On a second viewing, Marianela Núñez‘s Juliet comes into even clearer focus. This Juliet reveals herself as an almost post-adolescent girl, far from childish in the Nurse scenes. As such, those scenes come through with slight mixed messages. The steps and stage manner seem to ask for childlike innocence (or in some readings, a teasing of the Nurse). Núñez plays for innocence but it reads oddly. There is throughout the ballet, little progression from budding girl to mature woman: Núñez’s Juliet is already ready to love and be loved, and she moulds the story around that trajectory of Fate.
Throughout Act I Marianela Núñez‘s Juliet appeared more Núñez than Juliet. It seemed this was a naturalism verging on not-quite-trying but then the approach became more defined, more invested and consequently more affecting in Acts II and III. Passion and grief are Nuñez’s professional tessitura – as well as beautiful form and athleticism.