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Well how exciting for these two young dancers it's so wonderful when something magical happens in a performance.

 

Unfortunately won't be able to see them this time round!

 

Belated I know but just a quick word on Thursdays performance.

I did enjoy this very much inspire of not being comfortable in my seat after having a horrendous journey and feeling pretty tired!!

However I did slowly come round and the dancing was beautiful.

I was surprised by Lamb but I thought she got all the nuances of the Juliet role spot on and of course couldn't fault either hers or Muntagirovs dancing but for me a very excellent performance not a stunning one.....in terms of their partnership.

For me I didn't sense any really special connection between the two but some exceptionally good acting anyway ....not quite the same thing!! But it worked enough for an enjoyable performance.

I have felt in previous years performances I've been to ......some going back rather a long way....a better connection with the three main male roles Romeo Mercutio and Benvolio ....although having said that I thought Sander Blommaert (replacement for Paul Kay) made a good job of his main scene not overplayed at all seemed to keep it as natural as poss.

I enjoyed the three harlots too and agree with a previous poster ... nice to see Yuhui Choe in a different light and she seemed to be enjoying it too!

Now for a ridulous senior moment.

I hadn't looked at the cast list proper.....only the little change slip before the performance and I kept thinking who is that handsome dancer playing Tybalt ......and playing the role exceptionally well too....hmm looks a bit like Thiago Soares but can't be him as didn't think he would be in this role somehow....so anyway ....thinking why haven't I noticed this "new dancer" before must see who it is ....so in the interval had a look and of course it WAS Soares. My favourite Tybalt so far I think!!

So all in all this evening was well danced by the company and I did enjoy Lamb much much more than I was anticipating so worth going except had a horrendous journey just back to Islington this time didn't get home till 11.30!!

I do wish ALL three hour ballets would start at 7pm though! Glad I went though!

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Just a quick note to say that I really enjoyed today's performance with Yasmine, Matthew and the relatively young cast (in terms of number of performances).

It was emotional and they gave it a good go and I think that's all anyone can ask. It doesn't matter if it was as good as X, Y and Z who danced it whenever. I didn't have the fortune of seeing those people so I'll support those that are here now with the hopes that with support they will be half as good as X, Y and Z.

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 I still hope to see someone else who makes me forget that they are dancing. 

 

Yasmine Naghdi and Matthew Ball achieved this for me in the matinee performance today. As others have already posted, what a stunning double debut. Such fluidity and natural interaction and emotions in the balcony PDD.

Juliet taking Romeo's hand before she dies. Speechless.

 

Just equally mesmerising Luca Acri's quicksilver solo.

 

Congratulations to the whole team today.

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I'm still trying to gather my thought about Naghdi and Ball's performance today beyond the immediate 'OMG how awesome'.

 

I was also blown away by Luca Acri's Mercutio - the lower half of my jaw literally dropped when he delivered his dazzling solo. Fleet footed, elegant and full of energy.

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I have felt in previous years performances I've been to ......some going back rather a long way....a better connection with the three main male roles Romeo Mercutio and Benvolio ....although having said that I thought Sander Blommaert (replacement for Paul Kay) made a good job of his main scene not overplayed at all seemed to keep it as natural as poss.

 

I think you may have misread the cast change slip, LinMM.  Paul Kay was replaced by Sander Blommaert in the Mandolin Dance.  Unless I'm having a very senior moment, James Hay did, indeed, dance Benvolio.on Thursday evening.

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Yes completely misread the cast change. I must have been even more tired than I thought then!

especially as I should have recognised James Hay anyway!! Two dancers I didn't recognise .....doesn't auger very well really!!

Perhaps because Kay and Hay rhyme? Must have just interchanged the names.

Anyway well done to James Hay then as I thought he did the role well.

 

Better take an afternoon nap before I go next time!!

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Simply terrific Romeo and Juliet debuts from Matthew Ball and Yasmine Naghdi. Throwing caution to the wind they danced and acted their hearts out and treated the oh so lucky audience to a display of the most believable young love seen on the RoH stage for a considerable time. 

