Valentine’s Day came early for those who were able to catch choreographer Jean-Christophe Maillot’s “Romeo et Juliette,” as performed by Pacific Northwest Ballet.

Maillot’s version, first presented in 1996 by Les Ballets de Monte-Carlo, recently had its West Coast premiere here and for Seattle audiences, it was the ultimate sensory treat. The ballet is a tour-de-force, which not only requires top notch dancing, but committed acting on the part of the performers.

It’s a work of art that smoothly and effortlessly draws together classical and contemporary styles, while allowing audiences accessibility to the full range of naked passion, sensuality and beauty that is inherent within first love.

Maillot’s choreography is exciting and innovative and PNB dancers showcase it beautifully. But, it’s not the steps audiences remember; rather, it’s the dramatic impression and theatrical images that results from movements like Juliet strangling herself with the symbolic red ribbon she pulls from Romeo’s body, or an anguished Friar Laurence splayed across a moving white wall. Though he desperately tries to stop the movement, the Friar is powerless in altering its course. He, like the audience, knows this great drama must be played out to its tragic end.

Against Ernest Pignon-Ernest’s minimalist, stark set of sliding panels and ramps, PNB performers boldly bare their emotions and dance with pure abandon.

On opening night, Lucien Postlewaite and Noelani Pantastico gave life and spirit to the lovers. The audience watched breathlessly as the pair invoked the feverish passion of youth in the throes of newly discovered love. Both Postlewaite and Pantastico danced exquisitely and expressively, gazing at one another in wonderment and confusion, as if they couldn’t quite grasp what had come over them.

They moved towards one another, drawn like heat infused magnets, oblivious and heedless of the future. Their pas de deux balcony scene was joyful bliss.

Those around them react dramatically, with Louise Nadeau as a fierce Lady Capulet, whose agonized solo of grief at her son’s death is heart wrenching.

Then there’s Jodie Thomas, who takes a delightfully comedic turn as Juliet’s Nurse. She bobbles about, running hither and thither, as she unsuccessfully tries to keep tabs on her charge. Casey Herd makes a strong Tybalt, who commands the stage with his soaring leaps and powerful stage presence.

And Jonathan Porretta’s Mercutio swaggers with playful arrogance and youthful lust.

Olivier Wevers, as Friar Laurence, is a haunting, dark presence throughout the show, which is presented through his memories. He is aided by two acolytes (Josh Spell and Jerome Tisserand), who appear to act as his conscience.

It’s impossible not to be dazzled by Jerome Kaplan’s flowing costumes, a mixture of Renaissance, Japanese and sci-fi inspired designs, and Dominque Drillot’s gentle lighting that bathes the sets in gorgeous hues.

And the PNB orchestra, under the helm of conductor Stewart Kershaw, does a highly commendable job with Prokofiev’s complex, sweeping score. PNB dancers bring Maillot’s romantic rendition of this classic tale to life with memorably rewarding results.

Up next for PNB is “Director’s Choice,” a program that features three PNB premieres with choreography by Ulysses Dove, Edwaard Liang and William Forsythe, as well as Paul Gibson’s “Sense of Doubt.” For more information: (206) 441-2424 or www.pnb.org.