Reviews of Pacific Northwest Ballet in "Romeo et Juliette," links courtesy of sandik.
The Seattle Times
Moore (whose long-overdue promotion to principal dancer was announced onstage after the final curtain) brought a swagger to Roméo’s early scenes that made his transformation into a rapturous boy in love, moving as if in a dream, all the more affecting. Nakamura had a sweet tentativeness in her first moments, as befitted a very young girl not yet sure of her body; later, she developed a fiery urgency, as if love had taken hold of her and changed her. In the balcony pas de deux, McCaw Hall suddenly seemed like a tiny, intimate place; we could almost hear them breathing.....
Seen a second time, more and more of Maillot’s choreography falls into place, deepening the relationships between characters. The concept for the production is summed up in an anguished Friar Laurence’s (Karel Cruz) dance with a möbius strip — no matter how he tries to nudge the couple’s path away from disaster, his good intentions are warped by some balancing influence that pushes back. It’s in the nature of things; when Roméo and Juliette dance, palm to palm, their hands oscillate.
Kaori Nakamura and James Moore were perfectly suited, both physically and emotionally, for the title roles. In the balcony pas de deux, a boyish and infatuated Moore is so overcome he could do nothing but lie on the ground, head in hands, only to catch the flirtatious Nakamura in his arms when she least expects it. Despite being one of PNB’s longest-standing dancers and most serious technicians, Nakamura softened for the role, optimizing a playful, yet fierce and fiery young Juliet.