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I am still so emotional after attending today's Matinee with Naghdi/Ball.

 

I can't remember the last time I've cried whilst watching R&J. Weren't they just absolutely breathtaking. Their Balcony pdd blew me away; the cheers when the curtains came down after Act1 said it all. They were out of this world, what a partnership. 

Naghdi simply made me forget she was dancing, her acting was amazing. She WAS Juliet.  

 

I really hope Mr. O'Hare will nurture their partnership, they are a Covent Garden couple to treasure.

Naghdi's dancing was so liquid, so fluid, so beautiful. Ball, for such a young dancer, was very impressive.  

 

Her hand just touching Romeo...and then slowly letting go off his hand as she dies filled my eyes with tears.  Oh how I wish they had another performance, I'd dearly love to watch it all over again. 

 

And all those flowers...they kept coming and coming. Well, the House was buzzing to say the least.

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The RB stock went up this afternoon methinks .... Naghdi was truly riveting in her both her balletic and dramatic detail as Juliet and Ball as Romeo partnered his charge exquisitely in the PDD.  The stunning silent stealth leading up to the kiss was I think shared by all present.  It - like Naghdi's gnawing scream in the crypt - was palpable.  Kudos too to McNally for a wonderfully - and rightfully - demonstrative nurse who knew just how much gilt to put on her lilly and Edmunds who was fine as indeed as a questioning Paris.  

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A truly mind-blowingly emotional debut performance by both Yasmine and Matthew this afternoon – performed with a naturalness and sincerity that was quite heart-breaking.  I can only echo Sim’s plea that this be a partnership that is nutured and allowed to develop – it already feels pretty special.

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I still hope to see someone else who makes me forget that they are dancing. 

 

Floss's comment came to mind during this afternoon's performance: I think both dancers came pretty close - at the least, they managed to make the steps seem pretty ... inconsequential? in the grander scheme of things.  Comparing that with certain other performances I've seen over the years by more senior dancers where executing the steps perfectly seemed to be paramount, the difference was striking.  Perhaps there is something to be said for letting 2 junior dancers find their way through the whole thing: it will be interesting to compare and contrast with the performance by Francesca Hayward, who is in a rather different situation.

 

All in all, an extremely good not-quite-debut performance by Ball and Naghdi today - and probably better than several debuts by principals which I've seen in the past.  What impressed me as much as anything was that they didn't seem to be having any problem "reaching" the amphitheatre - something various rather more senior dancers have had a problem with in the past.  Oh, and Acri and Ella as Mercutio and Benvolio did extremely well, as well.

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Floss's comment came to mind during this afternoon's performance: I think both dancers came pretty close - at the least, they managed to make the steps seem pretty ... inconsequential? in the grander scheme of things.  Comparing that with certain other performances I've seen over the years by more senior dancers where executing the steps perfectly seemed to be paramount, the difference was striking.  Perhaps there is something to be said for letting 2 junior dancers find their way through the whole thing: it will be interesting to compare and contrast with the performance by Francesca Hayward, who is in a rather different situation.

 

 

It's the same point : yesterday I noticed Jonny Cope and I was reminded of something he said in an insight evening towards the end of his career. I can't remember exactly the words used but I think it was in response to someone asking if he had any regrets ? His reply was something to the effect that he wished he had spent less time and energy concentrating on perfecting the steps ...... 

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I would just add to what I said yesterday afternoon that I loved the way everything was slowed down so we could really have a chance to feel the emotions churning within them, and their thought processes. Yes, we have seen the balcony scene danced with more daring and abandon by other dancers, which is also fine, but just by taking their time we could really go with them on their journey of falling in love.  This was the only four-letter 'l' word involved yesterday. Sometimes, we do get the 'first lust' side of things imparted by the way the balcony pdd is danced, but this was all about love, and the natural physical passion that emanates from something deep within. I always say that for me, a successful rendering of R&J involves me having a lump in my throat by the end of Act 1, and here the lump was so big I could hardly swallow for a couple of minutes.  Not only from the dancing, but from how much it obviously moved everyone in the audience.

