Benjamin Millepied’s Romeo & Juliet Suite
5 – 9 June 2024
In the Joan Sutherland Theatre
Dance
From the choreographer of the Academy award-winning Black Swan, Benjamin Millepied, comes this bold reimagining of Shakespeare’s masterpiece Romeo & Juliet. Direct from a sold out season in Paris, L.A. Dance Project bring you Romeo and & Juliet through a daring new lens with the fusion of cinema, dance and theatre. Set to Prokofiev’s enduring score, this will be the dance show of the year.
Date | Time |
Wednesday 5 June 2024 Male - male pairing | 7:30pm |
Thursday 6 June 2024 Female - female pairing | 7:30pm |
Friday 7 June 2024 Female - male pairing | 7:30pm |
Saturday 8 June 2024 Male - male pairing | 2:00pm |
Saturday 8 June 2024 Female - female pairing | 7:30pm |
Sunday 9 June 2024 Female - male pairing | 3:30pm |
*cast pairings subject to change
Standard Adults aged 18+ | Price |
VIP (Premium seat and a glass of Champagne) | $185 |
Premium | $145 |
A Reserve | $135 |
B Reserve | $125 |
C Reserve | $109 |
D Reserve - Restricted View | $85 |
Concession* Full-time Aust Student / Pensioner card holders (Aust. only) | Price |
VIP (Premium seat and a glass of Champagne) | $175 |
Premium | $135 |
A Reserve | $125 |
B Reserve | $115 |
C Reserve | $99 |
D Reserve - Restricted View | $75 |
Book 2 Performances Book to see 2 performances and save 15% BOOK NOW | Price per performance |
Premium | $122.50 |
A Reserve | $115 |
B Reserve | $105 |
C Reserve | $92.50 |
D Reserve | $72.50 |
Book 3 Performances Book to see 3 performances and save 30% BOOK NOW | Price per performance |
Premium | $100 |
A Reserve | $93.33 |
B Reserve | $86.66 |
C Reserve | $75 |
D Reserve | $58.33 |
*Must provide valid ID
$8.95 booking fee applies per transaction
Prices correct at the time of publication and subject to change without notice. Exact prices will be displayed with seat selection.
Young people under the age of 15 must be accompanied at all times. Children aged 0 - 23 months at the time of a performance may be seated on a parent’s lap free of charge. All children occupying a seat or aged two years and older must hold a valid ticket.
The only authorised ticket agency for this event is Sydney Opera House. For more information about Authorised Agencies, see the frequently asked questions below.
Sydney Opera House Insiders pre-sale
9am, Tuesday 6 February 2024
Become a Sydney Opera House Insider to receive exclusive pre-sale access
What’s On e-newsletter on-sale
9am, Wednesday 7 February 2024
General Public tickets on-sale
9am, Friday 9 February 2024
In English
Wheelchair accessible:
There are a number of wheelchair and companion seating locations in our theatres. To book accessible seating contact Box Office:
Telephone
+61 2 9250 7777
(Monday to Friday, 9am-5pm AEST)
Email bookings@sydneyoperahouse.com
Find out more about accessibility at Sydney Opera House
Run time
Performance runs for approximately 80 minutes, without interval
Event duration is a guide only and may be subject to change.
Age
Suitable for all ages.
The Opera House is committed to the safety and wellbeing of children that visit or engage with us. Read our Child Safety Policy
Direct from a sold out Paris season
At the heart of this beloved story, the pas-de-deux roles of Romeo and Juliet will be performed by three couples throughout the season, highlighting diverse couples - male/female, male/male, female/female - making this version of Romeo and Juliet a true universal celebration of love.
Using state of the art technology, boundaries are blurred between stage and screen, as the performance unfolds both on and off the stage. As the ensemble performs from unexpected places inside the theatre and backstage, the live performance will broadcast back to audiences in the Joan Sutherland Theatre in real time, allowing audiences to experience parts of the Sydney Opera House they have never seen.
