THE VIRGINIAN-PILOT
Copyright (c) 1995, Landmark Communications, Inc.
DATE: Sunday, February 12, 1995 TAG: 9502120098
SECTION: LOCAL PAGE: B5 EDITION: FINAL
TYPE: Dance review
SOURCE: BY SUE SMALLWOOD, STAFF WRITER
LENGTH: Short : 40 lines
With bold choreography by Malcolm Burn, the Richmond Ballet delivered a vibrant presentation Saturday evening of Shakespeare's classic tale of star-crossed love, ``Romeo and Juliet,'' set to the Prokofiev score.
Marina Antonova was a lovely Juliet, effectively conveying adolescent capriciousness early on and mature focus as the romance unfolded. Antonova's extensions were seemingly effortless, especially in breathtaking arabesques and striking lifts. Her pointe work was airy, her port de bras fluid and expressive.
Though less stylish a dancer, Igor Antonov was a capable Romeo, offering solid, if not terrifically flashy, turns and jumps. He excelled in partnering work, especially during the emotive pas de deux of the balcony scene, providing the lyrical Antonova reliable support. Replete with confident, gorgeous, and at times inventive lifts, the dancers effectively portrayed their characters' resolute declaration of newfound love.
The company's bold, often complex ensemble work was impressive and frequently revolved around rhythmic elements: the clinking of swords during several lively fencing skirmishes among the rival houses of Montague and Capulet, tambourine rattles and hand-claps during jaunty gatherings of the townspeople of Verona.
Mateo Torres as Romeo's chum Mercutio was outstanding. Dashing and charismatic, he turned with grand panache and had great height to his jumps. His prolonged death scene, after a sword battle with Tybalt, turned from playful to poignant, a telling testament to his considerable dramatic skills.
Charles Caldwell's sets were functional and made intriguing use of lighting scrims to convey place and time. The costumes were rich and colorful and included a vast array of spectacular millinery. by CNB