Two households, both alike in dignity, in fair Verona, where we lay our scene…
This isn’t really necessary, is it?
William Shakespeare’s Romeo and Juliet is by far one of the most well-known stories in the world, so it’s likely you already know all you need to know – feuding families, star-crossed lovers, and a tragic ending.
This means that you can enjoy the Houston Ballet’s production of Stanton Welch’s Romeo and Juliet, making its return to Houston after eight years, without the hassle of referring to your program. And without the hassle of studying your program, it allows the audience to fully immerse themselves in Welch’s vision. He clearly knew this, so there’s no shortage of action or sights from beginning to end.
The wide scope of the production is impressive – three acts boasting larger-than-life sets well populated by a company with acting chops to spare. In Welch’s hands, Verona is bustling but not busy. His grasp on the action is iron; the ballet is well plotted, expertly timed, and pleasantly balanced. The vocabulary is classical and, much to the delight of the audience, Welch seems to have made it a point to wring dance out of every moment possible. Fouetté turns here, foot flicks there.
It’s worth noting that Prokofiev’s score is a challenge tonally. But as Ermanno Florio deftly leads the Houston Ballet Orchestra through said score – flawlessly by the way, from the high drama of the “Dance of the Knights,” to the melodic sweetness of the balcony scene, to the tense “Death of Mercutio” – so does Welch.
Karina González and Connor Walsh dance the title roles. Separately, both hit the right notes for their characters. González is light and youthful; Walsh, lovestruck and overwhelmed. But the real beauty of the production can be found in their partnering. Deeply connected, and with a seeming effortlessness, they kill the balcony pas de deux, a showstopper if ever there was one. Their attraction, and the urgency that comes along with it, is visible in how much time González spends fearlessly falling into Walsh’s arms and the lifts that punctuate their dances.
Unlike Shakespeare’s play, which is laid out as “the two hours’ traffic of our stage” in the Bard’s prologue, Welch’s three-act ballet totals three hours with two intermissions, but they are a surprisingly brisk three hours largely avoiding any lulls. One reason for this is that complementing our leads are a multitude of compelling folks – Welch’s Verona is well populated. The depth of the character work across the production is admirable.
As Romeo’s dude bros, Benvolio and Balthasar, Jack Wolff and Simone Acri strike the perfect balance of high energy and obnoxiousness, while getting to show off flashes of athleticism. Luzemberg Santana is an irrepressible Mercutio, well contrasted with Aaron Daniel Sharratt’s all-too-serious Tybalt. The men in the production also masterfully handle the sword fighting choreography, elevating it to the kind of exciting you really only see in film, not often on stage.
In her grief, Jessica Collado is a scene stealer as the regal but loving Lady Capulet. Collado and González dance a beautiful exchange in the third act; and in general, with expressive arms and feet, the Capulets paint an eloquent picture of familial strife.
Over in the House of Escalus, Naazir Muhammad is a force to be reckoned with, determined to restore order. Harper Watters is a stately Paris, and the contrast between his dances with González – stiff and awkward – and Walsh’s serve the story well.
The House of Capulet is further filled with interesting characters: Bridget Kuhns is a welcome accomplice (one who won’t say no to a drink) as Juliet’s Nurse. Welch actually gifts Yuriko Kajiya a character to play as Romeo’s first (discarded) love, Rosaline. And Eric Best is a perfectly loveable fool as Peter.
And we spend just enough time with Steven Woodgate’s kindly but scheming Friar Lawrence for me to wonder if the natural progression of Romeo and Juliet fandom goes from a “How romantic!” when you’re really young, to a dismissive eye roll at the ardor of these two thoughtless kids when you’re young-ish, to finally a “As the only adult in the room, what the hell was Friar Lawrence thinking?” when you’re older. Well-meaning or not (importance of the greater good or not), surely, he should face consequences for what he’s aided and abetted.
In terms of aesthetics, Verona could not be more fair than it is in the hands of Roberta Guidi de Bagno. Grand and glorious, imposing and quite mobile, the costumes are lush and the sets are as nimble as the cast. It also features some memorable statement set pieces, like Juliet’s large bed encased in curtains flowing down from the rafters and the simple but elegant cross that shines bright. The color palette is rich, and the house-specific color schemes welcome shorthand.
I will say the show is not without some problems. Despite doing his best, Walsh doesn’t completely sell the rage he’s supposed to feel that leads Romeo to kill Tybalt. Also, distracting thumps and curtain ruffles plagued Juliet’s should-be-somber death procession, though the resulting reveal of the Capulet crypt – complete with uber-dramatic curtain drop – is pretty dope.
In the grand scheme of the production, however, the complaints end up being fairly minor. Welch’s Romeo and Juliet is exactly what it needs to be – a note-perfect epic set in a well-built world, with talented performers. A surprisingly sophisticated romance with swashbuckling action. Dramatic and funny in turns, and it's also got cute kids. What else is there?
