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I can't wait to see Muntagirov's Romeo - (his Colas was my performance of the year last year- that bottles solo....)

He has an elusive quality- "charm". I agree his arabesque is probably more elegant than McRae's. I look forward to seeing and trying to compare from memory.

 

(Whereas for Rhapsody I am really looking forward to McRae as he was fabulous in that-the speed, the quicksilver quality he has.)

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Really enjoyed the live relay at the Preston Odeon. Prices weren't too bad; £13.50 for adults and £11.50 for seniors. It's just a pity so many of the Odeons seem to be deciding not to show the encore performances this year. I take a couple of very elderly ladies who just can't make the live performances and not getting home until 11pm but would love to go on a Sunday afternoon and I'm sure they're not the only ones given how many older people attend our cinema which was two thirds to three quarters full.

 

Can only echo Sims wonderful review earlier. For some reason the Macmillan Romeo and Juliet has never been a favourite though I love full length dramatic ballets. In the rare event I watch a Romeo dvd I always gravitate towards my recording of Northern Ballet's where Jeremy Kerridge's magnificent and defining Mercutio alone is sufficient attraction.

 

However, last night I was mesmerised by the production and high standard of dancing and acting by everyone. Because the camera concentrated so much on Steven I realised for the first time what a lot of dancing Romeo has to do; especially in the first act he hardly seems to stop. Up until then I'd always thought of the ballet more as Juliet's story.

 

One of the interval interviews (Donald McLeary?) said when someone asked Carlos Acosta if Mayerling was the most physically demanding role he had danced Carlos replied 'No, Romeo'.

Donald also got a laugh from our audience when he said that near the end of the first act he (as Romeo) was totally exhausted and then there was the balcony scene 'and this woman kept hurling herself at me'!

 

One thing I like most about the Royal's interpretations is the way that everyone right down to the crowd in the marketplace scenes really throw themselves into their roles to make even the most humble role a unique and believable character. I think this may be one of the reasons that I've never realised how much Romeo has to dance because I'm constantly being distracted by all the mini dramas going on everywhere that can take you away from the principles dancing.

 

At the Royal too we are truly blessed with tremendous character dance/actors of the calibre of Elizabeth McGorian, Christopher Saunders and, of course, the wonderful and incomparable Gary Avis. Their performances add immeasurably to the success of the entire production. I recently saw a recording of POB Manon and while Aurelie Dupont gave a wonderful rendition of Manon I thought their Mr GM and gaoler weren't nearly as good as that of Christopher and Gary seen at the recent live Manon relay. The steps were there but they didn't add the little extra pieces of 'business'; looks, gestures, pauses, head movements that made Gary's and Christopher's performance so compelling.

 

If there was a local encore performance I would certainly attend again though I'm looking forward to seeing Vadim this Saturday and compare his interpretation to Steven's.

 

is there any news on Matthew Golding's visa problems? I have a ticket for his performance with Francesca but would be intrigued to see her with Vadim.

 

Anyway, five stars from me for a ballet I wasn't really expecting to enjoy that much.

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is there any news on Matthew Golding's visa problems? I have a ticket for his performance with Francesca but would be intrigued to see her with Vadim.

 

 

Whatever his visa problem was it seems to have been sorted for the time being. He danced the Family Welcome Performance on Saturday and he and Francesca ran through the bedroom pdd in the Linbury yesterday evening. It was a combined RB/Cas Public Romeo and Juliet Insight. 

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Mary, on 23 Sept 2015 - 3:52 PM, said:snapback.png

 

I think Vadim Muntagirov is close to perfection and Matthew Golding can also be technically very good and Sergei Polunin had it all :(

 

 

:facepalm:  I haven't totally got used to the idea of Muntagirov being a member of the RB :)

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I am coming to this very late because I spent all of yesterday stuck in the allergy clinic I attend and there is no wifi allowed on the ward. I was blown away by Sarah Lamb! She really was a naive 14 year old girl who has to grow up fast. Her acting was as brilliant as her dancing. When she sits on the bed after she is told she must marry Paris and there is just the music and her face and eyes, it was so moving and awe inspiring. Steven MaCrae danced very well but his insistence on the cheeky chappie persona (which works very well for Colas in Fille) for Romeo did not impress me. The balcony pas de deux was incredibly moving but really the Royal Ballet needs to give its principal men some acting lessons. The rest of the ballet was utterly amazing and I am grateful to the Royal Ballet for sustaining me through a difficult time with their brilliance. Special mentions to the awesome Gary Avis, all the character dancers and the corps de ballet. Thank you for a wonderful and moving evening.

