Juliet and Romeo
J&R EDUCA DANCE PROGRAM
What Shakespeare says about Romeo and Juliet
William Shakespeare’s ‘Romeo and Juliet,’ penned in the 16th century, is a literary cornerstone that delves into the enduring and deep themes of love and familial strife. It tells of young lovers, Romeo and Juliet, thwarted by their feuding families. The play deeply contemplates the fervor of young love and societal constraints.
True love’s power to transcend the gravest of obstacles, like the feud between the Montagues and Capulets, is central to the narrative. Despite challenges, the couple remains steadfast in their emotions, with their choices sealing their fateful conclusion.
In essence, ‘Romeo and Juliet’ is a testament to love’s strength against formidable odds, showcasing Shakespeare’s insight into love’s complexities and the human heart’s resilience.
Elias Garcia's choreographic concept
In choreographer Elias Garcia’s innovative vision, Shakespeare’s “Romeo and Juliet” is reinterpreted starting with a significant and symbolic shift: the title becomes “Juliet and Romeo.” This change reflects a deliberate reorientation of the story’s focus, placing Juliet as the central and symbolic figure of the narrative, showcasing Garcia’s intent to empower Juliet by challenging and reshaping traditional gender roles from the start.
Garcia’s title realignment aligns with a modern feminist perspective. Juliet is seen not as a damsel in distress but as a figure of empowerment and resistance within a patriarchal context, defying gender norms of her era to represent autonomy and agency in a society where women were exchanged among men.
The dynamic between Juliet and Romeo becomes a reversal of traditional gender roles, with Juliet often taking the lead and exerting control, especially highlighted in the balcony scene where she emerges as a dominant figure both physically and verbally.
The Ballet de Catalunya’s production, directed by Garcia, embodies this vision with choreography that blends neoclassical and contemporary elements, including the special integration of stick dancing, a distinctive Catalan folkloric element symbolizing Juliet’s fight for autonomy and against social constraints. Ramon Ivars’ set design plays a critical role, adding visual depth and symbolizing Juliet’s potential for transcendence and emancipation within a patriarchal society.
Garcia positions Juliet as a sort of proto-feminist fictional character, in contrast to Christine de Pizan, one of the earliest feminists in reality. This reinterpretation not only pays homage to de Pizan but also underscores the relevance and power of female characters in literature and their contemporary reimagining.
Through “Juliet and Romeo,” Garcia aims to contribute to today’s society by promoting women’s equality and acknowledging the importance of female voices in history and literature. This vision seeks to inspire a more equitable and empowered perspective of female characters, reflecting the ongoing struggle for gender equality in the modern world.
CREATIVES
CHOREOGRAPHER
Elias Garcia Herrera
MUSIC COMPOSER
Serguéi Prokófiev
SET DESIGN
Ramón Ivars
COSTUME DESIGN
Elias Garcia Herrera
LIGHT DESIGN
LIBRETTO
The libretto has been adapted by Elias Garcia, based on the original libretto by Sergei Radlov, Adrian Piotrovsky, Leonid Lavrovsky, and Sergei Prokofiev.
PHOTOGRAPHY
Josep Guindo
GRAPHIC DESIGN
Luis David Garcia
ESTIMATED DURATION
Act I: 50 minutes
Interval: 20 minutes
Act II: 40 minutes
SYNOPSIS & CAST
The play “Juliet and Romeo” begins with the First Act, set against the backdrop of a bustling city square:
ACT I
Act One, Scene 1: The stage is set in a square, where routine disputes between rival clans unfold. The air is tinged with the anticipation of the Carnival festivities and the significant promise of Juliet’s impending betrothal. Romeo is engulfed in a deep depression, caused by Rosaline’s unrequited love. His close friends, Mercutio and Benvolio, persuade him to sneak into the rival clan’s Carnival celebration, hoping it will distract him from his heartache. However, their enjoyment is cut short by Tybalt’s unexpected intrusion, leading to a skirmish that is quelled by Queen Mab’s arrival, who encourages all to partake in the joys of Carnival.
