The Australian Ballet’s glorious retelling of the classic Shakespeare tragedy Romeo and Juliet is colourful, powerful and passionate. This is a step back in time to wealthy, medieval Verona, where rivalries explode and danger lurks. The innocence of first love is shattered through the antipathy of the Montagues and the Capulets.
The interpretation we witness is that of choreographer John Cranko (who passed away in 1973). The thoughts behind it have been translated to the dancers that inhabit the work today by principal coach Fiona Tonkin and ballet master Steven Heathcote. They learnt the ballet from Anne Woolliams, who was Cranko’s ballet mistress and artistic director of The Australian Ballet in the 1970s.
What struck me was its richness and the sharp contrast between the pageantry on show and the crushing final scene. Conviviality, celebration and excitement give way to lives snuffed out far too soon. Simply put, the storytelling and dancing are sublime.
With her lightness of touch, Grace Carroll as Juliet all but glides around the stage with girlish delight. Counterpoint that with the fear apparent when she is forced to confront her would be husband Paris, a strident Jett Ramsay, his head held high. Her anguish is made all the more potent by the dismissive “do not argue” direction of her parents. I refer to the steely eyed Lord Capulet, as realised by a stony-faced Steven Heathcote, and the unsympathetic Lady Capulet, whom Serena Graham imbues with distinction.
Joseph Caley brings an endearing, joyful freedom of expression to Romeo, totally besotted by his Juliet. Their deep-felt love for one another has an urgency about it that is impossible not to embrace. An undoubted feature of Romeo and Juliet is the vigorous sword fighting which we witness in two memorable scenes – upfront and then in the final scene in Act II. The latter is when Tybalt, a kinsman of the Capulets, is bold and brazen, readily taking on first Romeo’s friend Mercutio and, then Romeo himself. Jarryd Madden generates strength and conviction as Tybalt.
But the scene stealer in this production is the highly expressive Drew Hedditch as Mercutio. Until his demise, he is seemingly everywhere, his joie de vivre apparent whenever he appears. He and Romeo’s other friend, Benvolio, as danced by the perky Cameron Holmes, are a delight to behold. They, the full complement of leads, along with the ensemble give a performance for the ages.
In fact, I cannot leave the storyline without mentioning the emotionally uplifting carnival scenes that open Act II, yet another highlight of John Cranko’s Romeo and Juliet. All the gaiety, fun and high drama in this tale of love and loss are brilliantly captured in the stunning score by Sergei Prokofiev. These are so deftly realised by maestro Jessica Gethin, concertmaster Sulki Yu and the sublime strains of Orchestra Victoria.
The set and costuming by Jürgen Rose, is glorious, eye-popping, genius. I want to shout about it from the rafters. With fine mood lighting by Jon Buswell, The Australian Ballet has outdone itself with one of the finest productions in its rich and storied history. We see Romeo and Juliet at its gorgeous, devastating best. Two hours 37 minutes, including two intervals, it is on at the majestic Regent Theatre until 16th June, 2026.
Alex First
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.