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The much-adored Shakespearean ballet took centre stage at QPAC at the end of March, and what a brilliant start to the 2025 Queensland Ballet season, in its 65th anniversary year. This ballet is a classic for a reason – it tells one of the most well-known love stories in a timeless manner, with passionate choreography, brilliant costuming and scoring that is classic, yet feels quite modern.
One of the largest productions that Queensland Ballet performs, it is nothing short of spectacular. Kenneth MacMillan’s masterpiece is captivating and breathtaking in every aspect of its storytelling.
The performance isn’t pretending to be anything it’s not – the staging is simple, but not bare, staying true to an audience’s expectations of Shakespearean classics. It created a visually stunning realm that transports audiences, with ensemble members’ background characters adding life and realism to the performance.
A highlight of the performance was undoubtedly the costuming, which had a tangible Renaissance and Tuscan influence, bringing Shakespeare’s tale to life through deep red, yellow and green fabrics. The masquerade ball is easily the most impressive feat, with costumes incorporating heavy velvets and intricate beading that invokes a feeling of grandeur and luxury.
Set design worked in harmony with the costuming, with thoughtful contrast and historical touches. Hand-painted coats of arms adorned the ceiling of the second act, and a painting evocative of Italo-Byzantine Maestà depictions could be seen in the chapel where star-crossed lovers meet their end.
While the entire cast were brilliant, there was a stand-out. Much like in Baz Luhrmann’s iconic Romeo & Juliet adaptation, Mercutio stole the show. The performer infused each scene with humour and energy, and his absence was keenly felt in the final act.
The greatest jaw-to-the-floor moment of the ballet was one easily missed: when Mercutio flings Tybalt’s rapier sailing into the air with the tip of his own sword, Tybalt catches it perfectly as it falls. The mastery of the dancers over swordfights, expressions, body language, and choreography was delightfully impressive.
One can never discuss a piece of live theatre without mentioning the musicians underpinning the performance. The Queensland Symphony Orchestra displayed absolute mastery over the rising and falling action of the score. At quiet, plaintive moments, sole instruments commanded the space and brought irreplaceable atmosphere to the performance.
The ballet offers two 20-minute intervals and has a run time of almost three hours. Despite the long run-time, the hours flew by, and the show engaged audiences for its duration. Semper would like to extend our thanks to Queensland Ballet for having us along to review the show.
Written by Mollie Matthews and Jester Roach
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