![]() In Act II, when Lord Capulet (a merciless Val Caniparoli) and his Lady (Kristina Lind, with considerably less gravitas) force their secretly-newlywed daughter to accept the dull and conventional Paris (Steven Morse), one senses that Froustey, not just Juliet, simply cannot allow her spirit to be broken. On a deeper level, Froustey seems to identify with Juliet’s independent nature. As Juliet, she modulated her often-impulsive energy so that the delicate attitude turns, piqué balances and flowing port de bras showcased the character more than the dancer, to lovely effect. ![]() The role suits Froustey’s stage persona: she has sparkling eyes and a flirtatious confidence. The different techniques layer together seamlessly, endowing the characters with clear identity and motivation while leaving room for each dancer to add their personality.įroustey danced a free-spirited Juliet, headstrong and heedless of her duty as marriage chattel, yet submitting fully and willingly to Romeo. Tomasson emphasized character and storytelling with a mix of understated, sensuous movement for Juliet, classical showmanship for the men and heavy mime throughout. Tomasson set his Romeo on Sergei Prokofiev’s 1935 score, the seminal music used by Leonid Lavrovsky, Sir Frederick Ashton, John Cranko and Kenneth MacMillan in their turn. ![]() The eleven-performance run features six different principal casts, with two couples making their title-role debuts Mathilde Froustey and Carlo Di Lanno gave theirs, to tremendous ovations, at the Saturday, May 2, matinee. Choreographed by artistic director Helgi Tomasson in 1994, the ballet is popular with audiences here and makes a satisfying coda to his thirtieth-anniversary season. It’s always good to go out on a high note, and San Francisco Ballet finished strong with its season-ending program, Romeo & Juliet. San Francisco Ballet in Tomasson’s Romeo & Juliet.
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