Wow. What a terrific performance of Romeo and Juliet last night with Roberto Bolle and Irina Dvorovenko in the title roles and Craig Salstein as Mercutio. The performance was all of those E-words: exquisite, elegant, emotional, exciting.
For a first time dancing together, Roberto and Irina really put the story out there in full force with full passion. She was a Juliet who disobeyed her parents for the first time to follow her own heart; he was a Romeo of intense love and longing.
Roberto’s dancing is like one long musical note – flowing, seamless, light and unforced. Gorgeous long leaps with landings that are cat-like in their softness. His torso is so lifted and high that even his small jumps soar. Last night, his Romeo’s passion for Juliet was so strong that at times he could not help but voice his love for her onstage and audibly weep at her loss. (And it's worth mentioning that his blue costume was a modest hue and worked perfectly with those worn by the other performers.)
Haglund recalls being impressed by Irina’s debut as Juliet but has not seen her in the role since. Last night her portrayal was compelling in its youthful innocence without being over-done. No wild flailing arms. No syrupy mugging. The excitement and challenge of having to express such passion to a new, unfamiliar partner lifted Irina’s performance to a new level, and we saw spontaneity and a rush of excitement that we have not seen for a while.
While the whole performance was immensely enjoyable, Act III was a knockout. Irina’s scene where Juliet swallows the potion was brilliant as she seemingly conveyed second thoughts when the potion began to take its horrific effects. The “corpse PdD” where Romeo carries a lifeless Juliet from one end of the stage to the other in his denial of her “death” was just incredibly dramatic and included an unscheduled sit-down at the foot of the bed when Roberto momentarily lost balance.
Among the brilliant performances of the evening was Roman Zhurbin’s as Lord Capulet. The Act III bedroom scene where Lord Capulet becomes completely exasperated by his daughter’s unwillingness to marry Paris was riveting. He was an enraged and distressed parent driven nearly out of control as he threw Juliet to the ground and prevented anyone from coming to her aid. What a major talent this guy is!
Gennadi Saveliev’s Tybalt was a suitably aggressive menace and died an excruciating death. He was effectively mourned by Kristi Boone’s Lady Capulet.
This production by Kenneth MacMillan is Haglund’s favorite Romeo and Juliet – not just for the dancing, but for how pedestrian movement and even stillness are turned into grand theatrical moments. As the Montagues and Capulets parade and posture about the stage after the Escalus-imposed truce, you see the sheer hate behind everyone’s smiles. When Juliet leans against her bed and motionlessly stares out into the darkness to contemplate her fate, the music is telling its story most powerfully.
Haglund never tires of the fencing, fighting, harlots, character appearances like the beggar on crutches, and the great number of townspeople that MacMillan packed into this production. We’re all beneficiaries of his love for details.
For a performance that clearly hit its target last night, this Haglund’s Heel Pump Bump Award:
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