Brisbane Review: The Australian Ballet’s Romeo and Juliet: a privilege to experience

By Deanne Scott

Choreography John Cranko

Staged by Yseult Lendvai and Mark Kay

Composer Sergei Prokofiev

Set and costume design Jürgen Rose

Lighting design Jon Buswell

Relighter (Brisbane) Jason Morphett

 Lyric Theatre, QPAC. Season 15 — 22 August 2026 Duration 156 mins / 2 Intervals

Romeo and Juliet (Cranko) Grace Carroll and Davi Ramos. Image by David Kelly

Each year, I look forward to The Australian Ballet’s visit to Brisbane, and my expectations are always high. Tonight’s performance was a privilege to experience.

A Timeless Story, Beautifully Told

This production retells a love story that never grows old. It is also an excellent introduction to ballet, because the familiar story of Romeo and Juliet gives audiences an immediate emotional way into the art form.

Prokofiev has long been one of my favourite composers, and this score is a major reason the ballet is so affecting. His sophisticated leitmotifs, attached to individual characters, deepen the drama and pull at the heartstrings.

Tonight, I understood more clearly why Mercutio’s death affects me so strongly. It is not only the dancer’s acting, but also Prokofiev’s use of pizzicato strings and drums, which echo Mercutio’s failing heartbeat.

Another stirring moment was The March also known as the Montagues and the Capulets.  The orchestra brought visceral energy to the ballroom scene.

The set was sombre, with colour brought vividly to the stage through lavish costumes, exceptional lighting and the energy of the dancers.

Grace Carroll as Juliet and Davi Ramos as Romeo shared a convincing chemistry. Their first kiss, and Juliet’s reaction to it, was adorable. Their partnership felt youthful and exuberant, while also strong and secure. Ramos was strength and grace personified.     

Drew Hedditch’s Mercutio was the perfect sidekick for Romeo: playful, loyal and always ready to stir things up. Yichuan Wang brought warmth and presence to Benvolio, while Joseph Romancewicz made Tybalt’s presence felt every time he stepped on stage.

The sword fights were exciting and genuinely dangerous, adding urgency and tension to the production’s dramatic momentum.

 The energy throughout the production was high and kept the audience engaged at all times

It was certainly a night to remember.

Deanne Scott

Certified Instructor in the Taubman Approach, ACBE, ATMusA, CTMusA, QMTA (Prof) and Mentor