This past weekend Oct. 10th thru 12th, the Bram Goldsmith Theater at The Wallis in Beverly Hills presented L.A. Dance Project’s “Romeo and Juliet” as conceived and choreographed by Artistic Director Benjamin Millepied. The house was full with excited patrons who burst into applause enthusiastically and often for this much anticipated event.
The stage is preset with a red sofa facing upstage, a red dance floor and a massive screen covering the upstage wall. There are no sets and minimal props. The wings are open and dancers can be seen awaiting their entrance or picking out clothes from racks which will be their costumes. We see this because there is a handheld camera catching and often enhancing the movement which is then projected onto the aforementioned screen. Romeo and Juliet are introduced on camera as their names appear on a chalkboard. All of this could be quite clever if the ballet itself substantiated the trope.

LADP – Daphne Fernberger and Nayomi Van Brunt in “Romeo and Juliet” by Benjamin Millepied – Photo by Julien Benhamou.
It would seem that everyone would know the Shakespearean tale of star-crossed lovers but suffice to say if you do not know or if the facts are hazy, you will not learn the story here as Millepied’s work not only changes the script but obscures even the basics. Without a firm commitment to the story or at least a story to tell we have to hope the choreography itself is enough to keep us in our seats. Unfortunately, that is not the case. The iconic music by Sergei Prokofiev though edited is used here. This should have enhanced the action but instead overpowers it as the score is too weighty in its’ magnificence for this production.
When Benjamin Millepied first appeared on the scene in Los Angeles there were high hopes that his background as both a noted dancer and choreographer with the New York City Ballet and the attention he garnered for choreographing the film “Black Swan,” would be just the ticket for the formation of a true professional dance company in Los Angeles. While Los Angeles has a world class orchestra and many good small dance companies we have never fully supported a professional company of our own. Millepied and his dancers were to be a major stepping stone in that direction. So, it is a great disappointment to see that very little of this promise has come to fruition. If his choreographic work for “Romeo and Juliet” is any indication of his overall ability and commitment it is possible to understand why creating a company was just a pipe dream.
The choreography was thin and repetitive with little to no character development. In style it was neither classical ballet nor pure contemporary jazz but a strange hybrid of both. The dancers did their best to infuse some energy into the mundane steps but lacked the technique to wow the audience with bravura alone. Also not helpful were the unattractive and ill-fitting streetwear costumes designed by Camille Assaf.
In this performance Romeo was portrayed by Jeremy Coachman, Audrey Sides was Juliet with Shu Kinouchi as Mercutio and Spencer Lenain as Tybalt. The ensemble filled in as friends with little to no purpose. The romance itself is tepid, more a show of warm friendship than blossoming love and sexuality. Neither the dancers nor the choreography emanated any fire or sense of desperation and as they both looked well beyond the age of consent, their naivete felt false. Therefore, the tragic ending lacks in pathos and though it should be emotional Juliet’s final death pose is unfortunate rather than heartbreaking.
Kinouchi as Mercutio has technique and made an effort at characterization as the “fun guy” of the group. Tybalt who for reasons again, not made clear here, is fumingly angry right from the start. However, in spite of this, dancer Lenain as Tybalt does the best he can with the part and is a clean technical dancer. Yet, because the conflict between these two is unclear the killing of Mercutio by Tybalt seems to come from nowhere.
In an effort to be innovative, Millepied has added a handheld camera to the production. Sebastien Marcovici is the cameraman and though much of its’ use seems superfluous there were several moments when the camera’s potential could be seen. First was the “Dance of the Knights” in which the dancers are seen in the murky red light of a barely lit scene that is interestingly raw and oddly sexy as they gyrate slowly in a spooky masquerade ball. Also effective was the killing of Tybalt by Romeo is a dark hallway. Here the action is non-stop, intense and riveting. The death of Tybalt brought emotion not felt otherwise. More use of the camera in this way might lift this production especially if it were used more intimately in the love scenes to infuse them with some heat.

L.A. Dance Project – Shu Kinouchi in Benjamin Millepied’s “Romeo and Juliet” – Photo byJulien Benhamou.
There is potential to make something interesting here. Reimagining the camera work, telling the story clearly and choreographing to the level of the dancers would be a start but what is needed most is the clear eye of an involved and discerning leader. Millepied has had opportunities not available to most but perhaps motivation is lacking. If this production is any indication of what is deemed acceptable, we are getting short shrift. Los Angeles and its’ dancers deserve more.
The dancers not named above are; Daphne Fernberger, Nayomi Van Brunt, Hope Spears, Courtney Conovan, Marirosa D’Aloisio, CJ Burroughs, Brendan Evans and Aidan Tyssee.
Lighting and set design are by François-Pierre Couture.
For more information about L.A. Dance Project, please visit their website.
To learn more about The Wallis, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: L.A. Dance Project – Courtney Conovan, Marissa Brown, Sierra Hererra and Mario Gonzalez in Benjamin Millepied’s “Romeo and Juliet” – Photo by Julien Benhamou.