Romeo and Juliet
About the Production
Stunningly beautiful, Ballet Austin’s Romeo & Juliet features exquisite costumes layered with Prokofiev’s majestic score and a set illuminated by an Italianate tapestry of stained-glass colors. A spectacle that speaks to heart, mind, and soul. A timeless and unforgettable tale of young love is given new life in Ballet Austin’s original interpretation of this Shakespearian classic. Passion and pathos come alive in Artistic Director Stephen Mills’ choreography–sometimes lush, sometimes tender, always explosive.
CHOREOGRAPHY: Stephen Mills | MUSIC: Sergei Prokofiev
What Critics are Saying...
Director Stephen Mills, whose ‘Hamlet’ was a highlight of 2000, did it again: he took a classic ballet and recrafted it into a fresh, clean, contemporary ballet distinguished by elegance, strength and drama. Oh, yes—and it was simply gorgeous.
Passion and pathos come alive in Artistic Director Stephen Mills’ choreography – sometimes lush, sometimes tender, always explosive. A spectacle that speaks to heart, mind, and soul.
Mills’ keen understanding of the dramatic and skill in crafting expressive movement combined to articulate the range and depth of emotion we associate with Shakespeare’s text. We could see the frisky flirtatiousness of youth in group dances with an ever-changing roundelay of partners, the dancers’ feet repeatedly breaking free of the earth, their bodies hovering proudly in space.
For information about licensing this production, contact us or view the Technical Specifications.
Paul Michael Bloodgood
Creative Brand Producer & Licensing Manager
512.476.9151, ext. 113
|Stage size||40 X 40 (last lineset)|
|Grid height||80 feet|
|Wing space||20 feet per side|
|Upstage area||10 feet|
|Stage floors||The stage floor must be resilient wood; the floor cannot be concrete or wood directly over concrete; if the surface is concrete, the Presenter must provide a professional dance sub-floor that must cover stage area from wall to wall. The surface must have any traps leveled, holes plugged, and no protruding nails or screws. The stage floor or sub-floor must be covered with a black, Marley-style dance floor.|
|Soft goods provided by house||Full set of black legs and border, white rp, grey rp, one full-stage black panel, two black scrims|
|Recorded or live music||Recorded music or live orchestra|
|Lighting||The Presenter shall furnish the company a complete inventory of house lighting equipment. The Company shall endeavor to work within the house instrumentation but any necessary rentals shall be at presenter’s cost. There should also be enough cable, side arms, C-clamps and color frames to sufficiently hang the lighting plot.|
|Audio||One house speaker system–center cluster and/or house left and right speakers; two to four backstage monitor speaker; one announce-quality microphone, separately controlled; one headset communication system, with seven stations and operable headsets; and one paging system to dressing rooms.|
|Typical set-up schedule||Day 1: Hang electrics and goods; Day 2: Focus/finish set up; Day 3: Cueing/dancers rehearse|
|Personnel||On TD, LD Optional|