 

I loved the way Matthew was so physically affectionate with Yasmine all the way through the ballet, and how in the bedroom pdd instead of shaking her to tell her to stop being so hysterical, he gently puts his hands on her shoulders and gives her a look.  That is all it takes to say so much to her.  I loved how, when he has just killed Tybalt, he has a small smile of triumph on his face.  Watching him through the binoculars, it was fascinating to see how that facial expression started changing as the realisation of the consequences of his actions took hold....from a triumphant smile to being bent over in agony;  I have never seen that done before.  I loved how, in the crypt, he slumps to the ground, hunched over, to swallow the contents of the vial.  Again, you can see the thought process flickering across his face.  Should I do this?  And then one look at Juliet and he has his answer.  I loved how he gets onto the bed with Juliet and gives her a cuddle after taking the poison, before slipping onto the floor.  I loved how we just got a tiny movement of a finger as Yasmine started to wake up, and that tiny movement built up to a scream that involved her whole body and was one of the loudest silent screams I have ever heard, not to mention the most heart-wrenching.  I loved how she took her time as well before plunging the knife into herself.  I loved how we could really see her titan effort to get to Romeo;  she knew this was the last thing she would ever do, and as others have said, it was so desperately sad how she managed to hold his hand for a second, but at least she managed to touch him once again.  I loved all of Yasmine's Act 3.  People have mentioned dancers making us forget they are dancing;  here, she made us forget she was acting.  It seemed as if she wasn't, as if the spirit of Juliet had taken her over, body and soul.  Where does this come from?  I don't really want to know, because it would spoil it.  There were all kinds of small touches in her portrayal that made her character, and her dilemma, very clear.  I loved the way she shook her head at the nurse in Act 3, making it clear that she was now no longer welcome in her life because she didn't side with her.  I loved her defiance as she stood in front of Romeo's escape window, arms out to the side.  The look on her face stopped everyone dead.   Her terror before taking the poison was so believable;  this little girl with big decisions to make, all alone.  

 

Aside from the characterisation, both of them danced so beautifully.  Matthew has wonderful ballon and his partnering was assured and considerate.  Yasmine has a beautiful line, lovely arms and is light as feather.  Both  have magnetism and stage presence.  My daughter and I were discussing all the ballets these two could dance together in the future, and we  decided it was all of them!  Matthew is a very fine danseur noble in the making, and Yasmine will be able to partner him in the classics as well as in MacMillan ballets.  I once again make a plea to Kevin O'Hare, who doesn't seem to have developed any long-standing partnerships as yet....please, please, please let these two go forward together.  We haven't had a long-term partnership at the RB since Cojocaru/Kobborg and I think we are ready for another one.  I certainly am.

 

Luca Acri and Benjamin Ella were fine as the two 'lads about town';  I can see that Luca will develop his Mercutio as he performs the role more.  I have already mentioned in a previous posting how much I like Nicol as poor old Paris.  Bennet Gartside is my favourite Tybalt after Gary Avis, and Tom Whitehead is now my favourite Escalus.  So much anger in his eyes! 

 

I could go on and on with these ramblings, but from now on when people ask me why I love ballet so much, or how I can watch the same one over and over again, I will simply reply "Naghdi and Ball as Romeo and Juliet."

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My daughter and I were discussing all the ballets these two could dance together in the future, and we  decided it was all of them!  Matthew is a very fine danseur noble in the making, and Yasmine will be able to partner him in the classics as well as in MacMillan ballets.  I once again make a plea to Kevin O'Hare, who doesn't seem to have developed any long-standing partnerships as yet....please, please, please let these two go forward together.  

 

 

 

Firstly. thank you for your beautiful review, Sim. You gave me another lump in my throat.

 

Secondly, from what was being said at the Stage Door (and in the street!!!!!) yesterday it seems that, not only does everyone want these two wonderful young dancers to continue to perform together, but they more than probably want that themselves.

 

The other question on many lips was, of course, further promotion for both Yasmine and Matthew. Come on Kevin O'Hare: when did you last (if ever) have to fight your way out through people thronging the street outside?

