Leigh Donlan reviewed the 13th July, 2024, performance at New York’s Metropolitan Opera House
I had the pleasure of seeing Catherine Hurlin and Calvin Royal III in ABT’s Romeo and Juliet last week. Royal delivered a more fully embodied character compared to his prior week’s Siegfried – paired beautifully with Hurlin, ideally matched in presence and energies. Carlos Gonzalez was a spirited Mercutio, and the cast as a whole felt cohesive across the legendary family divide. It was a tempering follow-up (for me) to the oppressive tale of Swan Lake, as star-crossed lovers rebel against the patriarchy.
Kenneth MacMillan’s choreography is tight, disciplined and character-revealing, enhanced by the tremendous Sergei Prokofiev score, conducted by David LaMarche. And the Nicholas Georgiadis sets are majestic jewels, particularly the chapel and the Capulet family crypt.
In Act I, the Capulet courtiers moved in dramatic and stately fashion to Prokofiev’s Dance of the Knights before the gatecrashers, Romeo, Mercutio and Benvolio (Patrick Frenette) injected some mischief into the formalities with their flawless pas de trois sequences. In Juliet’s variation, Hurlin was sprightly and impetuous as she blossomed into her maturity. In the balcony scene, Royal effortlessly draped Hurlin across his shoulders like a consecrated shawl, a motif later repeated in the crypt, and his convincing variations gradually softened her defenses.
Act II’s bawdy harlots (Isadora Loyola, Scout Forsythe, Alexandra Basmagy) amused the townspeople with their rowdy character dances (the tasteless wigs should be ditched.) Mercutio (Gonzalez) often stole the show – and some kisses – with his charm and artistry. Luciana Paris as Juliet’s Nurse was consistently endearing in her tender guiding of the headstrong maiden, more maternal than Lady Capulet seemed capable of. And she basked in the attention showered upon her when she delivered Romeo’s letter, including the affectionate bum taps. Luciana Paris is a great character actress. Tybalt (the statuesque and noble Thomas Forster) was all business, to his last breath. Lady Capulet’s passage through grief, from shock to anger to bargaining then surrender, was beautifully legible in the fine acting by Claire Davidson. And the sword fights looked real.
In approaching Act III’s death scene, Royal’s Romeo was filled with sorrow and regret, slow to accept his loss of Juliet, while Hurlin’s bereaved Juliet was indignant, mad at God and the injustice, quick to plunge the dagger into her stomach. Royal is an admirable partner, strong throughout, but occasional fuzzy footwork and unfinished extensions marred his technique. His long, eloquent limbs only made these slight shortfalls more noticeable.
A truly staggering production, well-paced and superbly performed by dancers and musicians alike.
