I am here in Houston, Texas, to review the premiere of the Houston Ballet's Romeo and Juliet. The choreographer is Australian Stanton Welch, who is now in his 12th year as artistic director of the company. He is also still a resident choreographer for the Australian Ballet - both companies presented his La Bayadere recently.
But first, I watch company class in the fabulous, custom-built company headquarters. The studio, one of eight, is huge. The company dances full out - there is no sign of anyone saving their energy for the night's performance, even the principals who are to dance the lead roles. "No one takes it easy here," confirms Steven Woodgate, the company ballet master. He is also an Aussie expat -- once a popular dancer with the Australian Ballet. He hasn't quite hung up his dancing shoes - he is to play Friar Lawrence tonight, with another Aussie, Andrew Murphy, by his side as Friar John.
Stanton Welch arrives for rehearsal. He is dressed in a yellow windcheater and baggy jeans. He kicks of his runners and runs the dancers through their bows; gives them notes from last night's dress rehearsal. He is brisk, firm, focussed, impressive.
This Romeo and Juliet is a big event for the Houston Ballet. It is the first new R&J the company has staged in 28 years and Welch's first Shakespearean ballet. The design, by Italian designer Roberta Guidi de Bagno, is sumptuous, and created partly in Italy, partly in the HB's own production studios. The whole production has been paid for the oil-magnate couple Ted and Melza Barr, who love the ballet and want to help Welch realise his ambitions for the company.
- Karen van Ulzen
Editor, Dance Australia
Read Karen's review of Houston Ballet's Romeo and Juliet here.
Stanton Welch's Romeo and Juliet. Photo: Amitava Sarkar.