NEW YORK, NY – For its summer season finale, the American Ballet Theatre performed Romeo and Juliet (Kenneth MacMillan’s choreography and Sergei Prokofiev’s score).
Thursday’s performance featured principal dancers Aran Bell (who substituted for the originally scheduled – but alas, injured – Cory Stearns) and Hee Seo as the respective roles of Romeo and Juliet. It’s the well-known classical tale of two star-crossed lovers set in Renaissance Italy, yet the principals have found a way of breathing new life into it with their elan.
Aran Bell in Romeo and Juliet. Photo: Gene Schiavone.
In contrast to other classical ballets, MacMillan’s version of Romeo and Juliet heavily emphasizes the male form. Indisputably, Alan Bell’s Romeo effortlessly fulfills that request. His stage presence immediately commands our attention – Bell’s dancing exudes confidence and renewed vigor, masterfully embodying the youthful spirit of Romeo. Playing Romeo is an incredibly physically taxing role, yet it’s almost like Bell is a racehorse whose energy never dwindles. He makes jetés look uncomplicated and elementary, almost like child’s play – an undeniably difficult task for someone of his stature yet one that he refuses to shy away from. It is through stage presence that Bell’s artistry shines and reminds us of how he debuted in this role when he was just a teenager himself.
Bell also understands how to masterfully navigate Romeo’s role as a partner – first with his main object of attraction at the start of the ballet, Rosaline, and of course, finally with Juliet. His dancing becomes more refined and affectionate, especially evident during both the balcony and bedroom pas de deux.
MacMillan’s demands of the male dancers do not end there as we witness with Mercutio (Jake Roxander), one of Romeo’s friends. A force of nature on stage, Roxander proves his technical prowess and athleticism through his repeated succession of fouetté turns. Similar to Bell, Roxander dances with such energy and panache that makes watching a supporting character equally interesting. Every one of his movements, including his taunting facial expressions when dueling with Tybalt (Joo Won Ahn), serves as a nod to his character’s mercurial disposition. His jétes are nimble and quick and his successive tour en l’air emanate mischief.
Hee Seo in Romeo and Juliet. Photo: John Grigaitis.
As for Juliet, played by Hee Seo, her delicate nature juxtaposes with but complements Romeo’s dominant and overbearing energy. It isn’t until scene two that she appears for the first time, running giddily across the stage in a white dress representative of her innocence. In these initial scenes where she plays with her nurse, her dancing is carefree. Yet with Romeo, as is part of a teenager’s attempt to be understood, she undergoes a metamorphosis to become a more mature version of herself – her port de bras become more fluid and elegant. Seo, like her male counterparts, deftfully navigates the dynamics she has with her partners. She seamlessly transitions between a bashful but petulant teenager (with her parents) to a tense and annoyed partner (with Paris) on stage. Seo’s technicalities are also impressive – she displays unexpected strength in her bourrées when fleeing across the stage after rejecting Paris’ advances.
As the ballet progresses, the two lovers learn to balance their dance styles off each other. The harmony of their energies is palpable on stage, particularly in the balcony pas de deux. They dance passionately as one entity, exploring the depths of teenage love. To conclude the pas de deux, Juliet tenderly raises her leg in an arabesque penchée and looks fondly down upon her Romeo.
MacMillan’s choreography also poses an unanswered question to its leads – one of acting and storytelling. Bell and Seo have proven that they have mastered the technicalities and musicalities, but can they persuade the audience that they were truly in love? There is still room for more anguish and despair after Romeo discovers that Juliet has killed herself (albeit fake, but he is ignorant of this), or vice versa when Juliet awakes from her fake death to find that Romeo has killed himself. It is their elegance and technical precision that have pushed them to become masters of their trade, but simultaneously have posed a unique challenge in portraying themselves as a psychotic duo navigating a turbulent and forbidden love.
The American Ballet Theater concluded its summer season on July 22, 2023. The 2023 fall season at the David H. Koch Theater opens on October 18, 2023, with tickets on sale starting Wednesday, September 6 at 12pm.
Featured Photo Credit: Rosalie O’Connor.
