![]() This was her Kirov debut in the role of Juliet, and it was to my eyes an impressive success. ![]() Novikova has only recently moved from the corps de ballet into solo roles, memorably in a touring version of Don Quixote. Last night's Juliet was Olesya Novikova, and with her long body, impressive extensions, elegant port de bras, and flawless en pointe technique, she was a fragile, wispy thing as Juliet. If viewers are to believe the story, we must be moved by the idea of the two principal dancers falling in love at first sight. Romeo lifts Juliet's apparently dead body from the funeral bier and carries her around, trying to partner with a dead weight. Lavrovsky ingeniously resolved several problems in adapting the Shakespeare play to ballet, and the death scene is one of the most moving parts of this beautiful work. The Post reports today that Mark Morris will create his own choreography of this ballet, which restores the happy ending of an early version, made by consultation with a score recently discovered in Moscow. Even so, there is little doubt that the Kirov "owns" this ballet, in a sense, and it has been performing Lavrovsky's Soviet-era choreography regularly ever since. ![]() The Kirov Ballet's debut of the work was delayed until 1940, two years after Prokofiev introduced it in Brno. The Bolshoi Theater in Moscow subsequently accepted and then rejected the ballet, because of the challenging score. 64) at the Mariinsky in the 1930s, but the theater ultimately balked. Sergei Prokofiev wanted to premiere the sublime music of this ballet (op. Petersburg's Mariinsky Theater has brought its traveling production of Leonid Lavrovsky's choreography of Romeo and Juliet. The Shakespeare in Washington festival continues this week with the visit of the Kirov Ballet to the Kennedy Center Opera House. Andrian Fadeyev and Evgenya Obraztsova in Romeo and Juliet, Kirov Ballet, photo by Natasha Razina, courtesy of the Kennedy Center
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