Dance Review by Anna Kisselgoff

«Romeo and Juliet», in Kenneth MacMillan’s version of Prokofiev’s ballet score, returned to American Ballet Theater this week with two half-new sets of principals.

In each case, a Bolshoi-trained star was making a local debut. Nina Ananiashvili, with Jeremy Collins as Romeo, was seen for the first time in this version in New York as Juliet on Wednesday afternoon at the Metropolitan Opera House. She has, however, danced the role in England with the Royal Ballet and her performance, along with that of Mr. Collins, triumphed in its technical and emotional verities...

Ms. Ananiashvili is a natural Juliet and MacMillan’s acrobatic lifts and tosses in the duets hold no terrors for her. Her supple plastique makes every arch and swoon synonymous with rapture. Mr. Collins’s secure partnering was matched by the usual verve of his dancing.

It is Ms. Ananiashvili’s characterization, however, that commands attention. Earlier in the season, in MacMillan’s «Manon», her kittenish anti-heroine had balanced the strong dancing of Charles Askegard (making a fine debut as a pure Des Grieux) and Mr. Brown’s Lescaut. As Juliet, she offered intensely sharp details.

Sitting on a bed as the music swirled about her, Ms. Ananiashvili started up dramatically and literally raced off to Friar Laurence...