Dance: “Romeo and Juliet” presented by the Hong Kong Ballet

Just when you think you’ve seen every iteration of “Romeo and Juliet”—the Zeffirelli film (1968), the Baz Luhrmann movie (1996), and of course “West Side Story”—along comes the Hong Kong Ballet production of R & J (City Center) which blows the roof of your greatest expectations.

The Prokofiev score remains, but the setting is now 1960s Hong Kong. The dance corps is attired appropriately—Ban-Lon shirts for the guys, Capri pants and bouffants for the girls. Replacing the Montagues and Capulets are two warring clans, one led by Tai Po (Gary Corpuz), a fiery Tybalt type, who is a bad guy right out of Central casting. (Not Hong Kong Central either.)

What distinguishes a great company are principals who are able to emote as well as dance. Alejandro Virelles, Cuban-born principal guest artist, checks all the boxes. His Romeo looks at Juliet (Ye Feifei) not merely with affection but lust. And Feifei knows how to deliver a death scene that will have you choking back tears.

Romeo’s sidekicks, Benny and Little Mak, (Jonathan Spigner and Leung Chunlong) are acrobatic and very funny stand-ins for R&J’s Mercutio; Yonen Takano is excellent as Romeo’s sifu (or sensei-like Master); and Zhang Xuening is lovely as Juliet’s amah. Ricky Chan’s set design and Ruby Yah’s lighting add majesty to the production. And we’ll bet you never saw everybody kung-fu fighting in a ballet before. Credit Hing Chao, the production’s martial arts advisor.

While on the subject of credit, let us also praise Septime Webre, HKB’s award-winning artistic director and choreographer, who delivered the opening remarks. He is the worthy steward of a ballet created in 1979 and presently composed of dancers from all over the world. Their restagings of masterworks by Balanchine, Christopher Wheldon, and others are worth every HKD in your coin pocket.