Experience this timeless tale as never before as Benjamin Millepied presents this mythical tale through a modern and original prism. Le Monde due Ciné raves “everything is done to bring a phenomenal dimension and depth... as if to tell us that love has no barriers.”
Set to Prokofiev’s enduring score, the Sydney Opera House debut of Benjamin Millepied and L.A. Dance Project will be an event for the ages.
Sydney Opera House Presents
L.A Dance Project
This program is proudly supported by the NSW Government through Create NSW’s Blockbusters Funding initiative
Benjamin Millepied
Artistic Director, Choreographer, Filmaker
Benjamin Millepied (Bordeaux, 1977) is a choreographer, filmmaker, and former principal dancer with New York City Ballet. Millepied studied Classical Ballet with Vladimir Skouratoff at the Grand Theatre de Bordeaux, and later at the School of American Ballet with Stanley Williams and Adam Luders, before joining the New York City Ballet in 1995 were he was later promoted to Principal Dancer.
His choreographic work began in 2001 and he soon after founded a pick-up troupe, Danses Concertantes, before serving as choreographer-in-residence at The Baryshnikov Arts Center. Since 2005, he has choreographed for some of the preeminent global companies including the New York City Ballet, Paris Opera Ballet, San Francisco Ballet, American Ballet Theatre, Berlin Staatsoper, and Dutch National Ballet, among others.
In 2012, Benjamin Millepied moved to Los Angeles and co-founded L.A. Dance Project with Charles Fabius with the vision to create a new model for a dance organisation in America, from both an artistic and economic perspective. Through new commissions, revivals of choreographic masterpieces, and efforts to support local emerging artists, foster community partnerships, and uplift dance education, L.A. Dance Project continues to serve as a central hub for audiences and artists alike with a mission to create, perform, and present exceptional and accessible dance in Los Angeles and around the world.
L.A Dance Project wishes to thank Van Cleef & Arpels for their support.
What you need to know about… Romeo and Juliet Suite
Ever since William Shakespeare’s tragic story of star-crossed lovers, we have seen countless adaptations and interpretations that you would think there’s nothing new left to tell. Yet renowned choreographer, Benjamin Millepied, has found a way.
The New YorkerStartling, dazzling and wrenching
LA Dance ChronicleOne-of-a-kind interpretation of Shakespeare’s classic
LA TimesMillepied’s choreography is full of life
Artist information
Courtney Conovan is an Austin, Texas native. There she spent her early years training in gymnastics and dance. Once graduating high school Courtney went on to further her education at Conservatory of Dance at Purchase College SUNY where she performed works by Jie-Hung Connie Shiau, Doug Varone, Annie Rigney, Roderick George, and Rosalind Newman. During her time at Purchase she was selected to study abroad at the London Contemporary School of Dance for a semester. In 2020 Courtney performed for Marc Jacobs in New York Fashion Week, directed and choreographed by Karole Armitage. She has worked closely with SoulEscape for numerous years, performing as a company member for Justin Giles. Courtney is currently finishing up her BFA degree at Purchase college where she is expected to graduate in spring of 2022 while recently joining L.A. Dance Project for her first season with the company.
Jeremy Coachman, born and raised in Riviera Beach, Florida, began his professional career with Les Ballets Jazz de Montreal from 2015-2022. Whilst there, he had the opportunity to work with, and perform works by Itzik Galili, Andonis Foniadakis, Ihsan Rustem, Anne Plamondon, Juliano Nunes, Barak Marshall and Wen Wei Wang. He also had the pleasure to perform in 13 countries and countless cities in that time.
Jeremy enjoys the gift of dance and expressing through other means besides speech. He continually wants to explore the possibilities and push the limits of what the body can hold in expressive communication.
