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In the nineteen-nineties, Peter Martins produced cool, clipped versions of "The Sleeping Beauty" and "Swan Lake." With his "Romeo + Juliet," unveiled last month at New York City Ballet, he has put another famous old piece in his refrigerator. The ballet we know as "Romeo and Juliet," which had its first incarnation in 1938, is a thundering, romantic business. Everywhere you turn, in most productions, someone is charging around in fabulous brocades, baying for blood. It is this empurpled quality, firmly supported by the Prokofiev score, which Martins has removed. As his set designer, he chose the Danish painter Per Kirkeby, who also did his "Swan Lake." Here, as there, ...