 

And isn't it just wonderful for the RB and us that the Company has in its midst such a wealth of talent aged 25 and under (including also Frankie and Vadim) taking principal roles, as well as several others who are showing very great promise.

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Sim, you've summed it all up so beautifully, I couldn't add anything more...

 

What we witnessed yesterday was something really really special, and this on the 50th anniversary of Kenneth McMillan!

It's been years since I've last experienced such deep emotions at an RB performance, and certainly at a R&J performance.

 

http://www.theguardian.com/stage/gallery/2015/oct/02/royal-ballet-romeo-and-juliet-50-years-of-star-crossed-dancers-in-pictures

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The other question on many lips was, of course, further promotion for both Yasmine and Matthew. Come on Kevin O'Hare: when did you last (if ever) have to fight your way out through people thronging the street outside?

 

 

 

I was thinking to myself, that it was one of those promotion-to-Principal type performances, particularly for Yasmine...

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My tuppence-worth…

 

After loving Yasmine Naghdi’s dancing over the last two or three years I was not at all surprised by the quality of the ballet. Yasmine has such a soft and beautiful English style of ballet dancing.

 

What was amazing was the quality of acting, though not really acting as Yasmine was living the role. The bedroom scene where Juliet was bullied by her parents was truly disturbing. The Crypt scene with the silent scream (loud orchestral moment though) was completely harrowing. Tears were rolling down my face during most of that last act.

 

I had thought I didn’t like Romeo and Juliet and this was the only one I booked, but now R&J is one of my favourites and after wondering many times if live viewing was really that much better than a live recording, I don’t have to ask that question anymore.

 

The corps’ Harlots and townswomen/men were excellent in Acts 1/11.

 

The swordplay between Romeo and Tybalt was brilliant and I couldn’t help thinking of the Star Wars ‘Duel of the Fates’ light sabre battle between Obi-Wan Kenobi and Darth Maul. (Sorry).

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Oh my goodness. Yesterday's matinee with Yasmine & Matthew more than delivered the kind of experience I personally look for with a ballet like R&J. For me, their performance was simply radiant & profoundly affecting. 
 
I have to confess that my reaction to the story of R&J, ever since studying it at school around GCSE, has been one of exasperation & irritation. When watching R&J as a play or on the screen at times over the years, I've never been able to suspend my disbelief. Or find the sheer number of circumstances that conspire to go wrong / the whole star crossed lovers aspect, credible. 
 
Yesterday, I lived it alongside the cast. In particular, Yasmine's performance in the scenes with her parents & Paris, then in the crypt, enabled me for the first time to truly appreciate the situation from Juliet's perspective. Also, most crucially, believe in her responses & decisions. As others have said, she WAS Juliet.
 

 

 

"FLOSS, on 30 Sept 2015 - 3:01 PM, said: I still hope to see someone else who makes me forget that they are dancing."

 

Floss's comment came to mind during this afternoon's performance: I think both dancers came pretty close - at the least, they managed to make the steps seem pretty ... inconsequential? in the grander scheme of things.  Comparing that with certain other performances I've seen over the years by more senior dancers where executing the steps perfectly seemed to be paramount, the difference was striking.  Perhaps there is something to be said for letting 2 junior dancers find their way through the whole thing ...

 

This was only the second time I'd seen this ballet, so Alison's comments were interesting. To me, R&J seems a ballet that is less about delivering a perfect performance technically (I'm not sufficiently knowledgeable to know if it was or wasn't, anyway!). But more about delivering a performance that enables as many of the audience as possible to be swept up by the tremendous emotions. Judging from the fantastic audience reaction I saw & heard yesterday, as well as comments on this thread, they succeeded in that. 
 
 

The bedroom scene where Juliet was bullied by her parents was truly disturbing. The Crypt scene with the silent scream (loud orchestral moment though) was completely harrowing. 