Lorrin Brubaker began dancing at age 10 in his hometown of Apopka, Florida. In 2012 he was admitted into The Juilliard School, where Lorrin performed works by Jose Limon, Lar Lubovitch, Jerome Robbins, Mark Morris, Camille A. Brown, Brian Brooks, Zvi Gotheiner, Matthew Neenan, and Peter Chu. Since graduating from Juilliard in 2017, Lorrin has danced full time with BODYTRAFFIC and Jacob Jonas The Company in Los Angeles, CA. Lorrin also had the honor of performing for the Merce Cunningham Trust in “Night Of 100 Solos: A Centennial Event.” He also made a guest appearance at The Hollywood Bowl for “Romeo and Juliet,” a collaboration between the LA Philharmonic and LA Dance Project. Lorrin is currently in his first season with LADP.
Daphne Fernberger, born and raised in NYC, began her professional career with Cedar Lake Contemporary Ballet before moving to Europe to join Dresden Frankfurt Dance Company. As a freelance artist, she danced for the Merce Cunningham Trust in “Night Of 100 Solos: A Centennial Event,” Ersan Mondtag, Margie Gillis Legacy Project, among others, in both Europe and the United States. Daphne graduated from American Ballet Theatre’s Jacqueline Kennedy Onassis School and received her BFA from The Juilliard School. During her time at Juilliard, Daphne had the honor of performing a lead role in Pina Bausch’s rarely seen work, “Wind von West,” also traveling to Germany to perform in celebration of Tanztheater Wuppertal’s 40th anniversary. Her own choreographies include “Hellerau is Female,” “WHOLE,” a short film for the fashion brand Rentrayage, the dance film “Environment as Self,” and “The River Within.” Daphne also movement directs for other projects, collaborating with visual artists, theater productions and more. Daphne Joined L.A. Dance Project in 2021.
David Adrian Freeland, Jr. received his early dance training at LaVilla School of the Arts in Jacksonville, FL and at the Jacksonville Centre of the Arts. He furthered his dance studies at several prestigious intensive programs affiliated with The Juilliard School, Nashville Ballet, Atlanta Festival Ballet, and the Bates Dance Festival. David attended the Conservatory of Dance at SUNY Purchase College and began working toward his BFA in Dance before being invited to join Ailey II, the second company of Alvin Ailey American Dance Theater, where he danced for three years. During this time, he performed seminal works by Alvin Ailey, Judith Jamison, Robert Battle, as well as new works by Troy Powell, Dwight Rhoden, Jennifer Archibald, Amy Hall-Garner, Malcolm Low, and Donald Byrd, among others. David’s professional experience also includes seasons performing with The Metropolitan Opera and Missouri Ballet Theatre. In 2016, David joined L.A. Dance Project where he has both created roles and danced in important stage and film works by Benjamin Millepied, Kyle Abraham, Justin Peck, Ohad Naharin, Martha Graham, Merce Cunningham, Roy Assaf, Noé Soulier, and Shannon Gillen. David is the proud recipient of a 2018 Princess Grace Award in Dance.
A native from Yokohama, Japan, Shu Kinouchi joined L.A. Dance Project in 2020. Prior to LADP, Shu danced at Houston Ballet and Tulsa Ballet. Shu trained at Mayumi Kinouchi Ballet Studio, Hamburg Ballet School von John Neumeier, and Jacqueline Kennedy Onassis School at American Ballet Theatre. Throughout his career Shu has worked with world class choreographers including Benjamin Millepied, Bobbi Jene Smith and Or Schraiber, Janie Taylor, Jessica Lang, Marcello Angelini, Stanton Welch, William Forsythe, Aszure Barton, Ma Cong, Nicolo Fonte, Matthew Neenan, Jodie Gates, Ronald Hynd, Christopher Wheeldon, Ben Stevenson, Connor Walsh, Oliver Halkowich, Kazuyuki Futami, Melody Walsh and many others. Shu also creates original multimedia dance works which have been displayed at galleries in NYC, curated by NFT ASIA, and at MoveMint Experience in NFT NYC.
