RB - Romeo and Juliet, Autumn 2015

[Sunrise]

Ore Oduba - He works for BBC Sport.

 

I'm pleased he is going to introduce the World Ballet Day on Oct 1.

Oh yes, that's right! Thanks! He was an inspired choice, someone from outside dance, but with lots of energy and humour.

Edited September 22, 2015 by Sunrise

[Sim]

Agree...a fabulous performance tonight and I'm so glad it came across at the cinema, too. Will try and post a few thoughts tomorrow.

[cavycapers]

I have a ticket for next Thursday, supposed to be Osipova and Munatagirov, so I was bit fed up at the substitution of Lamb. So it was with some trepidation that I went to the cinema tonight to see Lamb and McRae, but I was totally won over.

 

It is true that Lamb/McRae did not match the intensity of emotion that we have seen in so many other pairings, but I felt for that very reason that it was a much more authentic portrayal of the actual experience of young first love. Although Rojo and Acosta are my all time favourite R and J, the depth of emotion in their performance is the kind that wouldn't be achieved without much more life experience. I felt with Lamb and McRae that their R and J would probably have outgrown each other before long! I also felt for the first time not only their terrible realisation that events had conspired to keep them apart, but also that at some point they slowly realised that they had strayed into real grown up stuff!

[Sunrise]

I didn't have such a silent screening. The two elderly lady sitting near me exclaimed very loudly during the tomb scene, "OH! I THOUGHT HE STABBED HIMSELF WITH A DAGGER!" "NO THAT'S JULIET. ROMEO DRINKS POISON!" "OH YES I REMEMBER NOW! VERY SAD!" I had to laugh.

Also, this was before Juliet had even woken up -spoiler alert?

[Sunrise]

It is true that Lamb/McRae did not match the intensity of emotion that we have seen in so many other pairings, but I felt for that very reason that it was a much more authentic portrayal of the actual experience of young first love. Although Rojo and Acosta are my all time favourite R and J, the depth of emotion in their performance is the kind that wouldn't be achieved without much more life experience. I felt with Lamb and McRae that their R and J would probably have outgrown each other before long!

Liked this observation! I'll be very interested to hear how the chemistry with Muntagirov compares.

[cavycapers]

Gary Avis still steals every scene he is in! So commanding, and oh those red tights...

 

Also, I thought Ryoichi Hirano was divine as Paris. I'd have chosen him over the rather silly Romeo very time. I loved the incomprehension on his face, although I did think Sarah Lamb's pulling away from him looked rather as if it was the result of too much garlic.

 

Also, I don't know why it bothered me, but I couldn't help worrying that the pillows on her bed would give her terrible creases down her face!

[alison]

ROH have just tweeted a promo code to get a free copy of the R&J digital programme, should that be of interest.

 

Not sure on the ethics of posting the code here.

 

It was mentioned at the big screen broadcast, but I thought they said you just had to go to the ROH website for it?  Yet when I go there there's a prompt for a promo code ...

[cavycapers]

Oh, and the little madam look she gave Lord Capulet at one point nearly had me cheering.

[Mary]

Another piece of fine and expressive dance acting was Benet Gartside as Escalus, the Prince. Rather than exaggerated arm gestures he did it all with the eyes. It was very fine, conveying a sort of weary disgust with the barabarism before him.

[capybara]

So encouraging to read all these comments.

[bangorballetboy]

ROH have just tweeted a promo code to get a free copy of the R&J digital programme, should that be of interest.

 

Not sure on the ethics of posting the code here.

 

As the tweet is public I see no ethical issue!

[Anna C]

I couldn't get to the ROH this time so the live broadcast was my only opportunity to see R&J this season. I'm so glad I went. Ore and Darcy worked well together and Darcy seemed to be less nervous and more at ease having a presenting partner.

Ore did make me chuckle when he unwittingly confused Gabriel Prokofiev with an accidental fake handshake. :-)

 

I don't think Lamb and McRae can ever beat my dream team of Cuthbertson and Bonelli in the lead roles, but I was absolutely wowed by Sarah Lamb. Her lines are out of this world and far from being "too sophisticated", she really came across as a wilful teenager, especially in the scenes with Lord Capulet. Incredible acting. The intensity in her eyes was mesmerising.

