Arts Alive San Antonio

By JASMINA WELLINGHOFF, Editor —

So, how does it feel to be Juliet, the iconic fictional heroine that the whole world knows and loves?

That was our first question for ballerina Sofie Bertolini, who will portray Juliet in this weekend’s Ballet San Antonio production of Romeo and Juliet.

“Honestly, it’s such an honor! It’s the most fulfilling female role for a ballerina to do, so human,” said Bertolini. Since many classical ballet roles for women are fairy tale personages, enchanted princesses, sylphs and other ethereal creatures, it is a welcome change for a ballerina to get to portray a real human being facing challenging circumstances.

Choreographer, Edvaard Liang, emphasized the human aspect of the story when he met with the dancers, and advised them to “Feel it, live it!” The audience will not empathize and be moved if the dancers are not completely invested in what they are portraying, he told them

A guest choreographer for BSA, Liang is currently the artistic director for BalletMet in Columbus, Ohio, who originally created the R&J choreography for the Tulsa Ballet in 2012. Reviewers in both cities, Tulsa and Columbus, praised his creativity and accomplishment. “… An immense and thrilling theatrical experience,” said one, who also remarked on Liang’s “spiritual approach” and “choreographic assurance and emotional maturity.”

Though Liang himself did not spend much time with BSA dancers – and won’t be in town this weekend because he is opening another show in Columbus – his representatives, stagers David and Emily Webb, worked with the company for several weeks this past fall.

“Edwaard’s choreography is very clean and thorough,” said Emily Webb in a phone interview. “It tells the story and develops the characters exceptionally well. It has a classical base but it’s different. For instance, the only dancer dancing on pointe is Juliet. All others are in soft ballet slippers, and, in the ball scene, women have heeled shoes.

Bertolini described the choreographic style as neo-classical. “It’s free and fluid. I think it’s going to be fun to watch and connect with the movement,” she said.

The story pretty much follows Shakespeare’s play, complete with a big ball, the super romantic balcony scene and realistic sword fighting, but there’s a little twist at the end that may surprise and move you. Without giving it away, let’s just quote Webb who called the brief scene “a beautiful, heartbreaking moment.”

Bertolini’s Romeo is soloist Mayim Stiller, but they will appear in only two of the performances. Heather Neff and partner Lester Gonzalez Ramos take over for the other two performances. Each couple brings something special to their roles, said Webb, pointing out that two Juliets have different performing temperaments. She described Neff as a “powerful dancer” and Bertolini as “softer, more feminine.”

What this ballet also has going for it, in a big way, is the fabulous score by Sergei Prokofiev. It’s interesting to learn that Prokofiev planned to have a happy ending for the young lovers. According to George Balanchine, the composer envisioned a final joyous pas de deux at the end, a change that “received some criticism,” in the Soviet Union at the time, inducing the composer to abandon the idea. The ballet was first produced in the Soviet Union five years later, in 1940, with choreography by Leonid Lavrovky and with the Shakespearian ending restored. The original score was rediscovered decades later and performed for the first time in 2008.

Since this is the season for romance, it is not too surprising that both Ballet San Antonio and Opera San Antonio chose to present the R&J story this weekend. Why have only one night of romance, when you can have two?!

Romeo and Juliet, by Ballet San Antonio, Feb. 14 at &:30 p.m., Feb. 15 at 2 and 7:30 p.m., and Feb. 16 at 2 p.m.; Tobin Center for the Performing Arts, 100 Auditorium Circle, tickets: $35-$114 www.tobincenter.org or call 210-223-8624, in person at the box-office. Family four packs available for 30% off.