Nayomi Van Brunt began her formal training at age 9 with Atlanta Festival Ballet under Nicolas Pacana and Gregory Aaron. In high school, Nayomi started training at Atlanta Ballet’s Centre for Dance Education under Sharon Story. After high school she began dancing with Atlanta Ballet under John McFall. Since her time with Atlanta Ballet, Nayomi has danced with New York Theatre Ballet and Wonderbound. She has had the pleasure of performing in works by Christopher Wheeldon, Val Caniparoli, Victor Quijada, Janie Taylor, Charm La Donna, Pam Tanowitz, Gemma Bond, Madeline Hollander, and Benjamin Millepied. Nayomi has had the privilege to perform at Jacob’s Pillow Dance Festival and the Vail International Dance festival. Nayomi has walked in Hermes women’s FW21 runway show, danced in Richard Mille’s WITHIN, modeled for Rodarte’s FW21, danced for singer Remi Wolf on Jimmy Fallon’s “Tonight Show,” and modeled for Everlane’s “Releather”campaign. Nayomi joined L.A. Dance Project in 2019.
Hope Spears was born in Thai Nguyen, Vietnam and raised in West Palm Beach, Florida where she began her dance training before graduating from Alexander W. Dreyfoos School of the Arts. She recently graduated with her BFA in Dance from George Mason University where she performed works by Micaela Taylor, Kyle Abraham, Shaun Boyle Darcy, Christopher d’Amboise, and Hope Boykin. Hope joined L.A. Dance Project in 2023.
Audrey Sides was born in Oakland, CA and received her early dance training at the Oakland Ballet School and the Oakland School for the Arts. She went on to train at the San Francisco Ballet School and joined Ballet Austin as a trainee upon graduation. In 2019, she moved to Chicago to train with the Hubbard Street Professional Program and in 2020 was a founding member of Little Fire Artist Collective. In 2021, Audrey moved to Vancouver, BC where she worked with artists such as Daina Ashbee, Joshua Beamish, The Biting School (Aryo and Arash Khakpour), Alyssa Favero/VOLT24, and Eilish Shin-Culhane, while developing her own choreographic practice and training at Modus Operandi, a contemporary dance training program directed by Tiffany Tregarthen, David Raymond, and Kate Franklin. While in Modus, Audrey performed new works by Shay Kuebler, Nicolas Ventura, b. Solomon, Brandon Alley, Yin Yue, and Zahra Shahab. Audrey joined LA Dance Project in 2023.
Mario Gonzalez has been dancing, teaching and choreographing professionally for past ten years. He started dancing at the Marya Kennett School of Dance in Goshen, NY. Mario received his pre-professional training at Walnut Hill School for the Arts and went on to attain his BFA from the Conservatory of Dance at SUNY Purchase College. Currently, Mario is a company artist at Charlotte Ballet under the direction of Alejandro Cerrudo. He has previously danced with Los Angeles Dance Project, Visceral Dance Chicago, American Repertory Ballet, and the Merce Cunningham Trust.
Brodie Wolf is originally from the San Francisco Bay Area, where his training exposed him to an array of artists and dance styles, and sparked his interest in choreography, performance, and dance education. Brodie’s affinity for movement investigation led him to pursue a BFA in Dance at the USC Glorya Kaufman School of Dance. He has performed works by Ohad Naharin, Jiří Kylián, William Forsythe, and Kyle Abraham, among others. Brodie is an alum of the School at Jacob’s Pillow Contemporary Performance Ensemble where he collaborated on three new creations with Sidra Bell, Rena Butler, and Antoine Vereecken from Studio Wayne McGregor. In 2023 he joined South Chicago Dance Theatre as a main company artist for their 7th season. Since then he has performed in venues across the midwest and recently danced repertory work, “Hybrid Line” by Ron de Jesus for audiences in Bogota, Colombia.
Aidan Tyssee, originally from Redondo Beach, California, recently graduated from the USC Kaufman School with a BFA in Dance. He has danced for fourteen years, training in ballet, hip-hop, tap, lyrical, jazz, contemporary, modern, and more. He has performed pieces by the likes of Ohad Naharin, Jiří Kylián, and Justin Peck, as well as getting the chance to perform in new works created by Yue Yin, Dani Rowe, and other esteemed choreographers. Aidan is also passionate about the cinematic arts, persuading him to help star in and choreograph music videos and dance films. Aidan has recently moved to New York and is honored to be a part of L.A. Dance Project’s Romeo & Juliet.
