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I think Campbell would be great as Romeo though never seen him in this role however I have no doubt that Corrales may be surprising some people with his acting skills if he can reign himself in a bit!! At 22 just the right age to be doing Romeo I think when you look at the nature of the role.

Somebody was asking about Corrales height and I would have said similar to Campbell he is not that tall though I've never actually stood right next to him .....yet! 

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I’d like a choreographer to create a strong narrative piece both for Campbell and Muntagirov. Not bright or sunny either. I’d like to see them as a Hamlet...Pip in Great Expectations...a Cathy Marston piece....

Edited by Vanartus
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1 hour ago, Bluebird said:

it's now on the calendar for the Spring Season (it wasn't there before!)

Yes and now the calendar for 7th June matinee is not listed as R&J but The Firebird etc. triple bill. Is this all starting to make some sense at last?

Edited by Richard LH

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Quote

I’d like a choreographer to create a strong narrative piece both for Campbell and Muntagirov.

 

Well, given the amount of time they spend shooting dressing-room hoops on Instagram, perhaps there's a basketball pas de deux to be made.  A sequel to the "Jockey Dance"? ;)

 

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I am beyond disappointed that Alex Campbell is not dancing Romeo and glad that I am not alone . Nor is this the first time I have felt this, as others have voiced. I too have seen him dance a superb Romeo and however excellent he is as Mercutio  ,expected him to take the lead. I assume that he will be dancing Mercutio ?????

 

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1 hour ago, Vanartus said:

...btw I didn’t mean a pdd for them both!

 

(...why not? I hear you cry...)

Why not indeed?!  There is definitely a bromance going on between those two!!  :)

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On ‎24‎/‎10‎/‎2018 at 13:29, Bluebird said:

I called the Box Office and they kept me waiting a long time while they double checked.  The answer they came back with is that the website is correct, i.e. there is a Romeo and Juliet performance on the evening of June 1 but no matinée that day. 

That's a bit worrying.....there has been a matinee on June 1st scheduled all along and they still thought there wasn't?! 

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2 hours ago, Bluebird said:

 

It's finally arrived on the production page but is currently greyed out.

 

Isn't this exciting!

 

Update: it's gone again!

Edited by Lizbie1

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That matinee has always been there whenever I have looked so far ....including today...as noted in diary the two matinees with Hayward and Corrales and Naghdi and Ball a few days ago. 

However after my experiences with other performances iin the Winter Season  seemingly disappearing and reappearing and with different casts etc depending when you looked it doesn't surprise me at all at the moment!!

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Does anyone know the timings for the acts of Romeo and Juliet please? With the very high prices - the highest I've seen for Amphi sides B-E, aside from the Swan Lake Anomaly - and the embarrassment of casting riches, I'm wondering how viable standing will be.

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15 hours ago, Richard LH said:

Yes and now the calendar for 7th June matinee is not listed as R&J but The Firebird etc. triple bill. Is this all starting to make some sense at last?

Yes! 

 

LNER have recently doubled the train prices suddenly - it's now easily £60 each way to London even when booked twelve weeks ahead - the day the tickets go on-sale. I can no longer whizz down for matinees so wanted to combine with San Francisco Ballet and ENB's Cinderella and this one was part of my plan! The triple bill will do just as nicely.   

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18 hours ago, Richard LH said:

 Hmm... I know Corrales can perform  explosive jumps and turns,  but I wonder if as yet, at 22, he has as much depth and artistry  in the  acting department as Campbell (who of course  is no slouch on the technical side either !)

 

Did you see Corrales in Jeune Homme et la Mort or in the traditional Giselle, Richard? If you did, you have your answer :) His Romeo will be very different but I, for one, can't wait.

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3 hours ago, capybara said:

 

Did you see Corrales in Jeune Homme et la Mort or in the traditional Giselle, Richard? If you did, you have your answer :) His Romeo will be very different but I, for one, can't wait.