This isn’t really necessary, is it?
William Shakespeare’s Romeo and Juliet is by far one of the most well-known stories in the world, so it’s likely you already know all you need to know – feuding families, star-crossed lovers, and a tragic ending.
This means that you can enjoy the Houston Ballet’s production of Stanton Welch’s Romeo and Juliet, making its return to Houston after eight years, without the hassle of referring to your program. And without the hassle of studying your program, it allows the audience to fully immerse themselves in Welch’s vision. He clearly knew this, so there’s no shortage of action or sights from beginning to end.
The wide scope of the production is impressive – three acts boasting larger-than-life sets well populated by a company with acting chops to spare. In Welch’s hands, Verona is bustling but not busy. His grasp on the action is iron; the ballet is well plotted, expertly timed, and pleasantly balanced. The vocabulary is classical and, much to the delight of the audience, Welch seems to have made it a point to wring dance out of every moment possible. Fouetté turns here, foot flicks there.
It’s worth noting that Prokofiev’s score is a challenge tonally. But as Ermanno Florio deftly leads the Houston Ballet Orchestra through said score – flawlessly by the way, from the high drama of the “Dance of the Knights,” to the melodic sweetness of the balcony scene, to the tense “Death of Mercutio” – so does Welch.
Karina González and Connor Walsh dance the title roles. Separately, both hit the right notes for their characters. González is light and youthful; Walsh, lovestruck and overwhelmed. But the real beauty of the production can be found in their partnering. Deeply connected, and with a seeming effortlessness, they kill the balcony pas de deux, a showstopper if ever there was one. Their attraction, and the urgency that comes along with it, is visible in how much time González spends fearlessly falling into Walsh’s arms and the lifts that punctuate their dances.
Houston Ballet Principals Karina González as Juliet and Connor Walsh as Romeo in Stanton Welch’s Romeo and Juliet.
Photo by Lawrence Elizabeth Knox (2023). Courtesy of Houston Ballet.
As Romeo’s dude bros, Benvolio and Balthasar, Jack Wolff and Simone Acri strike the perfect balance of high energy and obnoxiousness, while getting to show off flashes of athleticism. Luzemberg Santana is an irrepressible Mercutio, well contrasted with Aaron Daniel Sharratt’s all-too-serious Tybalt. The men in the production also masterfully handle the sword fighting choreography, elevating it to the kind of exciting you really only see in film, not often on stage.
In her grief, Jessica Collado is a scene stealer as the regal but loving Lady Capulet. Collado and González dance a beautiful exchange in the third act; and in general, with expressive arms and feet, the Capulets paint an eloquent picture of familial strife.
Over in the House of Escalus, Naazir Muhammad is a force to be reckoned with, determined to restore order. Harper Watters is a stately Paris, and the contrast between his dances with González – stiff and awkward – and Walsh’s serve the story well.
The House of Capulet is further filled with interesting characters: Bridget Kuhns is a welcome accomplice (one who won’t say no to a drink) as Juliet’s Nurse. Welch actually gifts Yuriko Kajiya a character to play as Romeo’s first (discarded) love, Rosaline. And Eric Best is a perfectly loveable fool as Peter.
Houston Ballet Principal Connor Walsh as Romeo and Soloist Aaron Damiel Sharratt as Tybalt with Artists of Houston Ballet in Stanton Welch’s Romeo and Juliet.
Photo by Lawrence Elizabeth Knox (2023). Courtesy of Houston Ballet.
In terms of aesthetics, Verona could not be more fair than it is in the hands of Roberta Guidi de Bagno. Grand and glorious, imposing and quite mobile, the costumes are lush and the sets are as nimble as the cast. It also features some memorable statement set pieces, like Juliet’s large bed encased in curtains flowing down from the rafters and the simple but elegant cross that shines bright. The color palette is rich, and the house-specific color schemes welcome shorthand.
I will say the show is not without some problems. Despite doing his best, Walsh doesn’t completely sell the rage he’s supposed to feel that leads Romeo to kill Tybalt. Also, distracting thumps and curtain ruffles plagued Juliet’s should-be-somber death procession, though the resulting reveal of the Capulet crypt – complete with uber-dramatic curtain drop – is pretty dope.
In the grand scheme of the production, however, the complaints end up being fairly minor. Welch’s Romeo and Juliet is exactly what it needs to be – a note-perfect epic set in a well-built world, with talented performers. A surprisingly sophisticated romance with swashbuckling action. Dramatic and funny in turns, and it's also got cute kids. What else is there?
Performances will continue at 7:30 p.m. Friday, March 3, and Saturdays; 1:30 p.m. Saturday, March 4; and 2 p.m. Sundays at the Wortham Theater Center, 501 Texas. Through March 5. For more information, call 713-227-2787 or visit houstonballet.org. $25-$220.