Marirosa Crawford is a Miami native and Los Angeles based movement artist. She began her dance training at a local studio in Miami and went on to focus on her craft more extensively at New World School of the Arts. Crawford studied both Dance and Literature for undergraduate degrees at SUNY Purchase. At Purchase, Marirosa worked with Doug Varone and Marcus Jarell Willis, and performed works by Martha Graham and Jose Limon. Crawford also performed work by Johannes Weiland and UNA Productions as part of Springboard Danse Montreal. Since being in L.A, Marirosa has choreographed and performed her own solo work titled “measuring undercurrents'' for Stomping Ground: Black Voices Show. Crawford has also performed work by Chris Emile as part of ‘Stranger Love” Opera by LA Philharmonic, in addition to exploring the commercial world, as a dancer in Labrinth x Billie Eillish’s ‘Never Felt So Alone’ music video and Halle Bailey’s ‘Angel’. Marirosa is currently working with Volta Collective and is a primary dancer for Marcella Lewis.
Matisse D’Aloisio (she/her) began her dance training at City Ballet San Francisco under Galina Alexandrova. At CBSF, she also trained with Marina Alexandrova, Lupe Calzadilla, and Kristin Long before joining the Atlanta Ballet’s second company under Gennadi Nedvigin. In 2019, she joined the Sacramento Ballet under Director Amy Seiwert and then under Anthony Krutzcamp. Matisse also danced for three seasons with Imagery, Seiwert’s San Francisco–based summer company. During her professional career, she has performed works by George Balanchine, Alejandro Cerrudo, Ihsan Rustem, Val Caniparoli, and Penny Saunders. Matisse has also had the privilege of originating works with choreographers Caili Quan, Amy Seiwert, Trey McIntyre, Hélèn Simoneau, Jennifer Archibald, Isaac Bates-Vinueza, Jermaine Spivey, Katerina Eng Beckman, and Natasha Adorlee. Matisse also choreographed for Sacramento Ballet’s annual Beer & Ballet performances for three seasons. Matisse has guested with Joffrey Ballet dancer Hyuma Kiyosawa in Nagano, Japan, and in 2022 she participated as a dancer in the Ann & Weston Hicks Choreography Fellows Program at Jacob's Pillow with choreographer Bates-Vinueza. During the Covid-19 pandemic, Matisse relocated to Santa Cruz, California, where she worked for Tomatero Organic Farm, bringing heirloom tomatoes, leafy kale, and other row crops to market. Matisse joined L.A. Dance Project in 2024.
Creatives
Artistic Director/Choreographer: Benjamin Millepied
Executive Director: Lucinda Lent
Director of Production: Nathan Shreeve-Moon
Director of Communications: Alice Mathis
Lighting and Scenic Designer: François-Pierre Couture
Costume Designer: Camille Assaf
Creative Collaborator: Olivier Simola
Lighting Director: Venus Gulbranson
Stage Manager: Betsy Herst
Stage Manager: Kait Mahoney
Camera Operator/Assoc. Artistic Director: Sebastien Marcovici
Rehearsal Director: Janie Taylor
Video Technician: Laurent Radanovic
Dancers
Aidan Tyssee
Audrey Sides
Brodie Wolf
Courtney Conovan
Daphne Fernberger
David Adrian Freeland, Jr.
Hope Spears
Jeremy Coachman
Lorrin Brubaker
Mario Gonzalez
Mariosa Crawford
Matisse D’Aloisio
Nayomi Van Brunt
Shu Kinouchi
*cast list subject to change
Gallery
Romeo & Juliet Suite Multipacks
See more and save. Book to see two performances and save 15%, or see three performances and save 30%.
Other information
Venue information
Our foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars.
All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers. The public lift to all foyers is accessible from the corridor near the escalators on the Lower Concourse and also in the Western Foyer via the corridor on the Ground Level (at the top of the escalators). Pram parking will be available outside the theatres in the Western Foyer.
