This entry covers John Cranko's staging of Romeo and Juliet, made for the Stuttgart Ballet to Sergei Prokofiev's score of the same name and given its premiere with that company in 1962, reaching the United States in 1969. It sits in the twentieth-century tradition of full-evening narrative ballet built on a pre-existing dramatic score, and its presence in a performance catalogue rests on its status as a repeatedly restaged company vehicle rather than on any single famous excerpt.
What is danced
The source article does not describe the choreography itself — there is no synopsis, scene list, or account of steps, holds, or technique for any part of the ballet. It confirms only that the work is a ballet, that it uses Prokofiev's Romeo and Juliet score, and that a 1984–1985 Joffrey Ballet staging of Cranko's choreography was called, in a New York Times review, "lavish and formally fascinating." Neither of those phrases specifies vocabulary, so no claim about what is actually danced in any act or scene can be drawn from this text.
Context
The article places the ballet's origin at the Stuttgart Ballet in 1962, with an American premiere following in 1969 and an American production by the Joffrey Ballet arriving in the 1984–1985 season, including performances in New York and Washington, D.C. Beyond these dates and venues, the article gives no account of the surrounding dance landscape or of what Cranko's version did differently from other Romeo and Juliet productions.
Staging history
The article records two stagings by name: the originating production for the Stuttgart Ballet (1962) and the first American production, mounted by the Joffrey Ballet in its 1984–1985 season, with performances at the New York State Theater and the Kennedy Center. That Joffrey staging is noted as having been supervised by Georgette Tsinguirides of the Stuttgart Ballet. No later revivals or other companies are mentioned.
How to watch it
Watch for how the staging is passed company to company: the article flags that the Joffrey's version was supervised by a named Stuttgart Ballet figure (Georgette Tsinguirides), which is the usual mechanism by which a choreographer's original steps are kept intact across a transfer rather than reinvented. Beyond that transmission detail, the article offers no guidance on what to look for in the dancing itself.