In a season dominated by old standbys, Kenneth MacMillan’s “Romeo and Juliet” stands out as one of American Ballet Theatre’s most evergreen. The production fits the company like an old glove, perhaps not as sleek as it once was, but still handsome and well made. The pas de deux—around which the ballet is built—have ingrained themselves in the audience’s collective consciousness. Everyone knows what comes next. Their steps melt into waves, that is, until the moments in which Romeo holds Juliet aloft, or the two dancers face each other in total stillness, barely touching. As if on cue, the audience holds its breath as one.
Cassandra Trenary and Calvin Royal III in “Romeo and Juliet.” Photograph by Rosalie O’Connor