Ballet of the Dolls: Forbidden love, redone

The world has changed since 1991, when Myron Johnson choreographed "Romiette and Juleo" for Ballet of the Dolls, but some things stay the same: People still judge, exclude and hate based on identity, sexual orientation and whatever else they refuse to understand or accept. Eighteen years ago, fear of AIDS and homophobia permeated the culture. These remain big issues but there has been change, including the legalization of same-sex marriage in some states and a broader recognition that AIDS, a global epidemic, can affect anyone.

Johnson has remounted "Romiette and Juleo," onstage at the Ritz Theater in Minneapolis through Sunday. During the post-show discussion he explained that there was no record of the original production, so he re-imagined it for 2009. He pulled the new version together quickly and it does come across, at times, like a work in progress. What matters is his sense of urgency. Johnson addresses our society in transition, and the result is an immediate, hard-hitting, deeply personal act of protest -- and love.

This is still a story about a forbidden relationship, but Johnson spotlights three couples -- two men (Joel Klausler and Doug Melroe), two women (Lisa Conlin and Stephanie Fellner) and a man and a woman (Joy Langer and Grant Whittaker). They suffer under a repressive regime led by Robert Skafte and Heather Cadigan along with their brainwashed offspring (Bryan Gerber and Rebecca Jacobsen Abroe). Johnson has some fun at their expense, portraying the holier-than-thou quartet as the Addams Family after undergoing a conversion by Pat Robertson. Typical of a Dolls performance, the music is current, ranging from Adele to U2.

Like Shakespeare's play, Johnson's work revolves around the lovers meeting, falling for each other, getting caught, rebelling, and dying. Along the way he inserts scenes from recent history, most notably when the same-sex couples are held captive with their heads shrouded like prisoners from Abu Ghraib. Johnson also comments on gender fluidity in a provocative quartet for dancers wearing bras and jockstraps, and directly challenges religious dogma that separates soulmates. All of the performers embrace their roles, and each partnership is lovingly portrayed.

This is indeed a work of its time and place, a candid snapshot of who we are as human beings. One wonders what the production will be like if Johnson revisits it in 2027.

Caroline Palmer writes regularly about dance.