ABT’s Jaffe and Malakhov Find Chemistry Elusive

Most Juliets wake from their death-like slumber simply by stretching out their arms. Not Susan Jaffe. For this American Ballet Theatre principal, consciousness begins its welcome return with the slightest flexing of the fingers, then ripples upward through the body.

This meticulous attention to detail characterized Jaffe’s approach to the role in Kenneth MacMillan’s “Romeo and Juliet” Friday at the Orange County Performing Arts Center in Costa Mesa.

Unfortunately, for all the detail, for all the smoothness and faultlessness in execution, her dancing suffered an emotional disconnect.

Much of the problem may have been her Romeo, Vladimir Malakhov, who was dancing the role in this production for the first time.

Familiar partly from his guest appearances with Los Angeles Classical Ballet, the lanky Malakhov brought princely proportions and elegant, lyric dancing to what is, however, a heavier dramatic

role. Characteristic of his approach was his going into perfect fencing positions in Romeo’s out-of-control revenge duel with Tybalt.

Malakhov’s partnering seemed particularly effortful, and Jaffe actually tended to look freer and more secure when dancing alone or even with someone else.

In other cast changes from opening night, Christopher Martin delivered one-dimensional villainy as Tybalt, Gil Boggs made an effectively sardonic Mercutio, Clinton Luckett was a technically variable Benvolio. Kathleen Moore, Irene D’Amestoy and Tamara Barden were the new but equally luckless harlots. Victor Barbee made a sensitive Friar Laurence.

Charles Barker led the orchestra with muted expressivity.

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* FRESH-FACED JULIET: Paloma Herrera brought strength to ABT’s Saturday matinee. F4