Romeo & Juliet Suite (Sydney Opera House) ★★★★

Choreographed by Benjamin Millepied. Performed by L.A. Dance Project. Joan Sutherland Theatre, Sydney Opera House. 5-9 Jun, 2024.

“Specificity” is the first word that comes to mind after watching Benjamin Millepied’s Romeo & Juliet Suite. Specificity in the movement, intention, camera-work and even the way it uses the Sydney Opera House itself. While it may not be technically a “site specific” work, it uses the various spaces in and around the Joan Sutherland Theatre to remarkable effect.

The rock star, French choreographer blends the languages of ballet and video into an engaging cocktail filled with neon-washed vignettes and romantic escapes that break free from the boundaries of the stage in multiple directions. A giant video screen sits behind the main stage, at times showing us an aerial view of the ensemble in motion, but more often, feeding us the point-of-view of a roving steady-cam that moves in and around the dancers as they perform. When the action moves into the auditorium, through the foyer and out onto the Opera House steps… it becomes our primary vantage point. 

I do not envy any dancer performing on the concrete forecourt for any period of time, especially not on a winter’s night, but the sight of the two lovers sharing a private dance against the backdrop of the Opera House sails is too romantic and intoxicating an image to ignore. 

The use of the camera doesn’t stop there. Millepied converts the rear of the stage into a dark and sexy disco, partially obscured from the audiences view. The camera follows Romeo in pursuit of Tibault down the backstage stairwell for an intense, close-quarters fight. And the camera rides with Juliet as the stage descends into the theatre’s pit, turning what is usually a basement for storage and set-changes, into Juliet’s deathly mausoleum.

Remarkably, Millepied knows when to use the video screen to enhance emotions and when to turn it off and focus on the stage. There are things the camera excels at like giving us close ups of love-filled eyes, or playing with our knowledge of cinematic language to act as a storytelling short-hand. As Lorrin Brubaker’s Tibault (giving me very strong Saltburn vibes) glares at the camera under a wash of red light, we know he has murder in mind. The camera also forces perspective, giving the stage extra depth, and showing us angles the seated audience would never normally be privy to.

Romeo & Juliet Suite is performed by different couples in different pairings depending on which performance you attend. Opening Night saw the male/male pairing of Romeo (David Adrian Freeland, Jr) and Juliet (Mario Gonzalez). Future performances will feature a female/female pairing, and male/female pairing.

Millepied is no stranger to the world of cinema (having worked on films like Black Swan, Dune and directed his own feature, Carmen, starring Paul Mescal), and at times the carefully choreographed video work feels like a we’re watching a luxury fragrance campaign as much as a dance piece. It’s this intimate knowledge of both forms that makes Romeo & Juliet Suite so seamless. Even Sergei Prokofiev’s iconic score feels cinematic from repeated use in films.

I realise I’ve focused on the technical aspects of the show above that of the actual dance and dancers on stage. The choreography highlights the tribal nature of the Capulets and Montagues, with Shu Kinouchi’s Mercutio shining with his exuberant leaps. Mario Gonzalez’s Juliet is given more lyrical moves that quickly sell the characters innocence. Group numbers are tight and precise, at times feeling like a more contemporary music video for their energy.

Romeo & Juliet Suite will infuriate some. As we left the theatre I heard grumbles from people who thought the camera was intrusive, but after seeing shows like Kip Williams’ The Picture of Dorian Gray (and Ivo Van Hove’s disastrous Opening Night), the presence of a single camera operator wasn’t distracting in the least. 

It’s exhilarating to see the Sydney Opera House be used so completely by a ballet without boundaries and with the rotating casts it warrants multiple viewings. Benjamin Millepied’s Romeo & Juliet Suite is no mere gimmick, it’s a fantastic synthesis of storytelling disciplines.