Richard LH

Ah, you noticed how I deftly managed that just in time!

Absolutely! Having also seen her this season as Mary Vetsera, the Young Girl in Two Pigeons, the Lost Girl in Infra, and Kitri, as well as Odette/Odile last year, she strikes me as now having a great breadth, as well as depth, of acting ability. With Akane just one of many dancers at the RB who should not be missed, I would say becoming a Friend is well worth it, both for earlier bookings, and simply to help support the company.

Floss, yet another interesting post. Your pick of dancers for possible promotion tie in pretty much with my own views. I wonder when we will have the announcement? It was said to be "at the end of the season", but that has now passed...unless this means not until after the tours?

That's a shame! She is an amazing Manon.....

Unless there was a cast change I missed, I thought Campbell danced this with Choe, and with Naghdi, whilst Takada only danced it with Hay?

Although she has now tagged "back to London"'on her instagram....

That does seem quite likely, thanks Sylvia.

Dawnstar if we all felt the same about each performance this would be a pretty dull Forum! So many casts, all with their own interpretations, and indeed techniques, all of which is bound to come across differently to individual audience members. For myself, as a relative newcomer, I am finding the process of learning about ballet, and what/whom I really love, and what/whom not so much, is a fascinating (if expensive) process! And my views have, and probably still will, change about dancers and ballets as I develop my interest. Some dancers will suit particular roles more than others, and of course that can also change as dancers learn or reprise roles, and improve their techniques and acting skills. As bridiem says it can be disconcerting when few posters, or even no-one at all, appears to agree with you - I have certainly felt that - but I don't think we should imagine there is anything wrong about this - after all, there can be no right or wrong in terms of one's instinctive, subjective reaction to a particular performance. I think stating what you like and don't like helps everyone else who has an open mind to learn more about their own understanding of this wonderful art form. Indeed the prevailing view of the majority can change over time - I understand both Swan Lake and the Nutcracker were poorly received at the outset. For what it's worth, though, I was also in the "not blown away" category for this last performance of R&J; I have enjoyed other R&J casts much more. Actually, now the run is over, I am reflecting that the ballet itself is not (at least at present) one of my absolute favourites (it would probably just about scrape into my "top 10" of full-lengths). I share many of FrankH's reservations about the R&J story which he cogently sets out above. Of MacMillan's three major full-lengths, I am putting it below Manon, but above Mayerling. Indeed now we can reflect on the run as a whole, I wonder where others would place the RB's R&J in their list of favourites?

I was wondering what Yslaev's keys were for, and why does need them at that moment?

Unfortunately I didn't get to see much of him, apart from his Creature in Frankenstein, which I did enjoy. Best wishes for his future career!

Thanks Sim, and thanks to others, for explaining this. The way you put it, it does indeed appear a perfectly plausible reaction for Juliet to have, so well done Yasmine for upping the agony even more ! (I suppose other Juliets I saw may have done the same, but not so obviously seen in the absence of the camera close-up). I agree also about the knife - I was feeling that too !

Wow those pictures of Francesca Hayward are simply gorgeous!...I feel as if have just fallen in love with a water-nymph! This piece must have been so good to see....

Thanks...Ella must have been pretty impressive then, as Sambe had a great audience response last night. Ella was also very good last night as Benvolio. I was drawn to him the most when the three boys danced together outside the Capulets' house.

Do you mean last night or earlier as lead mandolin?

I watched in the cinema, and I didn't really "get" Ball's Romeo, even close up...he seemed too reserved, indeed "wan" to steal Bruce's word, even assuming that he was performing for the camera, rather than auditorium, as Bruce implies. Naghdi was certainly far more expressive, indeed (for me) rather overly so at times, but then that is probably what is needed to reach the whole auditorium - perhaps she was geared more to that, than to the camera. Beautiful dancing from her (and deserving of the lovely flowers she received at the end), but for whatever reason, I didn't really see the wonderful Naghdi/Ball connection that so many others have enjoyed. Indeed I found myself wondering why Juliet was so taken with Romeo, as opposed to the rather dashing Paris of Nicol Edmonds. One thing I noticed is that in the tomb, at first Naghdi's Juliet seemed pleased to see Romeo prostrate on the floor, as if she didn't realise he was dead, only doing so when she knelt down to him. As far as I recall, other Juliets realise at first glance that Romeo (like Paris) is dead; Naghdi's interpretation (if intended) is certainly novel (and potentially even more heart rending) but I am not sure it is believable given the context. The sword fighting came across very well at the cinema - really punchy and dramatic. But as in previous screenings, in my cinema at least, the stage lighting was far too dark in places. Stand out supporting performance of the night was surely Sambe as lead mandolin... becoming a Principal seems to have put even more spring in his step!