Like his other works, MB is always marmite. I don’t think R&J is as accessible as SL perhaps because it’s new and fresh and maybe even incomplete. Nor, despite what the papers say, did the audience leap to its feet at any of the 3 performances including opening night I’ve now seen. Rather they stood gradually perhaps applauding the dancers passion rather than the piece itself.
That said, I think it’s best to judge MBR&J on its own merits in terms of the story being told (I was at the Q&A on Thursday after the show) rather than comparing it to other more traditional R&J productions. Think how radical Baz Luhrmann’s film version was on its release.
For me it’s dance not ballet but I don’t think it claims to be ballet.
I get the comment about lack of visible sexual chemistry between R&J. However when you view the characters as dysfunctional damaged personalities somewhere on the spectrum, then traditional notions of romance and how it is demonstrated go out the window.
e.g. My godson has Aspergers and just because he shows no emotion on the outside doesn’t mean he’s not loved up intensely on the inside 🙃
For me Tybalt was the weak link, more akin to one of the Village People than a psychopathic sexual predator
Chacun à son goût