Interludes

THE HANGOVER REPORT – Stella Abrera debuts a gorgeous Juliet in American Ballet Theatre’s ROMEO AND JULIET

• By drediman
• June 15, 2018
• No Comments

Stella Abrera rehearses for American Ballet Theatre’s production of “Romeo and Juliet” currently running at the Metropolitan Opera House.

Last night at the Metropolitan Opera House, I had the privilege of catching Stella Abrera’s New York debut in the role of Juliet in American Ballet Theatre’s production of Romeo and Juliet choreographed by Sir Kenneth MacMillan. Ms. Abrera is one of the most resilient prima ballerinas currently working in New York. At 40, she’s a recent addition to Ballet Theatre’s hallowed roster of principal dancers, after having toiled as a soloist for eons. It seemed odd to many to keep her there when it was obvious that this stunning Filipino American dancer easily had the look and the talent to take top billing.

Then three years ago, it finally happened (she was promoted alongside ballet superstar Misty Copeland), and suddenly leading roles that had eluded her in the past were now within her grasp. Like Juliet. I’m happy to report that the performance was a triumph, a perfect match for her considerable strengths. Ms. Abrera’s take on the role is one that takes dead seriously the severe dramatic arc the character takes over the course of MacMillan’s meaty three-act ballet. She believably buds from a naive girl to a grownup making grown-up decisions; many Juliets I’ve seen commit suicide haphazardly, still very much the minor at the ballet’s conclusion. In Ms. Abrera’s hands, our tragic heroine becomes a woman before our eyes (her work in the Juliet-centric Act 3 is simply stunning), without uttering a word. Indeed, she performed the part superbly, dancing with her trademark elegance (those arms!), aching romanticism, and spot-on dramatic instincts. She was paired ideally with a solid James Whiteside as her Romeo, but this was very clearly Ms. Abrera’s night.

When performed with authenticity and abandon, as it was last night, MacMillan’s revered production, set to Prokofiev’s iconic score (one of the most effective written for the ballet, in my opinion, and excitingly conducted last night by maestro Ormsby Wilkins) can be devastating.  MacMillan’s staging isn’t perfect – the long first act can be plodding and some of the street scenes at times feel like filler – but the ballet’s more intimate moments, especially the pas de deux between the titular characters, are some of the most exquisite dramatic choreography ever created. It certainly seemed that way with Ms. Abrera in the driver’s seat. Unfortunately, last night was her only performance as Juliet this spring season. I’m eager to see her develop her Juliet in years to come and see which new role this gorgeous dancer decides to tackle next.

HIGHLY RECOMMENDED

ROMEO AND JULIET
Dance
American Ballet Theatre at the Metropolitan Opera House
2 hours, 55 minutes (with two intermissions)
Through June 16