The Royal Ballet: Romeo and Juliet, Spring 2019

[Jan McNulty]

A very wise friend (sadly now passed away) once said to me that you have to be old to dance young.

 

I think it was Capybara who mentioned Marion Tait.  I didn't book for her initial performances as Juliet because I thought she was too old.  All my friends told me I was mad so I booked to see her in what turned out to be her final season as a principal dancer at BRB (1994/1995) when she must have been in her late 40s.  I HAVE NEVER FORGOTTEN THAT NIGHT!!!!  To this day Marion Tait is still the most convincing 14 year old I have ever seen.  I was sitting on the front row at the Birmingham Hippodrome.  I also saw her, some years later, rehearsing Rachel Peppin in the balcony scene.  She started demonstrating the arm movements and, dressed in a track suit and trainers she became Juliet.

 

Why should we, the aficionados, deprive the vast majority of the audience of the chance to see dancers who have reached a degree of artistry in their (comparative) maturity as dancers that make them compelling in roles such as Juliet?

 

Personally I love to see young dancers and if it was up to me the castings could well have been different but Mr O'Hare has to keep a balance between satisfying the regulars and the general public.

[Dawnstar]

10 hours ago, RuthE said:

 

Why not?

 

Sorry, I didn't phrase that very clearly. I meant that as I've never seen them in the role before this run might be my only chance to ever see them, whereas most regular ballet viewers are likely to have seen them multiple times in previous runs.

[Anna C]

13 hours ago, ninamargaret said:

I do so agree! I returned to ballet in 2012 after a long absence and have been trying to catch up on things I had missed. My most urgent wish is,to see Morera/,Bonelli in Onegin - I think they would be the perfect casting for me. With Naghdi/Ball as Olga/Lensky please!

 

What a dream cast *that* would be! 

 

Getting back to Romeo and Juliet, thank you to everyone who reviewed O’Sullivan and Sambe’s debut.  Access members can only use their discount for one performance per run so I chose Cuthbertson and Ball as the former is my favourite Juliet.  Just as in 2015 though it seems I’ve missed another extraordinary performance!  

 

Let’s hope O’Sullivan and Sambe get more opportunities together next season.

 

Looking forward to reviews of the upcoming R&Js; especially Stix-Brunell, Clarke and Lamb.

[capybara]

14 hours ago, Lizbie1 said:

 

I find it baffling - verging on enraging - that nothing seems to have been done to resolve the brass section's shortcomings. Surely conductors must have complained to the management - and were I in the orchestra I'd be mightily hacked off as they definitely let the side down.

 

I expect orchestras in certain parts of the world to have strengths and weaknesses, but there is no excuse for a London orchestra to have a weak brass section - it's shameful.

 

And, during many ballets, they are out of the pit more than they are in it. I've heard them described as the "blow and go" section!!!!!

[Fonty]

Goodness, this thread is all over the place!  Age, brass sections, potential casting for Onegin.....interesting reading, though. 🙂

 

Regarding more mature dancers in various roles, I have no problem with an older female dancer performing a role that we know is meant to be a very young girl, such as Juliet.  Speaking personally, I would be more likely to book a Nunez performance if the male lead was one I particularly wanted to see.  Not that I have anything at all against Nunez; quite the contrary.  She is a marvellous dancer, who seems to be able to excel in anything and everything.  But she has been a principal with the RB for a long time now, and I am lucky enough to have seen her perform live on many occasions.  So given the choice, I prefer to book to see someone else that I haven't seen so much of.  This goes for many of the other long standing ballets in the rep.    

 

Regarding the allocation of performances, this is always going to be a problem.  Quite rightly, the senior principals want their fair share of the plum roles.  It seems logical that they should have more performances than the newcomers, partly because the latter are finding their way and developing their strength,  but also because they will have many more opportunities in the years to come (hopefully.)  The only other way of doing it is to extend the run.  Then we would all be moaning and saying, "Do we really need so many performances of R & J/Swan Lake/Sleeping Beauty?  Can't we have more triple bills?"

 

[Sim]

I agree with you, Fonty.  I am lucky enough to have seen Cuthbertson/Nunez/Lamb dance many, many times over the years, and as I can’t afford to see everything I made the choice to skip all three of them this time and watch the new Romeos and Juliets.  So far, it has paid off in spades.  

[JohnS]

I feel a little apologetic for questioning the assumption that dancers should expect to reprise their roles every time there’s a revival which might have rather fanned the flames: and the many differing opinions voiced highlight the difficult judgements that Kevin O”Hare has to make.  I certainly hope we’ll see Laura Morera as Tatiana, Anastasia and Mary Vetsera (I thought she was the most compelling 17 year old Mary), and in many other roles.  But I guess I’d still favour a further marginal shift towards extending opportunities to the younger, up and coming, wonderfully talented dancers - the single public performances for such fabulous debuts as we’ve seen this run and 2015 I think make a telling case for scheduling second performances.

