The Boston Ballet has once again taken on the classic ballet ‘Romeo and Juliet,’ presenting a fresh interpretation directed by Jean-Christophe Maillot.
As the 2024–25 season draws to a close, audiences at the Citizens Opera House are experiencing a version of the ballet that deviates significantly from more traditional stagings.
Unlike previous renditions seen in Boston, Maillot’s 1996 creation strips away many conventional elements, including familiar characters and traditional costumes.
Gone are the legendary figures such as the Prince, Lord Capulet, and Lord and Lady Montague, alongside hallmark symbols like swords and daggers.
This version condenses the full score, eliminating about a half hour of performance time, primarily cutting ensemble numbers. The entire performance on opening night ran about 2½ hours, with intermissions to punctuate the acts.
Prokofiev’s evocative score often serves as a backdrop for a traditional narrative filled with Renaissance themes and settings.
However, ‘Roméo et Juliette’ embraces a more contemporary aesthetic, with designer Ernest Pignon-Ernest creating an abstract backdrop of sliding white panels and ramps, effectively setting the scene for a surreal dream-like quality.
Dominique Drillot’s lighting further enhances the emotional atmosphere as each scene unfolds.
Costumer Jérôme Kaplan dresses the Montagues in soft, pale tones, contrasting with the dark shades of the Capulets, creating a visual dichotomy that adds depth to the narrative.
This new interpretation opens with a unique premise: Friar Laurence, a minor character in Shakespeare’s original play, serves as the narrator burdened by remorse for the tragedy of the young lovers.
This bold choice creates an unconventional layer to the performance; however, it may not resonate well with all audience members, as some feel his presence is overly dramatic for a character with limited influence in the original work.
Despite this gamble, Maillot’s choreography brings vitality to the stage, with movements that echo the vivid nature of Prokofiev’s score.
Dancers Jeffrey Cirio (as Romeo) and Ji Young Chae (as Juliet) capture the youthful exuberance of their characters, weaving a captivating narrative that draws the audience in.
Their chemistry was palpable, particularly in the balcony scene, showcasing their ability to bring spontaneity and freshness to the well-known narrative.
Other characters also made strong impressions; Rosaline, portrayed by Emma Topalova, added a playful dynamic as Romeo’s initial love interest, while Yue Shi portrayed the fierce Tybalt.
The Nurse, played by Courtney Nitting, was portrayed with an endearing eccentricity, adding humor to the unfolding drama.
Sun Woo Lee stepped into the role of Mercutio, providing comic relief, while Daniel R. Durrett’s Benvolio offered necessary contrast in the buildup to the Capulet party.
The absence of Lord Capulet leaves Lady Capulet, played by Chyrstyn Mariah Fentroy, to explore complex dynamics with Tybalt and Paris, creating a different narrative environment.
Act one, which culminates with the iconic balcony scene, was notable for its engaging character interactions, drawing applause from the audience multiple times.
However, as the performance progressed into acts two and three, some elements began to lose their appeal; the comedic moments with the Nurse started to feel repetitive, changing the overall pacing of the story.
In a puzzling move, a puppet show representing the festivities of the town served as a precursor to the tragic events that would unfold, but certain poignant moments, like Mercutio’s death, were cut, altering the dramatic weight of the scene considerably.
As the climax built, the choice to depict dramatic slow-motion moments, such as Romeo’s pursuit of Tybalt, added a unique flair but also risked losing the urgency suggested by Prokofiev’s music.
The emotional farewell between Romeo and Juliet remained a high point of the performance, showcasing a mix of anguish and intimacy that resonated well with the audience.
Yet, in the final act, the portrayal of Juliet’s suicide felt abrupt and confounding, leading to a consideration of Prokofiev’s original desire to rewrite the tragic ending for a more hopeful conclusion.
Overall, ‘Roméo et Juliette’ offers a fresh, albeit controversial, take on a well-known story.
While certain elements, including the narration by Friar Laurence, may not appeal to everyone’s taste, the exceptional performances from Cirio and Chae, coupled with Maillot’s innovative choreography, ensure a memorable experience for the audience.
Presented by the Boston Ballet with the Boston Ballet Orchestra conducted by Mischa Santora, this unique interpretation runs through June 8, with tickets priced between $32 and $232.
For more information, visit www.bostonballet.org or call 617-695-6955.
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