In my review of Pacific Northwest Ballet's Romeo and Juliet, which I referenced on Slog yesterday, I dissed Kent Stowell's version of Romeo and Juliet for its chasteness. Specifically, I placed it squarely in the classical line of ballets—the kind of ballet with "Nobody copping a feel. No kissing—no way. Love is a platonic thing that is impressive and repressive and wears its hair in a bun. It's nothing to do with sex."

Turns out I am a liar. A commenter pointed it out to me yesterday:

• There is hair, there is kiss, this is Stowell's, I am sorry.

Hold on a minute, Jen. Have you ever seen Kent Stowell's Romeo and Juliet? Juliet has a whole lot of hair flowing (remember Patricia Barker?), there IS kissing, and during the bedroom pas, there's a lengthy downstage-left full-length feel.
on September 29, 2009 at 3:20 PM

Wondering about this, I asked PNB's spokesman, Gary Tucker, and he confirmed that, indeed, there is hair, kissing, and at least some feel-copping. He even provided photographic evidence.

Well, now I feel sheepish. I saw Stowell's version (just once), but I honestly don't remember any of those. I recall very little heat, in fact. (Regulars who can compare both, am I misremembering?)

On the particulars, alas, I am a liar. I'm sorry. I suppose and hope that my main point stands: that Maillot's Roméo et Juliette is unprecedentedly hot for this story on this stage—and not by a little but by a lot.