Chicago Repertory Ballet’s ‘The Capulets’, a full-length ballet, premiered at the Ruth Page Center for the Arts on November 7, featuring choreography by Chicago Repertory Ballet (CRB) founding artistic director Wade Schaaf, an original contemporary classical score by Matty Mattsson, and projection design by John Pobojewski and Zach Minnich.
“The Capulets” reconceptualizes the world of Shakespeare’s “Romeo and Juliet,” and centers on not the star-crossed lovers who fall in love despite their families’ rivalry, but instead on Juliet’s parents, the Capulets, who are each entangled in an affair. Those familiar with the story will appreciate characters, classic scenes, and themes of desire and loyalty from the original play, but this ballet veers into a world that is very much its own. In CRB’s version, Lord Capulet is having an affair with Paris, Juliet’s young suitor, and when Lady Capulet discovers the lovers, she develops a relationship with the cavalier Tybult, starting a chain of events that unravels the story into a haunting climax.
The design takes a captivating stance on the classic tale, simultaneously period and modern. The driving original score is largely classical with electronic contemporary influence and whispers of Sergei Prokofiev’s “Romeo and Juliet” ballet score. The costumes, designed by Nathan R. Rohrer, are black with subtle red accents and are distinctly modern with mesh, geometric cutouts and angular designs, but nod to renaissance clothing, including corset style tops, prominent shoulders and capes.
Projections on the back wall and along the upper sides of the intimate black box theater immerse the audience into the world. The projections act as sets, depicting the Capulets sleek mansion, the Italian town square and the futuristic armory, and also create atmospheric ambiance: blooming flowers igniting in flames, poetic Shakespearean phrases, shadowed human figures and the glow of molten metal. While projections can distract from the dancing itself, John Pobojewski and Zach Minnich’s designs help create the atmosphere of “The Capulets” and enrich the dancers’ storytelling movement itself.
Overall, the storytelling through the dancers’ performances and choreography is successful and the audience is able to experience the turbulent emotional journey characteristic of a Shakespeare play.
There are engaging sword fights and creative propwork throughout as the dancers twist, lunge, and leap, swords slashing overhead and underfoot. Mercutio (Nathaniel Urie) and Benvolio (Molly Gemerchak) give especially sprightly and playful performances, taunting Tybult until the humor gives way to gripping suspense.
Lord Capulet (Rosario Guillen) gives a sober performance as he struggles with his identity and decisions of infidelity. In solo moments, his movement is aching and searching, arms unfolding and refolding around him. His duets with Paris (Skyler Newcom) are deeply emotional as they dance in secret intimacy and grapple with each other. Although Lord Capulet attempts to push Paris away, they repeatedly tumble to the floor and in and out each other’s arms.
Where Lord Capulet and Paris’ performances are profound and intimate, Tybult (Jackson Ferreira) is all bravado, and Lady Capulet (Mirium-Rose LeDuc, Nov 7-14; Haley Baker, Nov 15-16) is powerfully elegant. They each command the stage, portraying a passion that begins almost naively and erupts into impressive balletic lifts that swing and unravel with surprising exhilaration. Their talent is on full display as they are consumed by the weight of their desire.
The iconic masquerade ball especially is a testament to the creativity of Wade Schaaf’s choreography. Under a moody futuristic blue ambiance complete with pulsing electronic music, the dancers move like they are in a modern nightclub: grooving, caressing their bodies, and bouncing to the beat. The movement morphs into grand balletic extensions, then coupled dance reminiscent of court dances, all while flexed feet, small hops and quick footwork give a renaissance feel to the movement. The result is pure revelry and a visual feast for the audience. With “The Capulets,” CRB is successful in its aim of bringing a contemporary edge to their work, and the movement manages to be balletic and innovative while simultaneously nodding to the renaissance setting of the original play.
A haunting depiction of the cost of disloyalty, betrayal, secrecy and love, Chicago Repertory Ballet’s “The Capulets” immerses audiences into a bold, innovative reimagining of a classic tale.
Chicago Repertory Ballet’s ‘The Capulets’ runs November 7-16, 2025 at the Ruth Page Center for the Arts, 1016 N Dearborn Street. Tickets are $38-$68. For more info, visit the event page by clicking HERE.
Copyright 2025, See Chicago Dance, All Rights Reserved