[alison]

2 hours ago, Jan McNulty said:

I think it was Capybara who mentioned Marion Tait.  I didn't book for her initial performances as Juliet because I thought she was too old.  All my friends told me I was mad so I booked to see her in what turned out to be her final season as a principal dancer at BRB (1994/1995) when she must have been in her late 40s.  I HAVE NEVER FORGOTTEN THAT NIGHT!!!!  To this day Marion Tait is still the most convincing 14 year old I have ever seen.  

 

Along with a Leanne Benjamin well into her 40s

 

 

With regard to the casting distribution, I've always had the feeling (and not only for R&J) that management seems to think that the market will only stand x performances by Dancer A, and y by Dancer B.  (That, of course, doesn't of itself then explain why Matthew Ball and Reece Clarke have "additional" performances) 

 

My booking choices this year, as a result of the computer meltdown on public booking day (and the price increases for seats), are being dictated solely by what standing tickets I can get hold of  

[Fonty]

25 minutes ago, JohnS said:

I feel a little apologetic for questioning the assumption that dancers should expect to reprise their roles every time there’s a revival which might have rather fanned the flames: and the many differing opinions voiced highlight the difficult judgements that Kevin O”Hare has to make.  I certainly hope we’ll see Laura Morera as Tatiana, Anastasia and Mary Vetsera (I thought she was the most compelling 17 year old Mary), and in many other roles.  But I guess I’d still favour a further marginal shift towards extending opportunities to the younger, up and coming, wonderfully talented dancers - the single public performances for such fabulous debuts as we’ve seen this run and 2015 I think make a telling case for scheduling second performances.

 

John, if I was a principal with the RB, then I would expect to be cast in principal roles. Especially if I have an established track record in the role, and I am still at the height of my powers. If I wasn't cast, I would certainly start to question whether I still had a place in the company.

 

I don't know whether it is normal to schedule a single performance for a debutante in a role, but it does make sense in a way.  There is no guarantee that the newcomer will be fabulous, although we hope they will be.  It could be terrible damaging to their confidence if, for whatever reason, they don't do as well as expected.  

 

The RB is supremely fortunate to have so many talented dancers available at the moment.  In order to give the younger dancers more opportunities, as I said before the only way to achieve this is either to have more performances of the same ballet.  The other option is to bring in a compulsory retirement age for all dancers in the company.  The latter is a conversation we have had many times on here!

[alison]

Of course, it's quite rare for the debutant only to have the one performance - usually another is given first, away from "public" view, be it at a schools' matinee, "welcome" performance or whatever.

[Rob S]

Reece Clarke is now replaced by Timofej Andrijashenko as Romeo for 27th April and 4th May

Edited April 18, 2019 by Rob S

[alison]

"Cast change for The Royal Ballet's Romeo and Juliet

 

Saturday 27 April, 1.30pm
Saturday 4 May, 7pm

 

Our records show that you are due to attend a performance of Romeo and Juliet. We are contacting you to let you know that, due to injury, Reece Clarke is replaced by guest artist Timofej Andrijashenko as Romeo on Saturday 27 April and Saturday 4 May.

If you have any questions please contact our Box Office team on +44 (0)20 7304 4000 (Monday–Saturday: 10am–8pm) who will be happy to assist you."

 

Yes: who the heck is he?  

 

 

Hoping Clarke will at least be fit for his later scheduled performances  

[Rob S]

2 minutes ago, alison said:

"Cast change for The Royal Ballet's Romeo and Juliet

 

Saturday 27 April, 1.30pm
Saturday 4 May, 7pm

 

Our records show that you are due to attend a performance of Romeo and Juliet. We are contacting you to let you know that, due to injury, Reece Clarke is replaced by guest artist Timofej Andrijashenko as Romeo on Saturday 27 April and Saturday 4 May.

If you have any questions please contact our Box Office team on +44 (0)20 7304 4000 (Monday–Saturday: 10am–8pm) who will be happy to assist you."

 

Yes: who the heck is he?  

 

 

Hoping Clarke will at least be fit for his later scheduled performances  

 

No picture on the RB website but he seems to be from La Scala Theatre Ballet 

[capybara]

We now have 2 threads covering this cast change! So I'll mention here as well how sorry I feel for Reece Clarke and that Timofej Andrijashenko is a 23/24 year old Principal with La Scala who was born in Riga, Latvia.

[Sim]

Oh no.  Our Romeos seem to be cursed this run!  Maybe next time they present this ballet, it should be at the very beginning of the season....had that been the case this year, we would have had Reece, William and Cesar!!   Not that we aren't having Cesar now.....I hope!!  

 

Wishing Reece well very soon.  I must look on YouTube for this Tomfej chappie as I have never heard of him.  

[bangorballetboy]

26 minutes ago, Sim said:

Not that we aren't having Cesar now.....I hope!!  