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I can't wait to see Muntagirov's Romeo - (his Colas was my performance of the year last year- that bottles solo....)

He has an elusive quality- "charm". I agree his arabesque is probably more elegant than McRae's. I look forward to seeing and trying to compare from memory.

 

(Whereas for Rhapsody I am really looking forward to McRae as he was fabulous in that-the speed, the quicksilver quality he has.)

In the second act of Woolf Works, Macrae and Osipova just took my breath away with their speed, accuracy and clean lines. It was astonishing.

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Sorry, Bill, but I stand by what I wrote. There are very few reviews online but The Stage magazine's review feels the same way I do.

 

Fiz, I feel the same as you do about McRae's boyishness - I don't book to see him as a romantic lead any more. Mark Mohanan reviewing this R & J  in the Telegraph summed up what is missing for me when he said McRae "is a dancer more of boyish brio rather than animal magnetism" 

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Whilst McRae would not be my first choice for Romeo (or any other romantic lead) I don't feel that there's anything intrinsically wrong with a boyish Romeo. Friedemann Vogel was a boyish Romeo at the RAH last year and I loved him in the role, with Alina Cojacaru as his Juliet. You can be boyish and romantic, as FV was. I don't want to see a Romeo who shows off, though.

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Well pleased to see some of these above comments about Lambs performance in particular.

 

Am late to threads as we have a home wifi problem at the mo!!

 

I was very disappointed when read that Osipova was injured (have commented on another thread) and at first was not sure whether to exchange my ticket but Cuthbertson was by then sold out and I would have liked to see Hayward in the Juliet role.

However have never seen Muntagirov as Romeo so decided to keep ticket (for next Thursday) after all....and it seems Lamb may also be very good as Juliet so am now really looking forward to it all again!!

I still may try on the day for Hayward and Golding but tickets that I want to buy are getting very expensive and I do find that if you have a truly wonderful experience at a performance you don't need to see another one for a while....eg Osipova's Giselle last year. So here's hoping for next Thursday!

Agree Gary Avis is a star in every respect not just on the stage!

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Bonelli in the past has played Romeo as a bit of a boy, but that seems entirely appropriate to be honest. I think his acting in the tragic scenes is more convincing than McRae's though.

 

I saw McRae as the Prince in Sleeping Beauty last time round however and he captured the melancholy nature of the Prince's solo beautifully.

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Bonelli in the past has played Romeo as a bit of a boy, but that seems entirely appropriate to be honest. I think his acting in the tragic scenes is more convincing than McRae's though.

 

I saw McRae as the Prince in Sleeping Beauty last time round however and he captured the melancholy nature of the Prince's solo beautifully.

 

Bonelli in the past has played Romeo as a bit of a boy, but that seems entirely appropriate to be honest. I think his acting in the tragic scenes is more convincing than McRae's though.

 

I saw McRae as the Prince in Sleeping Beauty last time round however and he captured the melancholy nature of the Prince's solo beautifully.

Does Edward Watson not do Romeo?  I am disappointed that he appears not to be doing much this season.  My favourite dancer by a long mile but I haven't seen Muntagirov yet - roll on next Thursday.

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Fiz, I feel the same as you do about McRae's boyishness - I don't book to see him as a romantic lead any more. Mark Mohanan reviewing this R & J  in the Telegraph summed up what is missing for me when he said McRae "is a dancer more of boyish brio rather than animal magnetism" 

 

But at least I was pleased to see that he's dropped the campness of his early performances - which quite frankly put me off so much that I avoided him in the role for several years.

 

Does Edward Watson not do Romeo?  I am disappointed that he appears not to be doing much this season.  

 

He does indeed do Romeo.  Why he isn't dancing it this year, and whose decision that was, is anyone's guess.

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It says something about the intensity of this performance that I walked out of the cinema without my handbag! By a miracle it was safe and so were all the contents. I always knew the Royal Ballet members were my guardian angels! :D

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At this stage in his career I am not surprised that Ed is not doing Romeo. In MacLeary's words "Act I Romeo kills them".There comes a point in every dancer's career when they drop certain roles either because they want to or because management is anxious to ensure that the next generation has their chance. If Ed were dancing Romeo that would mean either two more performances in the run or one of the younger casts not being given a debut this year.I don't think that RB is an institution that learns much from its history but I imagine that no one wants a repeat of the "Fonteyn effect" with talented young dancers being held back by mature established ones

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Gerald Dowler – Classical Source

The dancing was of the highest quality too, led by the satisfying (though originally unplanned) pairing of Sarah Lamb and Steven McRae. Both dancers gave fully-rounded portrayals, both initially very young indeed, Lamb a playful, girlish Juliet, McRae a coltish, emotional Romeo. It helped that they are both on the small side for dancers.........