No, I haven't seen him at all, apart from in the current Mayerling, and in a few short You Tube videos, but I am happy to rely on your judgement 🙂

I am sorry not to see Hayward/Campbell but will be happy to go for Hayward/Corrales - or indeed Hayward /Whoever !

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1 hour ago, Richard LH said:

No, I haven't seen him at all, apart from in the current Mayerling, and in a few short You Tube videos, but I am happy to rely on your judgement 🙂

I am sorry not to see Hayward/Campbell but will be happy to go for Hayward/Corrales - or indeed Hayward /Whoever !

 

Cesar Corrales acquired his acting chops slightly before his rise through the ballet ranks - he was a Billy Elliot in Chicago in 2010/11

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On 23/10/2018 at 21:06, Richard LH said:

Yes it is strange a soloist gets 5 lead outings whilst the principal Campbell gets none. I suppose he could be down as potential super-sub again but waiting for an injury is rather a sad way to get into this role at the RB. And as Jan says, it's not as if he didn't have experience as Romeo at BRB.

 

I can only speculate, but Campbell has been given such an appalling roster of roles (or lack thereof) over the past year or so, and it doesn't seem fair that he has only danced some of the lead roles because of injury. It seems he is being relegated to the 'trusty sidekick/slightly comic villain' role all too often. I wouldn't be surprised if he started looking at other top ballet companies, which would be a dreadful loss. :(

 

I am also planning to book for the 1st June R&J matinee but am anticipating a terrifying bloodbath! 

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Kevin has said on a number of occasions that he can't promote everyone with talent  but that he hopes to keep the company happy by giving his dancers opportunities and interesting repertory to dance which I have taken to mean that he does not intend to restrict leading roles to the company's senior dancers, This interpretation is supported by the casting decisions which have been made since he became director.The company is awash with talent and in particular it has a lot of young men who show real artistic promise. So far Kevin has managed to strike a good balance between giving established Principal dancer's their due as far as the number of performances they are given is concerned while giving young talent the opportunity to gain experience of performing leading roles and furthering their development as artists. Ensuring that young talented dancers get opportunities to dance major rules early in their careers before the thought of dancing a specific role becomes even more daunting than the technical demands that the role itself presents is always going to be a challenge in a company like the RB and was the reason that de Valois founded the old touring company.

 

We need to remember that there are always practical factors to be taken into account when making casting decisions and they include suitability for a role based on stage personality, physical and technical shape, the dancer's height and the height of potential partners bearing in mind that being on point adds several inches to a female dancer's height.Sometimes, as here, impending  and foreseeable retirement may be a significant factor in making casting decisions. As matters stand the company  will soon have to replace three tall and therefore very useful and adaptable Romeos. Bonelli, Soares and Watson are all likely to retire in the not too distant future .However much they may be admired by sections of the audience age is catching up with both Watson who is forty two and Bonelli who must be fortyish while in Soares' case it is his increasingly variable technique  which has ruled him out of a number of roles including Romeo. Something which he appears to have acknowledged in a filmed interview in which he said that he would be concentrating on dramatic roles in the future. The point here is that while Romeo may appear to be an acting role in many dancer's performances it was created by MacMillan in classical choreographer mode and  it requires a clean and solid technique to do it justice. The minute a dancer's technique begins to slip it shows in performance. Looking at the range of dancers cast in this revival it seems to me that Kevin has set out to replace adaptable and useful dancers with dancers who he thinks are likely to be equally adaptable and useful to the company in the future. Now while Campbell is a fine dancer with a winning stage personality he is never going to be as useful as someone as tall as Clarke or Ball and at this revival Kevin is making provision for the future. 

