The Australian Ballet
Romeo and Juliet
Lyric Theatre, QPAC
15 August 2026
“These violent delights have violent ends.”
Beautiful nights at the ballet are really something to cherish. And no other ballet can give you all the feels like John Cranko’s Romeo and Juliet. Theatre dreams are made of these.
It began with the sweepingly emotional opening, led by conductor Jonathan Lo. Queensland Symphony Orchestra gave Sergei Prokofiev’s score weight, colour and urgency throughout the evening, with Lo shaping the drama from the pit and allowing its biggest moments to breathe.
Davi Ramos and Grace Carroll were a lovely choice by Artistic Director David Hallberg to glue this three-act ballet together. The coaching of Hallberg and Kirsty Martin rang through the whole company, especially in the use of petit développé and the quality through the lower legs.
Both leads have the most stunning proportions and physical ability. One could want nothing more from Australia’s flagship ballet company in the casting of these two roles. Their bodies intertwined so organically throughout the iconic balcony pas de deux. A visual delight.
For these two fine dancers, the next stage will be further discovery of the emotional and artistic dimensions of their characters and chemistry. It will be lovely to watch as two young dancers experiment with their connection and take huge chances in telling the tragedy of the star-crossed lovers.
It’s a ballet in which you really can keep evolving as an artist. This is when you become one of the greats.
Watching Marcia Haydée, the original Juliet, teaches you that the absolutely stunning choreography only comes alive through what you are feeling and thinking during the steps.
Carroll gave me the essence of a young Simone Goldsmith, with purity of technique, refreshingly light port de bras, an open face and a fresh approach to her Juliet.
Ramos was a jovial Romeo in the first act, having fun with his mates and basking in the day while ever chasing validation from Rosaline, coolly played by Isabella Smith. Ramos has a naturally hot-blooded, masculine approach to his work and some of the most beautifully light tours en l’air one could wish to see from a male dancer. I love the definition in his legs. It’s like watching a racehorse being put through its paces.
Their relationship and connection continued to unfold as the ballet progressed. These two have such huge careers in front of them.
Kudos, too, to Benvolio, played by Yichuan Wang, and Mercutio, played by Drew Hedditch. These playful fellas supported Romeo through his journey, and Hedditch’s performance as the unpredictable Mercutio drew many a naughty giggle from the audience as he played with the duality of the character. Go Drew.
The pas de trois from the three men before the ball was a beautiful display of youth. I found out afterwards that Yichuan is actually a left-turner. He handled the choreography well, showing the importance of a dancer being ambidextrous in their technique.
The corps de ballet, from the Tarantella to the Lily Maidens, displayed a lovely, warm vitality. I encourage you all to keep finding your mini stories within this ballet and remember your importance in its storytelling. You are the framework of the ballet and so integral to the outcome and quality of the whole performance. You are the set-up that makes the tragedy hit us harder.
Other lovely performances came from Australian Ballet alumni Mark Kay as the peaceful Friar Laurence and Dana Stephensen in the heartwarming role of the Nurse. It was also a treat to see Jaime Redfern return to the stage as Lord Capulet.
Joseph Romancewicz as Tybalt was a great choice and a triumph. From the get-go, he fully embraced the strengths and flaws of this important character and lived them out with equal parts passion and power. Brodie James was a naïve and patient Paris who showed his care for Juliet throughout the three acts.
Lady Capulet, played by Katherine Sonnekus, displayed absolute shock and pain when her lover, Tybalt, was slain. It was a real highlight. This is a role in which you can really let go and reveal all the stages of a tragedy like this. The choreography tells us so much about the importance of their relationship in her story. Sonnekus attacked the role with energy and commitment.
Overall, it was just so lovely to have The Australian Ballet back in Queensland with this gem of a ballet. Much like every classic, the challenge lies in keeping it fresh and valid for today’s audiences.
Beyond technique, it’s a vehicle for dancers to stretch their acting legs and leave us with performances we can never forget. The work is never done. It’s all about reaching for the ultimate connection with your audience.
There is no right, there is no wrong. It’s about experimentation, exploration and losing yourself out there. These are the moments that make ballet one of the most beautiful things we have in this world.
So much can be said without words by using a back, an arm or a foot, but most importantly, our eyes.
Congratulations to David Hallberg and The Australian Ballet for bringing Cranko’s masterpiece back to us.
-Daniel Gaudiello