Pacific Northwest Ballet’s new Juliette

Jean-Christophe Maillot’s “Romeo et Juliette” was a sensation in Seattle when Pacific Northwest Ballet performed it for the first time in January 2008. Choreographed in 1996 for the Ballet de Monte Carlo where he is director, he set Juliette on ballerina Bernice Coppieters, and Coppieters has been here at PNB this fall to stage the repeat of the ballet, which begins next Thursday, September 24.

In 2008, company director Peter Boal chose two dancers for Juliette, Noelani Pantastico and Carla Korbes. Korbes, however, sustained an injury only a couple of weeks before the production began and Pantastico, in a tour de force, danced every performance. Now, Pantastico has herself joined Ballet de Monte Carlo, and principal dancers Korbes and Kaori Nakamura are the two Juliettes.

I talked with Korbes this week about the role, at the end of the first complete run through of the ballet.

Carla Korbes: “I didn’t realize it would be so aerobically difficult. In the first act, Juliette is in and out, but I’m changing costumes when I’m out so there’s no rest. In the second act, it’s really easy for her, but in the third act she’s on the whole time and there is no time even for a sip of water. Amd my hair is down, so I get hot. Because I’m not off stage, I can’t escape the mood for one minute, but perhaps that’s a good thing.”

Philippa Kiraly: “Did you know the play? How does Maillot’s ballet differ?”

CK: “In the play, she’s a young 14-year-old and Romeo is stronger. In this, she has both female and male roles in her. She’s equal to him in terms of strength. It’s kind of fun to be the one who makes the decisions! That’s the difference. It’s all there in the choreography.”

PK: “Is it a challenging role to dance?”

CK: “I think it’s hard because of the intensity of the story. The coordination is more difficult than the steps themselves, which are fairly standard. Jean-Christophe choreographed it as a conversation, and every little thing you do is saying something. There are so many steps, so much information, you can’t grasp it all at first. Last year, I was so close, and then set back by injury, but I remember every detail I was taught then, all the choices made. It’s been cooking ever since. I’m glad I’m comfortable in that space now. I feel like I’m so ready for it.

It’s such a dramatic work. The insanity people get into when they fall in love and get lost in it, and can’t see other things happening in the world. It portrays craziness that you can’t see when you’re in it. The guy just killed her brother!”

PK: “Lucien Postlethwaite is your Romeo. What’s it like to dance this with him?”

CK: “He’s so real. I haven’t felt once that I’m acting. When he looks at you it’s as though he takes your breath away. He dances as though he is the character. He’s so real.”

PK: “Given your immersion in the role, what’s it like at the end when you both die?”

CK: “It’s emotionally very hard. I didn’t realize it would be so difficult. Afterwards, we both feel depressed. And the music is so beautiful.Well, I feel high, but not.”

PK: “What are your favorite roles and what are you looking forward to this season?”

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CK: “As a child I saw Swan Lake with Nikolaj Hubbe (now artistic director of the Royal Danish Ballet) and thought Omigosh, that’s what I want to do. So Odette/Odile is one. Since I’ve gotten here, to PNB, the big things have changed in my life. When I arrived here as a soloist (in 2005) Peter Boal (PNB artistic director) gave me Forsythe’s” Artifact II.” I’d never moved that way. I felt so small, a new company member and totally out of my comfort zone. But by the next year, in Forsythe’s “In the middle, somewhat elevated,” I was comfortable. That’s why I moved here, to get out of my comfort zone.

I’m looking forward to Jiri Kylian’s “Petite Mort,” and Jerome Robbins’ “West Side Story” (both in November). I always wanted to do it. I grew up doing Latin dance (Korbes comes from Brazil), but I was always a Jet because I’m blonde. Now I can be a Shark, with a wig! And Balanchine’s “Serenade” (April). It’s divine.”

“Romeo et Juliette” runs for nine performances at McCaw Hall from Sept 24-Oct 4. Tickets $25-$160 at pnb.org or 206-441-2424