What's grown more satisfying over the years since 1994, when Helgi Tomasson unveiled his version of Shakespeare's classic drama of ill-fated lovers, is the legibility of the storytelling and the briskness with which Tomasson unrolls his tale. The central piazza in designer Jens-Jacob Worsaae's Renaissance Verona still feels more crammed than Juliet's bedroom, but with small details deftly inserted into key scenes, there is a lot more clarity onstage.
Maria Kochetkova and Joan Boada's pairing was intensely appealing Tuesday night. From those wide eyes to the tips of her delicately articulate feet, every inch of Kochetkova's performance was bent toward expressiveness. While it was enchanting to watch feathery saute jumps and skimming bourrees en pointe that travel as swiftly as she can run across the stage, even more fascinating was the way she employed those skills to imply an internal world, a mind skittering and racing from one thought to the next.
S.F. Ballet review: 'Romeo & Juliet'
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