The rivalry, drama and passion of love at first sight—no matter how many times one sees Romeo and Juliet, knowing the tragic outcome, it is impossible not to yearn for a happier finale.

In celebration of their 50th Anniversary, the National Ballet of Canada presents Romeo and Juliet, one of the trademark ballets in their repertoire. The ballet, choreographed by John Cranko to Prokofiev’s famous score, is every bit as melodramatic as Shakespeare’s original play.

Juliet is danced by 23-year-old Xiao Nan Yu, a rising star in the ballet world. Yu began her training in Beijing, but was spotted in 1995 at an international dance competition by National Ballet School director Mavis Staines.

One year later she was an apprentice in the National Ballet Company, and by May 2001, she had risen through the ranks to become a principal dancer.

Dance critics have likened Yu’s success to that of Karen Kain, who stole the hearts of Canadians playing Odette/Odile in Swan Lake at a mere 19 years old. “I am really honoured that they compare me to Karen, but at the same time, Karen is so special that no one should replace her. I look up to her and appreciate what they are saying…. but I am who I am.” Yu says she would like to leave her own legacy in the world of dance.

Although she cites her most meaningful role thus far as Tatiana in Onegin opposite Rex Harrington, Yu says every girl’s dream is to play Juliet. Indeed, Yu is a passionate Juliet, portraying an air of girlishness yet ageing a lifetime over a dramatic few days. Yu’s dancing has a delicious combination of sharp attack and fluid grace that makes the impossible seem effortless. During pas de deux work with her Romeo, Patrick Lavoie, Yu simply melts onto him, the two are so in tune with one another.

Lavoie is an acceptable Romeo, but notably upstaged by Piotr Stanczyk as Mercutio. While Romeo is lost in dreamland, loitering on the side of the stage, Mercutio has compelling choreography full of contemporary pizzazz and non-classical lines. Stanczyk embraces the mischievous character and stunning movement with commanding expertise.

The corps du ballet is strong in this performance, with lively, unique choreography for the gypsies, carnival dancers, bridesmaids and townsfolk.

However, there is not nearly enough dancing in the ballet, by both the corps and the principals. Company scenes find the stage full of dancers in brilliant costumes on a marvelous set with, sadly, nowhere to move. In place of choreography are clumps of Montagues and Capulets, led by the omnipresent scowl of Karen Kain as Lady Capulet, glaring at one another mercilessly. This lack of choreography and overemphasis on theatrics is disappointing, for the audience is taunted by a stage of talented dancers rendered static.

Nonetheless, what dancing there is captivates the audience with fluidity and charm. Cranko’s choreography has the odd awkward moment but is generally lush, inventive, and a positive step away from classical ballet.

Not surprisingly, Yu stole the show with her flawless attack as Juliet. Refreshingly humble in person and a natural on stage, watching her perform is a treat. She says, “Sometimes when we get so much media attention we start to forget who we are.” Yu says her most profound lesson thus far is the necessity of not losing sight of her goals.

“Every time I go on stage there’s no media… just me and the audience. [I focus on] becoming something.” Yu’s focus is certainly paying off.