Few stories have inspired as many reinventions as Romeo and Juliet. From stage to screen, opera to ballet, Shakespeare's tragedy continues to reveal new possibilities with each generation. For choreographer Melissa Hough, Plagued Houses is not simply another retelling, but a fresh exploration of the forces that shape the lives of two young people caught within a world already fractured by conflict.

Ahead of her world premiere for Atlanta Ballet in September as part of the Passion & Pride mixed repertoire program, Hough reflects on the enduring power of Shakespeare's play, the emotional influence of Tchaikovsky's Fantasy-Overture, and the collaborative process of bringing this new work to life.

What inspired you to reimagine the tragedy of Romeo and Juliet through the nontraditional narrative of Plagued Houses? What drew you to this fresh perspective on one of literature's most enduring love stories?

For a long time, I've been interested in reimagining classic stories, and Romeo and Juliet is one I kept coming back to. The idea actually began with Tchaikovsky's Fantasy-Overture. At first, I struggled to hear it clearly because it's one of those pieces of music that has become so familiar through popular culture. It took a conscious effort to listen to it as though I were hearing it for the first time.

Once I did, I discovered its brilliance. Yes, it's about love, but it's also filled with violence, destruction, and a powerful sense of inevitability. As I listened, I found myself becoming less interested in the romance itself and more fascinated by the circumstances that make the tragedy possible. Years of unresolved conflict have already unfolded before Romeo and Juliet even enter the story. They're simply two young people trying to live within forces far greater than themselves.

That feels incredibly relevant to me. Shakespeare created such a rich tapestry of paradoxes and contrasts. The more I've researched the play, the greater my admiration for him has become.

I've also always been an enormous fan of Tchaikovsky. It probably sounds like a cliché coming from someone in ballet, but it's true. Working so closely with both his score and Shakespeare's text has been a deeply rewarding experience.

Were there particular themes, recurring motifs, or emotional qualities in Tchaikovsky’s Fantasy-Overture that most influenced your choreographic approach and movement vocabulary?

Tchaikovsky's score shaped the dramaturgy of the ballet more than anything else. It became the emotional architecture of the piece. At the same time, one of the greatest creative challenges was resisting the temptation to let the music dictate the story beat by beat. There were moments when that simply didn't feel theatrically satisfying, so I found myself looking for ways to work with the score that I hope feel both emotionally honest and, at times, a little unexpected.

Long before I step into the studio, I spend a great deal of time building the world of a ballet. I'm thinking about the story, the characters, the visual language, the scenography, the lighting — even creating miniature models and sketching ideas as I go. I read, I listen, and I allow everything to take shape gradually.

Then, once rehearsals begin, I try to let go.

Over the years, I've learned that my best work happens when I arrive well prepared but remain completely open to discovery. The dancers become an essential part of that process, and the movement vocabulary grows through our collaboration.

More than anything, I'm interested in why someone moves. Every step, every gesture, every moment of stillness should, ideally, come from a clear intention. I hope the dancers approach this work almost like actors, understanding not only what they're doing, but why they're doing it.

How did your choreographic language help reveal the emotional and psychological journey of the characters in Plagued Houses?

With a smile, I'd have to say you'll need to come and see the show to find out! More than anything, I hope audiences see people rather than steps. If the choreography reveals something honest about the characters and their relationships, then I'll feel I've done my job.

As you prepared Plagued Houses for its world premiere, how did your collaboration with set and costume designer Emma Kingsbury help shape this reimagined world? Were there any moments during the creative process when her ideas or interpretations transformed your original vision?

This is the first time Emma and I have worked together, and we've had to do almost the entire process remotely — rather like Romeo and Juliet navigating a long-distance relationship in the digital age! It feels a little tragic perhaps, but it will make meeting in person all the more rewarding. I can't wait to finally touch the costume fabrics!

We've had countless conversations throughout the process, and Emma has been an incredible creative partner. While working in Italy on another project, she was able to visit Verona and sent me photographs of everything that caught her eye. Those images became a huge source of inspiration. The colors, the quality of the light, the textures, even the swords all helped shape the world we've been creating together.

Reimagining Romeo and Juliet is a little intimidating because it's a story that has been recreated, reimagined, and retold by extraordinary artists for centuries. You inevitably wonder what you can possibly bring to a work that has already inspired so many remarkable interpretations. Strangely, the opposite happened. The deeper we went into the research, the more possibilities seemed to emerge. Instead of feeling as though we'd reached the limits of the story, I came away convinced that I could create several completely different versions from the same source material. I suppose that's the genius of Shakespeare — there's always another thread to follow.

In what ways do you hope Plagued Houses will expand, reinterpret, or challenge audiences' expectations of Romeo and Juliet?

I hope audiences come in willing to lean forward a little — to really watch, really listen, and allow themselves to become completely immersed in the performance. The ballet only lasts twenty minutes, but I hope that, for those twenty minutes, they're entirely inside this world.

The genius of Shakespeare’s Romeo and Juliet lies in its ability to continually reveal new stories, new perspectives, and new questions. Through Plagued Houses, Melissa Hough reimagines this enduring tragedy, inviting audiences to look beyond the legend of two young lovers and into the larger forces that shape their world.

Join Atlanta Ballet for the world premiere of Plagued Houses at Cobb Energy Performing Arts Centre as part of Passion & Pride, September 18–20, 2026. Tickets for the 26|27 season opener are available now.