From the first, Rojo establishes Juliet as a creature of opposing tensions. In Act 1, she shows us her innocence, but also her newly aroused curiosity. She deploys stillness to great effect, firstly when she sees Romeo at the ball, and in that moment, sheds her childhood forever, and later, waiting on the balcony, when without moving a muscle she projects a breathless, heart-pounding desire. Her motionlessness at these moments is counterpointed by the later abandon of her dancing with Acosta. The couple's duets unfold with shocking, close-up intimacy. We register Rojo's splayed fingers, the yielding curve of her back, the quivering line of her arabesque; the precision with which she charts her course towards self-obliterating ecstasy.
Acosta, on splendid form, is always there, always in the right place at the right time. His Romeo is a young man wrong-footed by the need to please everyone about him, an impossible task in vendetta-racked Verona. He,
All ballet productions of Romeo and Juliet languish in the shadow of
Streeter's Lord Capulet is ruthlessly controlling of his daughter - when she is found apparently lifeless, his wife's raking stare suggests a more sinister fatherly interest - and wholly unable to control his fury when she thwarts him and the arranged marriage to
There are times when the production slips from Deane's grasp, and if the main roles are well fleshed out, there's some fairly coarse performing going on in the background and far too many young men directing meaningless gestures at each other. The company's women are rather more vivid, especially the four harlots (Osbaldeston, Ovsyanick, Summerscales, Ramirez). There's a long-standing tradition in ballet that all prostitutes have frizzy hair, love their work and kiss on the mouth. Reassuringly, Deane honours it.
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