An Uninspired "Romeo + Juliet"
“Romeo + Juliet”
New York City Ballet
David H. Koch Theater
New York, New York
February 13, 2018
Peter Martins’ version of “Romeo and Juliet,” which premiered in 2007, was never an inspired production. Titling the work “Romeo + Juliet,” Martins went on to whittle down the narrative to two compressed acts, never worrying much about logic, let alone nuance. But that is all water under the bridge. As most of the dance world knows, Martins, heretofore ballet master in chief of New York City Ballet, retired last month in the wake of allegations of sexual harassment, including a notorious incident in the 1990s when he was arrested on charges of assaulting his wife (the charges were later dropped).
The political nature of art is often disguised, but not in today’s overtly politicized environment. We are in the midst of a long overdue reckoning concerning sexual misconduct and neither Martins, nor “Romeo + Juliet” are exempt from scrutiny. In a bizarre meeting of biography and art, Martins had originally included in the ballet an element of domestic violence. When, in the second act, Juliet refuses to marry the man chosen by her parents, Martins had Lord Capulet strike his daughter across the face with a force that made audiences gasp. In Tuesday’s performance the slap was eliminated, as it had to be. Instead Capulet drew his arm back to deliver the blow, then restrained himself. According to the New York Times, that change was made by Martins himself, hardly a surprise. Even so, the father’s gesture and Juliet’s cowering response remained a disturbing element. It was not the only one in the ballet. After Tybalt killed Romeo’s friend Mercutio, Romeo attacked the murderer in a strikingly repellent way by shrouding his head in a cloak so he couldn’t see, then stabbing him repeatedly with a dagger as his foe struggled to free himself. The act became an execution rather than the impetuous response of a grief-stricken young man. It made Romeo seem both cold-blooded and cowardly, and it bore an uneasy resemblance to the kinds of images of terrorists’ actions seen today in the media.
It would not be surprising if “Romeo + Juliet” were doomed as far as future NYCB seasons are concerned. Its many choreographic and production flaws have been repeatedly commented upon over the years. But even if these are overlooked, the ballet’s associations are likely to cause continued embarrassment. Tuesday’s performance looked as if the ballet were already on its way out. It had an unusual listlessness and lack of focus. Sterling Hyltin, the ballet’s original Juliet, reprised her role, this time paired with Harrison Coll in his debut as Romeo. Hyltin was a neophyte in 2007. Now she is a mature ballerina, and for the most part she carried the ballet on her delicate shoulders. Coll is a corps member, having joined the company little more than four years ago. He is possessed of a pure, classical technique, and his dancing often has shown charm and humor. However, being the focus of a full-length ballet is a daunting proposition for such an inexperienced dancer, and it was clear that just getting through the role, particularly the complex duets, without mishap took his full attention. There was little room for interpretation or a sense of passion.
Oddly, it was Russell Janzen as Paris, Juliet’s puzzled and much put-upon suitor, who made one of the most vivid impressions. He not only looked exceedingly handsome, he brought subtlety and a sweet nobility to the role. In his duet with Juliet, the two appeared far more connected than Juliet ever did with Romeo. This skewed the action in what was already a strange evening. Daniel Ulbricht as Mercutio and Joaquin de Luz as Tybalt are old hands at these roles, but like most of the cast, they seemed to be low on energy and not fully engaged. The fight scenes looked particularly bad, under-rehearsed and half-hearted. Maria Kowroski, usually a striking presence, made little impact as Lady Capulet, and Ask La Cour as Lord Capulet understandably seemed reluctant to unleash much anger toward his daughter when it was called for. Marika Anderson as the Nurse and Joseph Gordon as Romeo’s friend Benvolio, barely registered.
Another oddity of the performance: Andrew Litton and the NYCB orchestra delivered a forceful rendering of the Prokofiev score, which because of the weakness of the action on stage, nearly overwhelmed the dance. Altogether, it was a strange and unsatisfying evening, which does not bode well for the future of “Romeo + Juliet.”
copyright © 2018 by Gay Morris