 

Gary Avis was outstanding as Tybalt, Alexander Campbell was surely born to dance Mercutio - utter perfection - and I was impressed with Tristan Dyer as Benvolio.

 

I would absolutely love to see Lamb and Muntagirov together in this. Very jealous of those who have tickets - please report back!

[John Mallinson]

ROH have just tweeted a promo code to get a free copy of the R&J digital programme, should that be of interest.

 

Not sure on the ethics of posting the code here.

 

Here we go: 

https://twitter.com/royaloperahouse/status/646382732751278088

[penelopesimpson]

I couldn't get to the ROH this time so the live broadcast was my only opportunity to see R&J this season. I'm so glad I went. Ore and Darcy worked well together and Darcy seemed to be less nervous and more at ease having a presenting partner.

Ore did make me chuckle when he unwittingly confused Gabriel Prokofiev with an accidental fake handshake. :-)

 

I don't think Lamb and McRae can ever beat my dream team of Cuthbertson and Bonelli in the lead roles, but I was absolutely wowed by Sarah Lamb. Her lines are out of this world and far from being "too sophisticated", she really came across as a wilful teenager, especially in the scenes with Lord Capulet. Incredible acting. The intensity in her eyes was mesmerising.

 

Gary Avis was outstanding as Tybalt, Alexander Campbell was surely born to dance Mercutio - utter perfection - and I was impressed with Tristan Dyer as Benvolio.

 

I would absolutely love to see Lamb and Muntagirov together in this. Very jealous of those who have tickets - please report back!

Very pleased to read your posts and others praising the performance as I have a ticket for next Thursday, Muntagirov and Lamb.  Am also there tomorrow for Salenko and Macrae so will have points of comparison.  I am not a fan of Lamb but the reports seem as if they will prove me wrong and I will be very pleased.

[Sim]

Well, I really enjoyed this performance. It was one of those nights when the whole company gelled so perfectly that it almost seems unfair to single anyone out. So, many congratulations to everyone, whether I mention their names or not.

 

Sarah Lamb is a lovely Juliet. Her training with the Russian Mme. Legat shows itself in her beautiful classicism and perfect lines. She manages to keep this all the way through, even whilst dancing with total abandon in the balcony pdd. Her interpretation is that of what Juliet is: a very young girl overwhelmed by violence; the violence of the feud between the families, the violence from her bullying father and, most important of all, the violence of her feelings towards Romeo. This is a young girl caught by surprise and struggles to know how to cope with it all. She is a tiny girl in a big world about which she knows nothing, and is ill-equipped to stand up to it all. However, inspired by her love for Romeo, she makes the choices that will lead to tragedy. This is no impulsive girl; everything is carefully considered. Sarah's eyes have always been amongst the most expressive I have seen (I will never forget her Sylphide and how much she said without saying anything), and as Juliet we can see behind those eyes the turmoil churning up her soul. Many people would probably have missed that most important of moments, when the nurse whispers to her that Romeo is a Montague. The look of dismay on her face was something to watch; the subtle change from dismay to acceptance was beautifully done. If you are seeing Sarah in this ballet, train the binoculars on her in the scene where Tybalt and Capulet are confronting Romeo at the ball. Some Juliets just shrug it off, but we can really see her considering her options, and realising the potential consequences if she pursues a relationship with this enemy of her family. Likewise when she is sitting on her bed, a small figure in a big situation, the subtle changes on her face reveal so much. Her fear prior to taking the potion, her heart-rending despair at finding Romeo lifeless in the tomb….all of these things lead to a quick and decisive moment at the end: ending her life to be with Romeo. It’s almost as if she had considered everything so much all the way through that the end didn’t need any thought or consideration, it was just the natural consequence of decisions this Juliet had made earlier in the ballet. I would suggest that anyone who is going to sell their tickets to what would have been Osipova/Muntagirov seriously re-consider. I for one am really looking forward to seeing Sarah with Vadim; I can only imagine the depths that will come to the surface from both of them.

 

Steven McRae’s acting has never moved me, but the sheer brilliance of his dancing often makes up for it, and so it was last night. His partnering of Sarah was strong and confident, and their balcony pdd was amongst the best I’ve seen. They both danced with such joy and such abandon that I truly believed they were two young teenagers in the grip of first love and first lust. The speed of Sarah’s turns the first time she runs to Romeo were breathtaking. Of course, Steven’s solos throughout the ballet were executed with technical perfection and were very impressive.