Act One, Scene 2: Inside Juliet’s chamber, her nurse arrives, burdened with dresses for the upcoming ball. She speaks of the significance of the event, where Juliet is to meet the suitor chosen for her by Tybalt. A sense of foreboding hangs over Juliet.
Act One, Scene 3: The journey to the ball and the event itself is a whirlwind of emotion and intrigue. As Tybalt introduces Paris to Juliet, she feels nothing but complies with her cousin’s wishes. Meanwhile, Romeo, disguised and unrecognized, attends the feast. A single exchanged glance between Juliet and Romeo ignites an unexpected passion. Overwhelmed by this newfound feeling, Juliet seeks to learn more about the mysterious stranger. Once his identity is revealed, she finds herself deeply drawn to Romeo, and they share a moment of connection that promises future encounters.
ACT II
Act Two, Scene 1: The Carnival carries on with even more vibrancy, with French maidens adding to the revelry. Amidst the festivities, the nurse seeks out Romeo to deliver a letter from Juliet, marking the beginning of a secret plot devised by Queen Mab.
Act Two, Scene 2: In the plaza, the festive atmosphere is at its peak, with Mercutio orchestrating a jest that leads to Tybalt showcasing a surprisingly different side of himself. This playful act escalates into a challenge for a duel.
Act Two, Scene 3: In a secluded spot chosen by Queen Mab, Juliet and Romeo are secretly wed. Yet their joy is short-lived as Romeo stumbles upon a duel between Mercutio and Tybalt, spiraling into tragedy.
The play concludes with the nurse relaying the sorrowful events to Juliet and Queen Mab’s desperate plan to induce a coma in Juliet, faking her death as a means to reunite her with the exiled Romeo. The tragic finale unfolds in the crypt, sealing the fate of the star-crossed lovers.
To be announced
Juliet : Daughter of one of the families, the Capulets, who are vying for control of the city. Her innocence and reliance on her family evolve into determination and maturity upon meeting Romeo, for whom she is willing to leave everything behind. Juliet is the heroine and true protagonist of the play; her plea to Romeo encapsulates the longing for their love pact to be fulfilled: “If your love’s intentions are honorable, and marriage is your goal, let me know by tomorrow…
Romeo : Son of a wealthy family, the Montagues, rivals to Juliet’s clan. Romeo is a young, emotional, and distressed lad who mourns his unrequited loves until he encounters Juliet, strong and singular, with whom he discovers the meaning of true love…
Rosaline : A beautiful and aloof young woman. According to Romeo, she is out of reach and makes him swoon. She wishes to remain “chaste,” thus becoming the antithesis of Juliet, who is quite receptive to Romeo’s passion without denying sexual desire.
Mercutio : Mercutio is a great lover of festivities and reckless in clan skirmishes. His view of love is entirely different from Romeo’s, being hostile towards women and female sexuality in general and towards heterosexual love, often making gay jokes.
Benvolio : True to his name, which means “good will,” he embodies kindness, the friend everyone would wish to have. His aim is to steer Romeo and Mercutio onto the right path, even though he often finds himself splashed by their recklessness.
Tybalt : Cousin and head of Juliet’s clan, a captivating man brimming with testosterone, refined but not particularly deep, called by his archenemy Mercutio “the prince of cats.” He is a provocateur, fond of starting quarrels without cause, simply to maintain his tarnished reputation.
Queen Mab : A mysterious, powerful, and feared woman. Equally respected by both clans, to whom all bow their heads. Manipulative and full of fantasies to fulfill her plans. Her great wish is to bring peace, order, and love to this depraved and hate-filled world.
The Nurse : She is like a mother to Juliet. A fun, seasoned woman, queen of gossip, and messenger of her charge’s most intimate desires.
Paris : A rigid, vain man, devoid of passion, dull, and solely intent on getting closer to Tybalt for mere economic interests.
MEDIA
PERFORMANCES
EDUCA REHEARSALS
EDUCA PRE-PERFORMANCE
This ballet includes an audience education program (Educa Pre-performance). More information available HERE.