The many technical demands of Romeo hold no terrors for McRae who sailed through all challenges, both in terms of dancing and partnering. His boyish Romeo, whose adolescent infatuation with Rosaline – a beautiful and detailed Lara Turk – dissipates in a flash at his first sight of Juliet. His unaffected broad smile and playful dancing at Capulet's ball struck exactly the right note.

 

I saw Romeo and Juliet at the cinema. For me Steven McRae was totally convincing as an engaging romantic lead, developing from young man, first seen having fun with his equally lively friends, Mercutio and Benvolio. With the ‘coup de foudre’ for Juliet his personality starts to change. At the ball he shows that he is still capable of enjoying a bit of fun, whilst his romantic, love-sick longing for Juliet’s company shines forth. His love increases and matures as time passes. The joy and passion of his and Juliet’s love grows ever deeper, moving to an emotionally charged level, truly spell-binding. His dancing was of the highest order, always skilful, always beautiful. His love for Juliet showed through the intensity of his acting.

 

At the end of the performance people around us were full of praise for the “outstanding” , “beautiful” and “exceptional” performance, and especially for Sarah’s and Steven’s portrayal of the young doomed lovers.  

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I have just convinced the young man at the box office to go to see the Sunday repeat. He was working on Tuesday and couldn't go. If he's working again, he's going to buy the Royal Ballet dvd of Lauren Cuthbertson and Federico Bonelli. Another fan in the making, I hope. ;)

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 I imagine that no one wants a repeat of the "Fonteyn effect" with talented young dancers being held back by mature established ones

 

What is that supposed to mean?  Fonteyn was a guest artist with the RB, she held no one back, how do you account for dancers like Sibley, Park. Seymour having parallel careers to Fonteyn?

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There are dancers from whom sex appeal comes off in waves. Not everyone can be Carlos Acosta (unfortunately!) Not all dancers are romantic lead broodingly handsome, and so playing Romeo as boyish and charming for some is the most sensible approach. Steven McRae has these qualities in spades and is gorgeous for it. One suspects his Romeo would have been the cheeky class clown to Acosta's class heartthrob. I thought it was immensely touching when the doll pretty Lamb stroked that great shock of red hair of his in the tomb. It is the first time I have seen R and J and felt I was really watching teenagers.

 

It also makes much more sense of his sudden transfer of affections from Rosaline to Juliet.

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Well, just back from watching Macrae and Salenko.  I suspect my thoughts won't be popular but here they are, anyway.  A strong four-star performance but it did not tug my heartstrings and at times I felt my attention wandering.

 

High points;  Wonderful ensemble dancing and Alexander Campbell quite breathtakingly dynamic, dominating the stage - surely one to watch.  Hats off too to Bennet Gartside and also all the corps de ballet and the sword fighting was nerve-janglingly realistic.  Salenko fabulous.  I've not seen her before and was initially amazed at the slightness of her stature but she made a wonderful Juliet.

 

Not so good:  Something wrong with the brass section of the orchestra, particularly in the first Act.  I am not knowlegable enough to pinpoint the problem, but it was noticeable.   

 

IMPO:  Macrae is not Romeo.  I adore this dancer.  I rush to see him in most things, and have revered him in Woolf Works and A Winter's Tale, but I just don't think he is a romantic lead.  He gave a virtuoso performance (my companion tonight was a ballet novice but still commented on the pinpoint precision of his dancing), but I couldn't detect any emotion and for me he changed not a jot through the performance.  The only time he came to life was in the fatal sword fight but otherwise...  I see that many have praised his partnership with Lamb so it may be that having a different partner threw him off his game but for me, being really picky, it just didn't work.  That it is not to say that it wasn't a wonderful evening - just no cigar.

 

I am seeing Muntagirov next week so will have better points for comparison but I was disappointed tonight.  I should confess that I am a follower of Ed Watson and I kept wishing he had been dancing the role and bringing all his dramatic physicality to the performance.

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By the way, a real rookie question this one, but does anyone know why the RB do the Kenneth MacMillan production and the ENB the Rudolph Nureyev one. Being about to see three of each, I was just wondering why.

The MacMillan version was created for the RB and it has been very successful and used by other companies around the world, including BRB. The RB don't really need another one. The Nureyev version was created on ENB. I think it is one of three R&Js created on the ENB, the other two being Deane's in-the-round, and Ashton's version when ENB were London Festival Ballet? I imagine they would want a version that can be distinguished from the RB and BRB.

 

That's the quick answer anyway.

