Watching ‘Romeo and Juliet’ dance treat for audience

Some arts experts say that story ballets are the best for pleasing crowds: familiar stories, straightforward plot lines, lovely costumes and choreography.

“Romeo and Juliet,” danced Saturday and Sunday by the Nevada Ballet Theatre at The Smith Center, was all that and then some, with artistic director James Canfield making this a performance that was just right to end a sterling season.

There wasn’t a happy ending, of course, and it’s doubtful that anyone expected it.

Grigori Arakelyan and Sarah Fuhrman knew just the right moves for the winsome lovers, and Arakelyan, along with Romeo’s pals Mercutio (Braeden Barnes) and Benvolio (Barrington Lohr), seemed willing to leap across the stage at a moment’s notice, among their other fine action.

Tybalt, danced by Steven Goforth, was artistically wicked with his swordsmanship, and Nurse Amy Von Handorf gave some comic relief, keeping a watchful eye over her charge Juliet while figuratively gnawing on any bit of scenery she could reach.

The troupe served as a living background much of the time, but still turned in some bright selections that brought some extra charm.

Canfield created the work in 1989 for the Portland, Ore., ballet, and it’s weathered well.

An opening tableau, narrated (offstage) by Scott Coopwood, gave a hint of the lavishness to come, and a summary of much of the plot for those who might be unsure.

Costumes and sets, courtesy of the Nashville Ballet, were rich and appropriate, with velvets, satins and silks in abundance; female dancers needed to lift flowing, heavy skirts and move up and down the scenery steps carefully.

Walks across the stage caused more caution.

Tragedies in ballet are somehow different than most of life: Characters here went to their untimely ends beautifully, romantically, with a sweet finality that just punctuated the rest of the plot.

No one lived happily ever after, but it was still grand to see.