Subtle shifts in the set structures between scenes transform the space and enable exploration of different characters’ perspectives. I would happily see the show again to marvel at the set alone.
The costumes are also designed by Acheson, and are also exceptional. In the Capulet ballroom scene, a sea of flowing, red velvet robes for the Dance of the Knights is a spectacle of power and opulence.
The choreography, while pleasant and clean, is unremarkable, as a large portion of the performance is spent on the interactions of the characters, as well as fight scenes (choreographed by Nastassja Norwood). There are, however, some lovely lifts for Romeo and Juliet which develop the growing intimacy of their relationship.
The cast delivered their characters with great commitment. Polly Hilton, in particular, was utterly compelling as Lady Capulet; her piercing stare and proud mannerisms were dripping in pomposity. The deliberate overexaggeration was welcomely engaging.
Julio Blanes was also a favourite of the night, depicting the audacious Mercutio with a playful attitude. Blanes commanded the stage with both power and control. Some of the timing of the three Montague men (Ruben Flynn-Kann as Benvolio, Oscar Valdes as Romeo and Blanes as Mercutio) was off in a few sections, but it was excusable in their portrayal of scrappy, wayward characters. The women of the ensemble, as always, had impeccable timing.
Dayana Hardy Acuna as Juliet gave her character depth, presenting as both childish amongst authoritative figures and mature with her secret lover. I was particularly pleased to see contrast between Hardy Acuna’s partnering with Charles Dashwood (Paris) and Oscar Valdes (Romeo); any pas de deux between Hardy Acuna and Dashwood was appropriately stilted and unaffectionate, whereas Valdes and Hardy Acuna engaged with trust and conviction.
In addition to his superb partnering, Valdes gave a classically kind and gentle depiction of Romeo.
The ensemble’s performance cannot be faulted, and there were pockets of the production that swept me into the daydreamy romance, but for the most part, the story was hard to connect with. A heroine finding agency in an oppressive patriarchal culture is a story that remains relevant today, yet there seemed to be no creative tweaks to signal denouncement of such culture. By way of example, at one point in a lively market scene, Mercutio gropes the Nurse from behind; a moment designed for humour and to develop Mercutio’s personality as delightfully mischievous. Such a choice felt uncomfortably affirming of outdated ideals.
The WA Ballet presented a passionate performance of Romeo & Juliet. The dancers were devoted and charming, and the production elements are outstanding. However, in keeping the presentation strictly traditional, the overall show is safe, at the risk of being uninspiring. Such traditional reproductions have a place in preserving the history of ballet, but there must be consideration for how the values projected will resonate with a modern audience.
- ALANA KILDEA
'Romeo & Juliet' continues to September 14.