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By the way, a real rookie question this one, but does anyone know why the RB do the Kenneth MacMillan production and the ENB the Rudolph Nureyev one. Being about to see three of each, I was just wondering why.

 

 

The MacMillan version was created for the RB and it has been very successful and used by other companies around the world, including BRB. The RB don't really need another one. The Nureyev version was created on ENB. I think it is one of three R&Js created on the ENB, the other two being Deane's in-the-round, and Ashton's version when ENB were London Festival Ballet? I imagine they would want a version that can be distinguished from the RB and BRB.

 

That's the quick answer anyway.

 

 

 

If all companies danced the same production, the ballet world would be a very boring place.

 

Sir Frederick Ashton's glorious production was actually created for the Royal Danish Ballet in the 1950s.  Juliet was created by Mona Vansgae (many apologies if I have got her surname wrong), Peter Shaufuss' mother.  Peter persuaded Sir Frederick Ashton to revive this version for London Festival Ballet (now ENB) in 1985.

 

Deane also revived his in-the-round production as an attractive proscenium version so arguably ENB have performed 4 versions of R&J over the 30 years.

 

BRB perform the McMillan version and have done so since they moved to Birmingham 25 years ago.  It does look slightly different to the RB version because the sets and costumes are different and Sir Kenneth McMillan tweaked the production for them.

 

Amongst other productions, I have now seen NB perform Morricone/Gable's (my favourite) and Maillot's and Scottish Ballet perform Cranko's, North's and Pastor's.

 

I am not seeing the Royal performing it this time around but wild horses wouldn't have kept me away if a certain dancer (whom we saw dance the role of Romeo so wonderfully with BRB) had been dancing Romeo!

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Of course I know this Bill; he is also an outstanding Romeo!

 

Of course I know this Bill; he is also an outstanding Romeo!

Oh wow, didn't know that.  Would so much have preferred him to Macrae.  I wonder why they have given Macrae so many peformances of R&J which surely doesn't use his obvious talents to best effect?

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'...I wonder why they have given Macrae so many peformances of R&J..'

 

Above all, why did they give him this all-important streamed broadcast?  Were they were presented with the date and were unable to change the announced cast?  As unquestionably brilliant a dancer Steven is (arguably the best principal male in the current company), and as heartfelt an actor he also  is,  his slight stature and pale colouring inevitably make him an unconvincing Romeo.

 

Apart from this, I was slightly disappointed with the streaming overall and regretted that this was probably the first viewing of MacMillan's R & J for many viewers worldwide.  One high point for me has always been the mandolin dancers' number, and it seemed a little scrappy this time (despite some good names on the cast sheet); likewise Lady Capulet's violently grief-stricken reaction to Tybalt's death seemed rather truncated - no time for her to stretch out her arms in desperate supplication, for instance  This I think was probably  due to the tempo of  Koen Kessels conducting.

 

I don't want to complain too much; despite my comments I wouldn't have missed this streaming even had I known the above shortcomings in advance!

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'...I wonder why they have given Macrae so many peformances of R&J..'

 

Above all, why did they give him this all-important streamed broadcast?  Were they were presented with the date and were unable to change the announced cast?  As unquestionably brilliant a dancer Steven is (arguably the best principal male in the current company), and as heartfelt an actor he also  is,  his slight stature and pale colouring inevitably make him an unconvincing Romeo.

 

Apart from this, I was slightly disappointed with the streaming overall and regretted that this was probably the first viewing of MacMillan's R & J for many viewers worldwide.  One high point for me has always been the mandolin dancers' number, and it seemed a little scrappy this time (despite some good names on the cast sheet); likewise Lady Capulet's violently grief-stricken reaction to Tybalt's death seemed rather truncated - no time for her to stretch out her arms in desperate supplication, for instance  This I think was probably  due to the tempo of  Koen Kessels conducting.

 

I don't want to complain too much; despite my comments I wouldn't have missed this streaming even had I known the above shortcomings in advance!

 

My view of the performance was quite different - I really enjoyed McRae's Romeo, and I also think that a youthful and ardent interpretation is as valid as a more deeply passionate one. I was so pleased, I'm taking my partner, who hasn't seen this version, to see the encore on Sunday, and have recommended it to anyone who will listen.

 

As to why McRae was chosen, I don't think it's so mysterious as he and Lamb have been partnered before. I thought she was a touch tall for him for R&J but it didn't really matter. If you take the other Romeo debuts out of the equation, there aren't many available dancers. Bonelli seemed like the most obvious replacement, but didn't he already do an R&J broadcast that got turned into a dvd? So in the interest of fairness I'm happy for a different cast to feature.

Edited by Sunrise
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