 

What an amazing pairing Gary Avis (Tybalt) and Alexander Campbell (Mercutio) made. Gary is the best actor around, and he really proved this in his beautifully nuanced portrayal of the cat man. I just can’t take my eyes off him, no matter what else is happening onstage. I love how he is horrified when he accidentally stabs Mercutio, then relieved when he thinks Mercutio is just joshing around. The look of horror on his face when he sees Mercutio’s blood on his sword is something to see; it made my hairs stand on end because in that one look we know that what he has done is going to lead to tragedy all round; Tybalt knows this and so do we. Even as a corpse, Gary is brilliant, managing to keep his eyes open without blinking (or not so we notice!) for five minutes. Campbell’s Mercutio is a cheeky chappie, enjoying wine, girls and life in general. He puts so many subtle touches to his portrayal; for example, I loved how, in the ballroom scene, when R and J are on opposite sides of the stage, he casts a sideways glance at her, then at him, then smiles and nods to himself as if to say ‘ha, another of Romeo’s conquests, and what a conquest this one is’. His death scene is full of pathos, and ‘a plague on both your houses’ was so poignantly said with just a point of his finger. His dancing was also superb, so fleet of foot in these difficult steps.

 

Tristan Dyer completed the trio very well, and I must say I have rarely seen the ‘three boys’ dance before the ball performed better. All the way through they were in perfect time with each other and being all about the same height made it look even better. There was no sloppiness anywhere throughout the whole ballet when the three of them danced together; their jetes across the stage were in time and of the same height. Wonderful.

 

The three harlots (Itziar Mendizabal, Olivia Cowley and Helen Crawford) were having a whale of a time and this delight was transmitted, I would think, right up to the top of the ROH. All three of them manage to be crass, crude, sexy, fun and kind….all at the same time. Again, their synchronisation as they jeted across the stage was perfect and matched everything the three boys did. Bravo to all of them.

 

Ryoichi Hirano was a fine Paris; a victim of circumstance and not able to comprehend what was happening and what he had done to so offend Juliet. He was a polite, noble boy who deeply regretted it when he lost it with Juliet; he so wanted her forgiveness. His real sadness at Juliet’s ‘death’ made it seem all the more unfair when Romeo kills him. Lovely partnering from him, too.

 

Elizabeth McGorian still graces any stage she walks onto, and her portrayal of Lady Capulet was heartbreaking. We get the idea of a frustrated woman who understands her daughter’s predicament but, as a powerless woman, can do nothing to help her and therefore go against her husband’s wishes, so she goes with the Capulet flow. Deep down, this Lady understands all about unrequited love and doesn’t wish the same misery on her daughter…but this is something that she has to keep to herself, and share with us.

 

I noticed some subtle changes to the crowd scenes but won’t go into them here; it will be fun for those of you who know this ballet well to see what you can spot!

 

The music was played a bit too quickly in some places for my liking. Not sure what was wrong with the solo trumpet player but there were awful noises from him a few times during the evening, and they were very apparent.

 

I will finish as I started, by saying that this was truly an ensemble piece, made special by wonderful dancers across the board.

[Terpsichore]

I have moaned quite a lot about the Royal Opera House's transmissions while I have subscribed to this forum but yesterday they got it just about right. It was as good as any screening I have seen from Moscow. The use of a trained presenter in Ore Oduba helped as it freed Bussell for other things in which she really shone. Well done Ross MacGibbon and his team.

 

As for the performance itself I adopt and repeat everything that Sim said in her latest post. I have always been a great fan of McRea and Lamb and Avis has always been a special favourite.

 

Georgiadis's designs still impress me as they did when I first saw them nearly 50 years ago.

[Petunia]

I must confess before I went to the screening I had the same concerns regarding the “sophisticated couple” but what a treat that was. I should have known better – those two so highly intelligent dancers and sublime technicians can transform themselves into everything they want. This ballet is such a fine example how everything develops from within the movement and carries the story to its bitter end and both of them can make it happen!