 
I too had this reaction to those scenes. I was emotional at the end of Act I & tears were steadily falling through much of Act III - so much so that I had to be careful how I was holding my binoculars so I could still see through them! I didn't feel Matthew or Yasmine had any difficulty projecting to mid-amphi where I was sitting, but it's nice to use binoculars/opera glasses to see the detail at times. I did wonder if Matthew found Yasmine's dress a challenge to get a good grip on at times during some of the lifts. But I wouldn't have noticed without seeing it in such close-up.  
 
 

I loved the way Matthew was so physically affectionate with Yasmine all the way through the ballet, and how in the bedroom pdd instead of shaking her to tell her to stop being so hysterical, he gently puts his hands on her shoulders and gives her a look... I loved how he gets onto the bed with Juliet and gives her a cuddle after taking the poison, before slipping onto the floor... I loved how we could really see her titan effort to get to Romeo;  she knew this was the last thing she would ever do, and as others have said, it was so desperately sad how she managed to hold his hand for a second, but at least she managed to touch him once again...

 

Matthew's tenderness towards his Juliet & all the little details & gestures they incorporated, as Sim notes in her lovely review, made their portrayal of young love so real for me. Especially in the crypt scene, which has previously failed to really move me or convince me that R&J loved each other so much that death was preferable to life without the other.  
 
The performance delivered by the whole cast yesterday made a tremendous contribution to its overall success. In particular, I thought Bennet Gartside's interpretation of Tybalt & Kristen McNally's Nurse fitted so well with R&J as interpreted by Matthew & Yasmine. I was sorry that Gary Avis was indisposed (most understandably from Twitter). I'd have liked to have seen his take on Lord Capulet, but Christopher Saunders in the role made me forget any slight disappointment. 
 
Today, I had planned to catch up with some parts of World Ballet Day which I'd missed. But I've such beatific memories of R&J yesterday, I want to fix them in my long-term memory first!
 
I too very much hope that if Yasmine & Matthew both wish to continue performing together, they will have the opportunity to do so.
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I was sorry that Gary Avis was indisposed (most understandably from Twitter). I'd have liked to have seen his take on Lord Capulet, but Christopher Saunders in the role made me forget any slight disappointment. 

 

So was I: it's an important role and, assuming that Yasmine had rehearsed and performed solely with him, it must have been quite difficult having to adapt to a new "father" at short notice, especially for an inexperienced near-debutant.  After all, unless you're producing a "carbon-copy" performance - which she definitely wasn't - you're going to react differently to having a different actor in the role simply because he will react differently to you.  All credit to her that I managed to forget about it so easily once we were in Act III.

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For all of those who (like me) had to miss yesterday's matinee - I had a really good ticket, too, before becoming unavoidably double-booked! - console yourselves with the knowledge that this ballet comes round every two seasons at the RB, and a roaringly successful joint debut should mean that we get more opportunities to see both dancers do it again in the not too distant future, and if we're lucky, for the next quarter of a century.

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Alison:  I can't say which critics saw the Saturday performance, but the Forum's Twitter stream suggests that both Luke Jennings and Ismene Brown were there.  Luke's next print outlet will be next Sunday's Observer.  Ismene, now with The Spectator, may have missed this week's deadline - time will tell, and she normally deals with at least two different works in her pieces there.

 

And, for what it's worth, we suspect that this morning's Links trawl may have established a minimum-time record, throwing up just six pieces, worldwide.

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Can't imagine there will be any bad reviews, just have to say that although I am a fan of Matthew Ball and Yasmine Naghdi anyway, even I didn't imagine such an emotional, assured performance, Yasmine in particular is perfect as Juliet.  Their actual technique is so good too, am beginning to understand why Romeo is considered an exhausting role, and Yasmine has such a soft unforced style, I'm already thinking of them in so many roles. I liked the mandolin dance with James Hay too, it was played down and didn't seem so manic.

 

Feeling more favourable towards R and J now, and really looking forward to Francesa Hayward and Matthew Golding.

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Of course, it may be that they were just there out of interest - I know some do attend performances they aren't reviewing just to see additional casts, put things in perspective and so on.  Oh well, I guess we'll wait and see.

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