Shakespeare’s Romeo and Juliet was one of the first works of literature to inspire ballet choreographers because its drama, romance and tragedy are so perfectly suited to dance. Since the 1930s, choreographers have also been fortunate to have Prokofiev’s grand, magisterial score — including the magnificent “Dance of the Knights” — written specifically for the ballet, one of the most popular ballet compositions in the repertoire.
In the summer of 2011, The National Ballet of Canada began work on a new production of this classic tale of love and loss. The stakes were high for the company, as the lavish, $1.7-million production was their first original full-length piece in nearly a decade — and a bid to rejoin the front ranks of the ballet world. Commissioned by Artistic Director Karen Kain to celebrate the 60th anniversary of the company, the world premiere of Romeo and Juliet (on November 16, 2011) was regarded by many as the biggest undertaking in the history of The National Ballet. Kain has said, “It really is going to get the buzz back. I really feel that it’s time for The National Ballet of Canada to be seen on the world stage again, and that we can show the world the kind of incredible cultural treasure that we have here.”
Choreographing the fresh, brilliantly-imagined reinterpretation was internationally-celebrated artist Alexei Ratmansky. His work is known for its mastery of the classical vocabulary, yet he is equally adept at employing a vocabulary of fresh, modern effects. Ratmansky blends the elegance and stateliness of classical ballet with the intense emotional edge of the modern to create an unforgettable version of one of the greatest dance dramas of all time. As Dana Glassman wrote in The National Post, “In Ratmansky’s version, each member of the company is put through a jam-packed workout from the moment the ballet begins. Ratmansky uses every inch of available space so the dancers are never static. Whether they’re performing dazzling combat choreography ... or sweeping lifts in the famous balcony pas de deux, they’re constantly soaring across the stage, adding contemporary oomph to their polished classical vocabulary...” This larger-than-life Romeo and Juliet is visually spectacular, evoking the lush beauty of Renaissance art through geometric new sets, opulent costumes by Tony Award-winning designer Richard Hudson and lighting by Jennifer Tipton.
Did Karen Kain’s gutsy gamble succeed? Emphatically, yes! The initial Toronto run of 14 performances was sold out, playing to boisterous standing ovations and requiring critics at The Globe and Mail, The Toronto Star, The National Post and The Montreal Gazette to reach for their dictionary of superlatives. “… totally fresh … refreshing energy and a witty, unexpected slant,” said The Times (London); Dance Magazine said “Ratmansky spreads the drama throughout the ballet, spinning an even more epic tale than usual;” and Dancing Times wrote “The National Ballet of Canada can claim to be in possession of an engrossingly thoughtful, theatrically compelling production whose swift pace and dramatic clarity may appeal to a new generation of ballet-goers.” A choreographer’s work can only be as good as the dancers who showcase it, and it is universally acknowledged that the company’s current crop of dancers are not just good, they’re superb. An international tour is already booked, a CBC documentary on the production aired in summer 2012 and most importantly, it looks like Romeo and Juliet will remain in the company’s repertoire for the next 60 years — a new modern classic for the company’s diamond anniversary.
Alexei Ratmansky’s Romeo and Juliet was the dance event of the season last year — don’t miss it when it soars into Southam Hall January 31-February 2, 2013!
Please join us for a PRE-SHOW CHAT with Karen Kain in the Panorama Room on opening night, Thursday January 31 at 7 p.m.
