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Cultural Centre Grand Theatre Fri 16-Sun 18, Fri 23-Sun 25.
 

Rudi Van Dantzig’s Romeo and Juliet is the third in a classic trio of ballets set to Sergei Prokofiev’s orchestral score. The other two versions, by Germany’s John Cranko and England’s Kenneth MacMillan, may be better known, but the Hong Kong Ballet’s artistic director Madeleine Onne assures Van Dantzig’s is beautiful, especially suited to dancers with strong physiques.

“Some choreographers have a tendency to work against the music,” Onne explains, “So you really have to fight, you have to count so you move in the right time. But then you have choreographers who make [the dance] feel like it’s made for [the score]. Rudi uses the music to highlight the music.”

And what extraordinary music it is, to be performed live by the Hong Kong Sinfonietta under the direction of Gerry Cornelius. “It’s one of the few ballets I could listen to over and over again,” Onne enthuses, “Prokofiev really managed to tell the story: Juliet has her piece, Romeo has his, Tybalt has his… You can hear [the families fighting], how their sabres are touching. You get pictures of what’s happening because it’s so well done. It’s heaven.”

A celebration of the company’s versatility, Romeo and Juliet is one of a variety of ballets – modern, classic, and dramatic – staged this year to fete the Hong Kong Ballet’s 30th anniversary. Rehearsals have been underway for months to produce the 50 dancer strong show, which will run over six nights with three different casts. For the last month, the work has been overseen by André Lewis. Artistic director of Canada’s Royal Winnipeg Ballet for over 20 years, Lewis has worked closely with Van Dantzig, who trusts him explicitly with the piece. Confirms Onne, “It’s in good hands.”

Samantha Leese