A ballet masterpiece will be resurrected in Leeds this June as Northern Ballet's iconic Romeo & Juliet plays the Playhouse's Quarry Theatre.

Saeka Shirai playing Juliet and Harris Beattie playing Romeo sit down with us to reflect on playing two of Shakespeare’s most iconic roles.

What can audiences expect when they come to see Romeo & Juliet?
Harris: Audiences can expect to be swept away by one of the most iconic love stories of all time. Set to Prokofiev’s powerful and emotionally rich score, this ballet brings to life a world filled with love, tragedy, and even moments of humour. It’s a timeless tale that continues to move people across generations, and this production truly captures its magic.

How do you prepare to become Juliet?
Saeka: I have read the book and watched the film on my own when I was young so had rough ideas, but at beginning of the season last year, Gregory Doran who is former artistic director of the Royal Shakespeare Company came to assist us and I felt I could understand more deeply who Juliet is.

What do you think is different about Northern Ballet’s production of Romeo & Juliet?
Saeka: I feel more connected to the audience in this version. It makes me feel like I am in the story when I watch it. Especially, the end of Act 2 is a very unexpected ending.

How well do the dancers need to know or study the original Shakespeare play in addition to learning the ballet?
Harris: For me personally, understanding the context of my character is essential. Studying Shakespeare’s original play adds depth to the performance and helps inform every movement, gesture, and expression on stage.

What is your favourite part of the show?
Harris: It would have to be the balcony pas de deux in Act I. The movement is so emotive, and paired with Prokofiev’s beautiful score, it just feels completely alive. It’s such an incredibly powerful moment.

Do you have a favourite memory of dancing Juliet so far?
Saeka:  It was very special memory and an honour to be able to dance Juliet in the Royal Shakespeare Theatre.

How to you approach performing such emotional scenes like the final scene at the tomb?
Saeka:  I feel like everything about this ballet builds towards each scene so naturally. The sets, music, choreography, atmosphere and emotion everything comes together.

You use real swords in the show – what is that like?
Harris: It’s a lot of fun! It’s not something we often get to do in ballet, so it brings a unique energy to the performance. Of course, safety is our top priority. We rehearse the sword fights extensively to ensure everything is precisely timed. Before every performance, we even do a short rehearsal with the swords to refresh our muscle memory and make sure we’re completely in sync.

How often do you rehearse?
Harris: We begin rehearsals several weeks in advance. Since many of us have performed this ballet before, that familiarity helps – but we still dedicate significant time to refining the choreography and deepening the storytelling.

What are the best and hardest things about bringing such a classic tale to life on a ballet?
Saeka: I think the best is we are able to express by using our full body and the hardest thing is finding a balance between people’s visions and my visions.

Do you have a favourite moment in the ballet?
Saeka: My favourite moment is when Juliet makes a decision. It’s very lonely but very powerful at the same time.

Do you have a pre-show ritual?
Harris: I don’t have a strict ritual, but I do like to take time to clear my head, go through the choreography mentally, and reconnect with the emotional journey of the character. It helps me get fully into the mindset and presence needed for the performance.