Class act: Back to the future with Romeo and Juliet
Christian Tatchev is a past master when it comes to the ballet Romeo and Juliet and although his dancing days are behind him the former director of Queensland Ballet Academy is taking to the stage in Kenneth MacMillan’s classic production.
Christian Tatchev knows his way around the ballet Romeo and Juliet. Boy, does he know his way around it.
Over a long career, he has been involved in six productions. Tatchev, 46, is currently director of Queensland Ballet Academy and is a former dancer and ballet master of Queensland Ballet.
The Bulgarian-born Tatchev, who trained as a boy under the rigours of the Soviet era, has had multiple roles in Romeo and Juliet, including as a principal dancer.
In Queensland Ballet’s forthcoming season of Kenneth MacMillan’s Romeo and Juliet, to be staged at QPAC, March 21-29, he will play the role of Lord Capulet, head of the Capulet household and Juliet’s father.
Tatchev has played the role before (it’s played, rather than danced). He’s taken to the stage before in other so-called “character” roles that former dancers tend to get. Though light on the dancing, these roles are important and require the sort of grace, gravitas and stagecraft only a lifetime in ballet can give you.
“At the end of the day I have to become that character,” Tatchev says. “This will be my third time as Lord Capulet. Previously, I have been Romeo, Mercutio, Tybalt and other roles. This one is a heavy role if you consider the times. I play a very male-dominant character who would have seen his wife and daughters as his property. He’s quite conflicted, though, and has feelings he probably wouldn’t be able to express.”
William Shakespeare’s classic play, upon which the ballet is based, was set in 14th century Verona, Italy, so it was a different time. Tatchev says he grapples with the chauvinism of his character, particularly when he’s “pushing Juliet around”. He baulks a bit at that.
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This production is something of a classic, as it’s Kenneth Macmillan’s. The famed British choreographer had a way of clarifying themes and storytelling and coupling that with exquisite dancing.
‘It has everything … a love story, action, a tragedy and even some comedy’
“MacMillan’s interpretation is good,” Tatchev says. “There’s a lot of story to tell but that is MacMillan’s craft. It has everything … a love story, action, a tragedy and even some comedy.”
Gary Harris (stager and fight director) and Laura Morera (principal coach and recently retired principal artist at The Royal Ballet in the UK) are artistic supervisors for the MacMillan Estate and are helping Queensland Ballet stage the ballet in Brisbane for the third time.
The company has done it before in 2014 and 2019, but nobody is complaining about a repeat season.
For Tatchev, it will be like donning a favourite suit again. Still, he’s approaching the ballet anew and is thrilled that some of Queensland Ballet Academy’s young professional cohort will appear in minor roles.
“For them to be on stage with the artists is a great opportunity,” he says. “Even if you’re doing very little it is a chance to learn stagecraft.”
The exhilarating production evokes the grandeur of Renaissance Verona, where boiling tensions between the Capulets and Montagues escalate into electrifying sword fights and emotionally charged dance.
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Queensland Ballet’s assistant artistic director Greg Horsman says the production’s return this year is significant.
“It is a privilege to be bringing this greatly celebrated production to Brisbane audiences during its 60th anniversary year,” Horsman says.
“The ballet was an instant success when it debuted in 1965, with ballet royalty Margot Fonteyn and Rudolf Nureyev in the leading roles. It has since become a signature work for internationally renowned companies including The Royal Ballet and American Ballet Theatre.
“Queensland Ballet is the only Australian company to be granted the right to perform this work by the MacMillan trust. The dancers, having now performed multiple MacMillan works, have a strong understanding of his choreography and the artistry required to perform such a momentous ballet.”
With a cast of more than 72 dancers and with more than 720 costume pieces, Kenneth Macmillan’s Romeo and Juliet is one of the largest productions Queensland Ballet performs. It features exquisite costumes evoking Renaissance Verona and breathtaking sets and a powerful live performance of Sergei Prokofiev’s score by Queensland Symphony Orchestra.
This production is also special for principal artist Neneka Yoshida, as it marks her debut as Juliet.
“It has been my dream role for so many years,” Yoshida says. “It was one of the first big productions in 2014, my first year with Queensland Ballet, and I understudied the role in 2019. That gave me a lot of experience. Now, six years later, I am finally dancing it. I’m ready. The choreography came back to me very quickly.”
Yoshida says Kenneth MacMillan’s version of Romeo and Juliet is her favourite.
“How clever he was,” she says. “His production is my dream production.”
As she says, she’s ready. Neneka Yoshida’s dream is about to come true.
Kenneth MacMillan’s Romeo and Juliet, Lyric Theatre, QPAC, March 21-29, qpac.com.au