The Australian Ballet
Romeo and Juliet
Sydney Opera House, Joan Sutherland Theatre
4 May 2026
The Australian Ballet’s revival of John Cranko’s Romeo and Juliet was one full of animosity, passion, and tragedy. The production was beautifully crafted with gorgeous costumes and set design, which transported the audience back to the city of Verona in the 1500s. Dimity Azoury’s embodiment of the young, naive Juliet was vivacious and full of innocence, displayed through the way she interacted with and perfectly harmonised with Maxim Zenin’s portrayal of the courageous and passionate Romeo. The denied love between the pair was impeccably conveyed through the couple’s captivating emotional intensity, highlighting their exceptional technical skill and ability to bring depth and authenticity to their roles. Azoury’s performance was youthful and endearing, beautifully complemented by her stunning lines and extensions, resulting in a truly breathtaking depiction. The trust between Azoury and Zenin was impressively evident as the duo took on the notoriously difficult balcony pas de deux with an abundance of passion and devotion. Their partnering felt effortless and spontaneous, with spectacular sweeping lifts that captivated the audience with both risk and intimacy.
Accompanied by Sergei Prokofiev’s powerful and dramatic score, the performance shared moments of vulnerability, authority and conflict. Paired with the magnificent set design and costuming crafted by Jürgen Rose, the Joan Sutherland Theatre was transformed into an opulent and lush atmosphere, enhancing the emotional depth and impact of the production. The magnificent contrast between the bustling marketplace and the regal ballroom shifted the entire energy of the performance. From the realistic props and set of the marketplace such as the swords and archways to the lavish Capulet ballroom with glamorous chandeliers and black and gold dazzling ball gowns, the stagecraft of this ballet was nothing short of exceptional.
Tension and rivalry unfolded on stage through the impeccable performances of dancers Hugo Dumapit, Marko Juusela, and Yichuan Wang as Tybalt, Mercutio, and Benvolio. These dancers, along with Zenin, did a sensational job at portraying the mortal hatred between the feuding families, captivating the audience through their interactions of dominance, retaliation and wit, adding nuances which perfectly reflected their characters. As the dancers swung their swords in action, the audience was at the edge of their seats, fully immersed in the escalating conflict of the battle scenes. Whilst tempers rose and emotions flared, the artists of The Australian Ballet worked seamlessly and cohesively in acting and miming scenes throughout, bringing clarity and believability to the story.
The tragic yet witty ballet tells the bittersweet story of passion and grief through a timeless, classical performance. The live talent of the Opera Australia Orchestra elevated the experience, creating an essence which brought the vivid piece to life and unveiled the intensity and passion of Cranko’s ballet. The Australian Ballet’s revival revealed the incredible athleticism and collective presence throughout the entire cast, whether it was the sprightly portrayal of the townspeople, the playful, humorous and loyal close friends, the stern lords and ladies of the feuding houses, or the star-crossed lovers whose forbidden love drives the narrative. Ultimately this production offers a blend of romance and ambiance, with Azoury’s and Zenin’s moving performance adding a youthful feel to this classic and devastating story.
-Claudia Valenzuela
Claudia is a 17-year-old Year 12 student at The McDonald College. Later this year, she will move to London to take up a place at the Central School of Ballet.
The Dance Australia Young Dance Scholar programme is made possible through the generous support of World Ballet Crown and their parent company, Eleve Stage Events