Getting here
The Sydney Opera House Car Park, operated by Wilson Parking, is open and available to use. Wilson Parking offer discounted parking if you book ahead. Please see the Wilson Parking website for details.
Please check the Transport NSW website for the latest advice and information on travel. You can catch public transport (bus, train, ferry) to Circular Quay and enjoy a six minute walk to the Opera House.
Covid-safe information
The health and wellbeing of everyone attending the Opera House is our top priority. We’re committed to making your experience safe, comfortable and enjoyable, with a number of measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. We remind our audiences and visitors to please stay home if you feel unwell. If you need to discuss your ticketing or booking options, contact our Box Office team on 02 9250 7777.
The health and wellbeing of everyone attending the Opera House is our top priority. We have a number of safety measures in place including regular cleaning of high-touch areas, air conditioning systems that maximise ventilation, and hand sanitiser stations positioned in all paths of travel. While face masks are no longer required, we ask all our patrons and visitors to practise good hygiene. Please stay home if you feel unwell and read more about our flexible ticket options.
The Sydney Opera House no longer requires patrons to show that they are fully vaccinated against COVID-19.
Frequently asked questions
Ticket purchases and collection at our Box Office is discouraged and eTicket or postal delivery methods should be used, wherever possible. However, if you are collecting your tickets from the Box Office, we recommend doing this at least 60 minutes before the event starts. If you have already received your tickets, the venue doors will be open 45 minutes pre-show for Joan Sutherland Theatre performances, and 30 minutes pre-show for Western Foyer venue performances. Please take your seats as soon as you arrive.
If you are late, we will seat you as soon as we can and, where possible, in your allocated seat. However, to reduce movement in the venue as well as minimise disruption to the performance and other patrons, ticketholders may be seated in an allocated latecomer’s seat. Please be aware that some events have lock-out periods. In these cases, latecomers will be admitted at a suitable break in the performance. On occasions, this may not be until the interval, or at all where there is no interval.
Details of our right to refuse admission can be found in our General Terms and Conditions for Tickets and Events.
In accordance with our venue security procedures, Opera House security will be scanning and checking bags under the Monumental Stairs, prior to entering the building. Bags will be scanned by an x-ray machine, and staff will wear appropriate personal protective equipment (PPE) when handling your belongings, such as gloves. Cloaking facilities will be open 60 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 60 minutes pre-show for Western Foyer venue performances. However it is strongly encouraged that you travel lightly to minimise contact and queuing. Any bags larger than an A4 piece of paper will need to be checked into the Cloak Room.
The authorised agency for this event is the Sydney Opera House.
Only tickets purchased by authorised agencies should be considered reliable. If you purchase tickets from a non-authorised agency such as Ticketmaster Resale, Viagogo, Ticketbis, eBay, Gumtree, Tickets Australia or any other unauthorised seller, you risk that these tickets are fake, void or have previously been cancelled. RESALE RESTRICTION APPLIES. For more details, please refer to our General Terms and Conditions for Tickets and Attendance at Events.
Please contact Box Office on 9250 7777 as soon as possible to advise if you can no longer attend.
Foyers will be open 90 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars.
The venue doors will be open 45 minutes pre-show for Concert Hall and Joan Sutherland Theatre performances, and 30 minutes pre-show for Western Foyer venue performances.
Please bring a credit or debit card for any on site purchases to enable contactless payment. You’re welcome to bring your own water bottle but no other food and drinks are permitted inside our venues. Opera Bar, Opera Kitchen and Portside are also available for you to enjoy.
The health, safety and wellbeing of everyone at the Sydney Opera House is our top priority. In line with this commitment, the Opera House became a smoke-free site in January 2022. Read our Smoke-free Environment Policy.
You may also like
The Nutcracker
30 Nov – 18 Dec 2024
Storytime Ballet: The Sleeping Beauty
19 – 29 Dec 2024
Oscar©
8 – 23 Nov 2024