Isabella Boylston and Aran Bell
I admit I did not expect to be so moved by a performance of Kenneth MacMillan's Romeo and Juliet, a production I've seen a million times and that has come to feel over-stuffed, its effects worn to dullness. But, but. What a difference dancers make. This season, American Ballet Theatre is feeling newly vibrant, with energy and bravura flowing through the ranks. Could this be the beginning of an emergent Susan Jaffe effect? Her choreographic choices have so far been lackluster, but this dance vitality is a value in itself. I had not seen Isabella Boylston's Juliet in a few years. My how she has grown. Her interpretation has the same headlong quality I remember from her début: for me, it is characterized by the way she runs across the stage, fearlessly, impetuously, her shoulders almost forward, her legs flying. It's not a dancer run, it's the run of a person rushing toward her destiny, whatever it is, with total heedlessness. In the balcony scene, she rests her body on the parapet in the moonlight, completely giving herself over to her dreams. In her partner's arms, the same thing, a wonderful yielding quality. She has reached that stage where the steps begin to disappear, and all you see is action and the feeling behind it. There is so much joy and freedom in it. When she did her quick, skittering piqués in the Balcony scene, tears sprang to my eyes. Aran Bell, the company's pinch hitter, and increasingly, a compelling leading man, who dances with an interesting mix of modesty and blaze, while never stinting on the execution of the steps: impeccable arabesques, in particular, but also clean footwork, lovely turns, big but unforced jumps. His Romeo is boyish and warm and doesn't over-emote (thank god). And such a generous and solid partner; the ballerinas look comfortable with him, and he shares in their successes. The other men, too, made an impression. I don't remember seeing such a well-danced trio before the Capulet ball as last night with Carlos Gonzalez as Mercutio and Patrick Frenette as Benvolio. Gonzalez's dancing is clarity personified; it also has an inherent nobility. Frenette is passionate, invested in every step. The whole stage felt alive last night.
Carlos Gonzalez, a wonderful Mercutio
Roman Zhurbin, the proud, at times fatherly Lord Capulet; Zhong-Jing Fang, beautiful Lady Capulet; and Eric Tamm, an almost touching Paris
Carlos Lopez as Friar Lawrence, the dummy who gives the worst advice of all time; Susan Jones, who has perfected her dimwitted, affectionate, stiff-legged rendition of the nurse over the years; and Patrick Frenette as Benvolio.
Marina Harss' review of Romeo and Juliet at ABT brought tears to my eyes. Oh that beauty of falling in love for the first time, deep in my memory.