Guest principals

Press, 9 December 1988, Page 6

Guest principals

Royal New Zealand Ballet’s “Romeo and Juliet.” Reviewed by Elie Stephenson. Having had the good fortune to be present at both performances of “Romeo and Juliet,” I would like to applaud the special qualities that both casts brought to their roles.

This review focuses on the guest artists, Lisa Macuja and Ou Lu, whose portrayal of the doomed lovers was rapturously received by a capacity audience, with the New Zealand Symphony Orchestra providing a powerful interpretation of the Prokofiev score.

Lisa Macuja as Juliet had a youthful innocence that enchanted and beguiled the audience as her awakening love for Romeo defied the feud between the houses of Capulet and Montague. A petite dancer with strong extensions, fluidity, grace, and a highly believable dramatic personality, Macuja carried the role V-

through the emotional changes to its ultimate climax. In tendei exchanges with Romeo, their rapport was joyous and poignant. Ou Lu, a prestigious dancer from China, gave a presentation of strength and sensitivity in. his characterisation of Ronieo. The magical moments and complementary partnership between these two dancers were the essence of romance. His stage presence had a special quality that commanded attention and respect, while his ability to execute precision footwork, controlled elevation and spectacular lifts were seemingly effortless. Lisa Macuja and Oq Lu gave a special enthralling quality to the story of Romeo and Juliet, transfixing the audience with their dramatic intensity while maintaining the highest level of technical excellence — a truly memorable performance by two charming and talented guest dancers.

This production never falters as it moves through one extravagant scene to the next, presenting a succession of magnificent spectacles of colour and movement.

The production has vibrant choreography by Malcolm Burn. Splendidly devised crowd scenes providing cameos for groups of dancers, at all times heightened the intensity of the production. The duelling sequences were masterpieces of footwork, timing and control, skilfully contrived to accentuate the feuding. The marketplace and ballroom bustles with lively and attractive dancers — harlots, troubadour ladies, friends, lords and ladies, nurses, friars and children.

Seldom has the Theatre Royal staged such a lavish production, peopled with wonderful richly gowned characters, moving within spectacularly designed sets, to inspired music.