 

I thought the whole cast was gorgeous, and Gary Avis is HOT and deliciously murderous. The men’s trio before they enter the Capulet house is one of my favorites, it was impeccably danced, full of mischief and fun and it is so fiendishly difficult. Three big bravos to the boys of Verona!

 

R+J was the second ballet I’ve ever seen – the film with Fonteyn and Nureyev was shown at a cinema, I must have been 12 or so and for a long time I felt that Love had to be like this, there couldn’t be any other way…!

 

So glad I went yesterday, although it was so late when I got home (we’re one hour ahead of GB) and I cycled home through the night and the rain but it felt great being wet, but alive.

[Anna C]

Oh yes, I forgot to comment on the beautiful synchonicity of Campbell, McRae and Dyer; weren't they marvellous in that trio before the ball? So well matched in height too.

 

I agree re the brass section - poor solo trumpeter had a bad day at the office!

[Petunia]

And as much as I admired Mr Kessel's accomplishments, there were a few moments I felt the orchestra was drifting apart.

[RuthE]

Oh yes, I forgot to comment on the beautiful synchonicity of Campbell, McRae and Dyer; weren't they marvellous in that trio before the ball? So well matched in height too.

 

Yes, I remember this being particularly impressive on Saturday too.  It's a point at which, naming no names, I've often in the past been disappointed!

[Jillykins]

An evening to remember! Enjoyed by a young woman beside me new to ballet and totally enchanted. Can't add to the excellent review by Sim, thank you for your insight. McRae your entre chat are the neatest and cleanest I have seen in a long time. The chenee turns were fantastic (hope spelling ok) . Sarah Lamb proved herself as an actress, I am not usually near enough to see the nuances of facial expression. Fantastic work by all the boys and indeed the whole company. Pity about the close up of Juliets breathing chest when people supposed her to be dead on her tomb, but a very minor criticism of the filming. I am sad that Gary Avis doesn't dance more, he has still got technique and charisma. I actually felt sorry for him when he had killed Mercutio. Watching the 'in rehearsal' a few days ago helped me appreciate the attention to detail that creates the performance we saw. So looking forward to seeing more of Alex Campbell,

[Bleaden94]

I was absolutely gutted I could not make it to the cinema relay last night! I was going to go with some friends only to find out that the Odeon in Manchester was charging £25.50 each! For all the previous live screenings at Cineworld we have only paid £10-15, so sadly due to our student budgets we couldn't go!
I don't why the prices vary so much. 

 

Had to watch all the behind the scenes videos instead to make up for it

[John Mallinson]

That does seem steep. However the student price at Manchester Printworks for the encore performance on Sunday afternoon is £13.

[zxDaveM]

I was absolutely gutted I could not make it to the cinema relay last night! I was going to go with some friends only to find out that the Odeon in Manchester was charging £25.50 each! For all the previous live screenings at Cineworld we have only paid £10-15, so sadly due to our student budgets we couldn't go!

I don't why the prices vary so much. 

 

Had to watch all the behind the scenes videos instead to make up for it

 

Blimey, it was £15 where I was, and thought that a bit expensive. Must have put a good few off - there couldn't have been more than 50 or so of us in a room that held 12 times as many at least

[Jamesrhblack]

Great to see the universal acclaim for Alexander Campbell. For me, he is one of the most interesting and accomplished of the men at the Royal Ballet.

[Mary]

An evening to remember! McRae your entre chat are the neatest and cleanest I have seen in a long time. The chenee turns were fantastic (hope spelling ok) .

 

I agree - McRae, always very good, surpassed himself technically last night. I find him magnetic to watch but I am aware some prefer other male principals. Nonetheless, I would be interested to know if anyone thinks there is a better male principal, on  a technical level, at the RB, and why- as he seems to me to be outstanding and, more unusually,  so consistently outstanding technically in all his performances.

What I admired so much last night was how he- and indeed the other dancers, kept up this level while also acting  convincingly. The ballroom scene for example, the balcony scene, the trio before the ball,  ( a favourite moment with many of us it seems) the death dance in the tomb.

 

That combination is one of the things that makes ballet so uniquely wonderful ( and why I was irritated by the presenters/interviewees saying "You can almost forget it's ballet"  and "It's not like a ballet it's a marvellous story" beforehand. We don't want to forget it's ballet do we?)

