A State of Grace

Few nights at the ballet are as tantalising as the opening night of the Australian Ballet’s “Romeo & Juliet” at the Sydney Opera House. Even more so when artistic director David Hallberg casts a relatively unknown dancer as Juliet on opening night. For soloist Grace Carroll this was doubtless a breakout role, one which added a touch of drama to Shakespeare’s timeless tragic love story.

Performance

The Australian Ballet: “Romeo and Juliet” by John Cranko

Place

Sydney Opera House, Sydney, Australia, April 24, 2026

Words

Claudia Lawson

Grace Carroll and Joseph Caley in “Romeo and Juliet” by John Cranko. Photograph by Daniel Boud

The Australian Ballet’s latest revival of “Romeo & Juliet” is the beloved John Cranko interpretation. From the vivid opening scene, the audience is immersed in colourful streets of Verona, filled with youthful exuberance and impatient energy. As a trio of saucy Harlots, Precious Adams, Mia Heathcote, and Yuumi Yamada capture the lively spirit of the marketplace. Adams, in particular, is a standout. Her magnetic presence and remarkable talent add fresh dynamism to the company. With Sergei Prokofiev’s sumptuous score ringing out, the first act sets the tone for the tragedy to unfold.

Act Two’s highlight, the love scene between Juliet and Romeo, blossoms with a delightful mix of curiosity and joy. Shakespeare’s Juliet, just 13 years old, is a now somewhat tricky role, balancing naivety with the depth and intensity of emotion. Carroll navigates it with tender expression, while bringing her own technical prowess and artistry. Joseph Caley as Romeo was a perfect partner—confident, relaxed yet clearly joyous in his role. His technical ability is so sound, it’s endlessly comforting to watch. The masquerade ball is another highlight; a flashy display of power and wealth, sprinkled with the cheekiness of Romeo, and his two best men, Mercutio and Benvolio, played to perfection by Marcus Morelli and Cameron Holmes.

Grace Carroll in “Romeo and Juliet” by John Cranko. Photograph by Daniel Boud

Act Three plunges us into the heart of the story. Given the gravity of his actions—marrying minors and plotting fake deaths—Friar Laurence’s scenes seem trite at times. However, the Act is punctuated by the bold lowering of Juliet’s body into the Capulet Crypt, a magnificent set designed by Jürgen Rose. As the tragedy plays out, Carroll demonstrates she is truly a star on the rise, the depth of her emotional portrayal belies her youth.

Among a talented cast, Serena Graham stood out in her role as Lady Capulet, opposite former principal Adam Bull, returning to the stage as Lord Capulet. The Australian Ballet’s “Romeo & Juliet” is a vibrant, engaging production, buoyed by Carroll’s radiant debut and an energetic ensemble full of talent and stage presence.

Claudia Lawson

Claudia Lawson is a dance critic based in Sydney, Australia, writing regularly for ABC Radio National, ABC Arts, and Fjord Review. After graduating with degrees in Law and Forensic Science, Claudia worked as a media lawyer for the ABC, FOXTEL and the BBC in London, where she also co-founded Street Sessions dance company. Returning to Sydney, Claudia studied medicine and now works as a doctor. She is the host of the award-winning Talking Pointes Podcast.

comments

Name

Email

Comment

このサイトはhCaptchaによって保護されており、hCaptchaプライバシーポリシーおよび利用規約が適用されます。

Please note, comments must be approved before they are published

Featured

INTERVIEWS | Rachael Moloney

Self-Portrait in the Making

Now in its second year, the Tate Modern’s Infinities Commission is awarded to a contemporary practitioner whose work proposes radical ways of thinking about performance, installation and time-based art.

REVIEWS | Faye Arthurs

A Class Act

A ballet career necessitates lifelong scholarship. Professionals take a daily technique class that begins with the same pliés at the barre as absolute beginners. Most days at the School of American Ballet, New York City Ballet members are tucked into in a corner of the studio, honing their tendus alongside the top divisions.

REVIEWS | Rachel Howard

Liminal Moves

Jessica Lang is smack in the middle of a three-year stint as resident choreographer at Seattle’s Pacific Northwest Ballet. It’s an excellent artistic match that deserves to be followed closely, because both Lang and PNB merit a higher national profile.

REVIEWS | Robert Steven Mack

Golden Hour

The close-knit ballet scene in San Diego was dealt a blow when California Ballet, the company Maxine Mahon founded in 1968, folded in 2020. Insiders tell me the pandemic wasn’t entirely to blame, but since then, Golden State Ballet, still wet behind the ears, has risen in its place.