 

 

Just to confirm that Corrales was in the open class yesterday and appeared to be in fine fettle. 

[Sim]

Some gorgeous photos of  Anna Rose O’Sullivan as Juliet.  With thanks to Andrej Uspenski, who has captured the essence of an unforgettable performance.  

[Sim]

That final photo really gives me chills and goosebumps....

[Dawnstar]

45 minutes ago, Sim said:

Oh no.  Our Romeos seem to be cursed this run! 

 

And my not-seeing-most-of-the-male-dancers-I've-booked-for curse also continues! I too have never heard of the replacement but a quick Google indicates he looks apprpriately youthful at any rate.

 

Earlier I succumbed to Friday rush temptation & got a ticket for next Friday. I know I don't literally need to see Cuthbertson or Avis but that isn't stopping me from feeling like I do!

[JohnS]

30 minutes ago, Sim said:

Some gorgeous photos of  Anna Rose O’Sullivan as Juliet.  With thanks to Andrej Uspenski, who has captured the essence of an unforgettable performance. 

 

Many thanks Sim.  Do you know when these photos were taken - I’m sure they can’t have been at the public performance but as you say they really capture Anna-Rose’s memorable Juliet?

[annamk]

31 minutes ago, Sim said:

Some gorgeous photos of  Anna Rose O’Sullivan as Juliet.  With thanks to Andrej Uspenski, who has captured the essence of an unforgettable performance.  

 

Wonderful photos. I was thinking about her performance again the other day and how she was completely natural  - not an iota of affectation. 

[Sim]

1 hour ago, JohnS said:

 

Many thanks Sim.  Do you know when these photos were taken - I’m sure they can’t have been at the public performance but as you say they really capture Anna-Rose’s memorable Juliet?

It was most probably during the stage call (full run-through in private). 

[capybara]

25 minutes ago, Sim said:

It was most probably during the stage call (full run-through in private). 

 

Yes - her hair is different (better!) than it was for the public performance.

[penelopesimpson]

Good lord, what is happening to the men at RB?  It's getting to seem that Hirano is the last man standing

[capybara]

1 hour ago, penelopesimpson said:

Good lord, what is happening to the men at RB?  It's getting to seem that Hirano is the last man standing

 

When I last looked, Muntagirov was alive, well and dancing too 🙂

 

[Sim]

6 minutes ago, capybara said:

 

When I last looked, Muntagirov was alive, well and dancing too 🙂

 

And Matthew Ball.... but I guess they are already fully occupied by their Juliets!  

[capybara]

6 minutes ago, Sim said:

And Matthew Ball.... but I guess they are already fully occupied by their Juliets!  

 

Yes, of course and he is very fully occupied at present. I suppose I was thinking that Muntagirov was yet to surface in R&J as it's felt as if there has been two 'shifts' for that ballet.

[MAX]

I wonder why KOH is not trying a younger dancer in the company instead of bringing a guest. Joseph Sissens ?

[Sim]

1 minute ago, MAX said:

I wonder why KOH is not trying a younger dancer in the company instead of bringing a guest. Joseph Sissens ?

Probably because there isn’t enough time to teach it to a dancer if he doesn’t know it. It’s only a week until Reece’s first scheduled performance.  Having said this, Alexander Campbell knows the role. Perhaps Melissa is too tall for him?  

[MAX]

yes you are certainly right Sim !

[capybara]

It is usual for ballet companies to have 'covers' in addition to those cast, with those 'covering' being in the studio learning the role "just in case". However, in the case of R&J, there are/were so many casts that accommodating 'covers' may not have been feasible - or it might have been thought that there was sufficient capacity within the casting to meet any need. However, when timing, height and other commitments are taken into consideration, the RB obviously needed to look for someone from outside who was also familiar with the ballet.

 

Hamilton and Clarke rehearsed together at one of those Royal Ballet Live events in the Floral Hall and, when on pointe, she came well up on him. They looked good together and it must be devastating for Clarke not to be able to perform.

[Dawnstar]

21 hours ago, penelopesimpson said:

Good lord, what is happening to the men at RB?  It's getting to seem that Hirano is the last man standing

 

20 hours ago, capybara said:

 

When I last looked, Muntagirov was alive, well and dancing too 🙂

 

 

Am I right in thinking they're the only 2 male principals who have been dancing principal roles at the RB all season (so far) though? Everyone else seems to have been missing at various points.

 

Ball - in Bourne's Swan Lake, plus injured part of that time

Bonelli - on sabbatical since December, apart from Frankenstein

Kish - has actually been there but has danced character roles rather than principal ones

McRae - Cats then off injured

Soares - leaving at the end of the season & hasn't been cast in anything since January

Watson - off injured & not cast in anything till June

 

Plus of the 5 male first Soloists all bar Sambe have been off injured at some point during the season so far. I guess it's no wonder the RB keeps running out of men!

[Lizbie1]

You've forgotten Campbell