[zxDaveM]

 

 

That combination is one of the things that makes ballet so uniquely wonderful ( and why I was irritated by the presenters/interviewees saying "You can almost forget it's ballet"  and "It's not like a ballet it's a marvellous story" beforehand. We don't want to forget it's ballet do we?)

 

No we don't, for sure!!

I suppose they are trying to 'reassure' newbies, against their preconceptions of what ballet is about. Or something

[Terpsichore]

I was absolutely gutted I could not make it to the cinema relay last night! I was going to go with some friends only to find out that the Odeon in Manchester was charging £25.50 each! For all the previous live screenings at Cineworld we have only paid £10-15, so sadly due to our student budgets we couldn't go!

.............................

 

I am sorry you missed the show. I guess the equipment costs a lot and no doubt the Opera House or its intermediary charged a hefty licence fee.

 

There was a quite a lot of price variation in Bradford where there was a big screen in Centenary Square and folk could see the show for free. I saw it in the Pictureville in the National Media Museum which us a particularly civilized venue. The top price was £20 and students and pensioners were allowed in for £15.50. There were also generous concessions for disabled people with carers. It probably pays to shop around.

 

I hope you will see the repeat on Sunday where prices should be lower.

[alison]

There was a quite a lot of price variation in Bradford where there was a big screen in Centenary Square and folk could see the show for free.

 

Except they couldn't: I believe there was some problem and the screening was cancelled?

 

Yes, Sunday repeats are all very well - I went to a couple last season, partly because they were rather more affordable.  Unfortunately, my local has wised up to this and now seems to be selling them at the same price as the live relay, which I think is a bit of a cheek, given that they're probably replaying it from a DVD or something by then rather than having to receive a live satellite broadcast.

 

Nonetheless, I would be interested to know if anyone thinks there is a better male principal, on  a technical level, at the RB, and why

 

I doubt it.  Anybody?

 

I was absolutely gutted I could not make it to the cinema relay last night! I was going to go with some friends only to find out that the Odeon in Manchester was charging £25.50 each! For all the previous live screenings at Cineworld we have only paid £10-15, so sadly due to our student budgets we couldn't go!

I don't why the prices vary so much. 

 

Did anyone try Wimbledon Odeon?  I think I was looking at them last year for either RB or Bolshoi, and was shocked by how high the prices had suddenly got.  Picturehouses give good discounts if you're a member.

 

McRae your entre chat are the neatest and cleanest I have seen in a long time.

 

Am wracking my brains to think where Romeo does entrechats.  Can anyone help?

 

Yes, I remember this being particularly impressive on Saturday too.  It's a point at which, naming no names, I've often in the past been disappointed!

 

Yes, they were very together - one of the best I've seen, certainly.  It does help when all 3 are of similar height/build, doesn't it?

[Terpsichore]

Except they couldn't: I believe there was some problem and the screening was cancelled?

 

 

News to me and I was only a few hundred yards away but according to the Royal Opera House twitter feed you are right.

 

I never considered Centenary Square. The seats are hard. The screen and audio leave a lot to be desired and it was chilly last night.   I went directly to the Museum.

[annamk]

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

 

Nonetheless, I would be interested to know if anyone thinks there is a better male principal, on  a technical level, at the RB, and why

 

I doubt it.  Anybody?

 

 

Perhaps it depends what exactly "technical" means. There are different aspects, some of which may be down to body type. McRae is certainly incredibly quick: he turns at supersonic speed and he generally has neat feet but I think that others have more height on jumps and more elegant arabesques. I think Vadim Muntagirov is close to perfection and Matthew Golding can also be technically very good and Sergei Polunin had it all  

[Mary]

 

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

 

 

Perhaps it depends what exactly "technical" means. There are different aspects, some of which may be down to body type. McRae is certainly incredibly quick: he turns at supersonic speed and he generally has neat feet but I think that others have more height on jumps and more elegant arabesques. I think Vadim Muntagirov is close to perfection and Matthew Golding can also be technically very good and Sergei Polunin had it all

 

 

 

Oh no you can't have "Polunin" - that's cheating! :-)

[Anna C]

Oh no you can't have "Polunin" - that's cheating! :-)

Absolutely!

 

I agree about Vadim though - his lines and musicality are just stunning.