The Capulets is a new ballet created and directed by Wade Schaaf, artistic director of Chicago Repertory Ballet. This world premiere is a multimedia collaboration with fantastic projection design by Liviu Pasare, John Pobojewski, and Zach Minnich. The Capulets also boasts an original score by Chicago composer Matty Mattsson. Schaaf takes Shakespeare's story of Romeo and Juliet and reimagines the characters, presenting a backstory that could explain the bitter feud between the Montagues and Capulets. All is not what it seems in the prosperous town of Verona.
Schaaf's choreography works best in the group scenes. The stately pavane dance gets an energized boost from the nimble dancers and Mattsson's rumbling, sometimes eerie score. The projections turn the stage into a palace with the moody firelight that would have illuminated the stately manors of the era. The set's trappings do not distract from the dancing. In fact, I think it has the opposite effect of enhancing the relationships between characters. Nathan Rohrer designed the costumes, and the men's attire is a fun take on leather and science fiction.
Speaking of relationships, things are not as they seem with Lord and Lady Capulet. Schaaf creates relationships and entanglements that mirror the open marriages and celebration of queer identity of today. We cannot really know what happened in the Elizabethan era, but human nature and the prism of sexuality have always found a way to be expressed. The Capulets presents the rivalry between the families as entanglements between Lady Capulet (Miriam Rose LeDuc) and Tybalt (Jackson Ferreira). That is not the only Capulet/Montague liaison because Lord Capulet (Rosario Guillen) is deeply involved with Paris (Skyler Newcom). Keep in mind that Tybalt is Juliet's cousin and, therefore, Lady Capulet's nephew, if you recall the Shakespeare version. Also, Paris was supposed to be a match for Juliet. Her dad stole her fiancé. Oh, the scandal.
The imagery projected for the liaisons between Lady Capulet, Tybalt, Lord Capulet, and Paris is an expressionist black non-gendered reclining figure. The visual is stunning, as is the choreography of the couples' dances. Guillen and Newcom have an erotically charged pas de deux that is matched in heat by Ferreira and LeDuc. Above all, Romeo and Juliet was about forbidden passion and thus goes The Capulets. The parents start it, and then presumably forbid their daughter to have anything to do with the Montagues.
Ferreira is a lithe and graceful dancer with an expressive face that conveys the dangerous character of Tybalt. Nathan Urie as Mercutio almost dances off with the show when the families meet in the town square. Urie's solo was athletic and fun as his Mercutio comes between Tybalt and Romeo. Urie has comic talent in addition to being a fine dancer. The sword-fighting choreography is excellent and drew some vocal reaction from the audience. The fracas doesn't end well, as you know, when Romeo tries to step between them. LeDuc is wonderful as the grieving Lady Capulet, expressing her grief in a beautiful solo. There is also a children's cast on the opening weekend from the Dance and Music Academy and Forevermore Dance and Theatre Arts. The young dancers show great potential and grace in their big stage debut.
I enjoyed this reimagining of Shakespeare. It could have been a fun farce except that Tybalt and Mercutio die in public. Schaaf has a deft touch with writing, direction, and choreography. The collaboration with Mattsson's excellent score and the visually stunning projections works beautifully. I recommend that you see The Capulets.
The Capulets runs for two hours, including an intermission. The performances are on weekends, November 7-9 and 14-16, at the Ruth Page Center for the Arts, 1016 N. Dearborn St. For tickets and more information, please visit www.crbdance.com.
If you enjoyed this post, please consider supporting Third Coast Review’s arts and culture coverage by making a donation. Please choose the amount that works best for you, and know how much we appreciate your support!