 

So what of the Romeos who are new to the house this season? Both Clarke and Corrales are new to the role. Clarke is steadily acquiring roles and working his way up through the ranks of the company and to put it bluntly with his height he does not need special arrangements made for him. As far as Corrales is concerned it is almost certain that what attracted him to the RB was the wide range of roles it could offer him. Kevin is now in the process of giving Corrales the opportunities he joined the company to secure. Bracewell's performances of Romeo will be a house debut rather than a debut in role and I imagine the  same is true of Hallberg as well. It seems to me that in giving both Ball and Clarke performances of Romeo with two different Juliets Kevin intends  to increase their usefulness to the company. Unlike Campbell, Clarke and Ball don't need to have special casting arrangements made to accommodate their performances as Romeo. Of course it may simply be that knowing that Campbell has already danced the role of Romeo management has decided that this revival should be used to add a few more dancers who have experience of dancing the role of Romeo to the company's roster.

 

Management may not have disclosed who is to dance Mercutio but that does not make it a secondary role. Mercutio was created for David Blair and it requires a dancer with good clean technique and a strong quirky stage personality to provide a suitable witty contrast to the dancer playing Romeo.There are three leading roles in Romeo and Juliet not two. Mercutio is the third. In the ballet the audience needs to see a real contrast between the character of the love smitten Romeo and that of the witty and cynical Mercutio. A difference which has often  been eliminated in the anyone can do anything system of casting which seems to prevail at present. This approach leads to a bland uniformity of performance style rather than one with real spice and contrast. Benvolio is the secondary role in the trio of men who roam the streets of Verona and again it was specifically designed for promising dancers on the way up through the ranks . For years Mercutio was treated as the preserve of Principal dancers and the occasional exceptionally talented First Soloist who was an outstanding Ashton stylist such as Cervera. During MacMillan's time Mercutio was danced by the likes of Coleman, Wall, Jeffries and Dowell so it would scarcely be an insult to Campbell if he were to be cast in the role. 

 

 

 

 

Edited by FLOSS
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I acknowledge all you say above, FLOSS, but I still think the casting smacks of 'anyone but Campbell'. I just don't think it's right or necessary. And I agree that Mercutio is an important/principal role; but if it's really considered so significant, why is the casting for that role not announced in advance too?

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3 hours ago, FLOSS said:

There are three leading roles in Romeo and Juliet not two. Mercutio is the third. In the ballet the audience needs to see a real contrast between the character of the love smitten Romeo and that of the witty and cynical Mercutio.

 

For example, look no further than the Zeffirelli film. John McEnery was a far more memorable Mercutio than Leonard Whiting was a Romeo, however pretty LW was. Oh and Bruce Robinson was extreeeeemly pretty as Benvolio, and Michael York rather prettier than at other times as Tybalt. But for me the memorable person was Mercutio. The most un-pretty of the lot! 🤣

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I don't think it would be so disappointing if Campbell had been given his fair share of roles last time, but he was not chosen (at least originally) for Albrecht, Des Grieux, or Siegfried, and when he did step in to dance lead roles because of injury he knocked them out of the park. Mercutio is an important role in R&J but it is not the title role, it does not carry the same prestige as Romeo, and once again we are missing out on the magical Campbell/Hayward partnership. Campbell is a fairly young and new principal compared to Watson, Soares etc and to see him so lacking in opportunities compared to dancers like Reece Clarke (who is tremendous, but only at soloist level) is quite frustrating. 

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7 hours ago, FLOSS said:

while Campbell is a fine dancer with a winning stage personality he is never going to be as useful as someone as tall as Clarke or Ball

Ouch!

Floss, a thoughtful insight,  but I can't agree that height trumps a winning stage personality in terms of "usefulness". 

Furthermore I am not so sure height is playing  an important  factor in these casting decisions in any event, when you have   McRae, Sambe and Corrales taking up 7 of the slots, but not even one slot for Campbell. 

 

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And, as oft mentioned before, Mr Campbell has a proven track record as Romeo (and a very wonderful one at that!).

 

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38 minutes ago, Richard LH said:

 

Ouch!

Floss, a thoughtful insight,  but I can't agree that height trumps a winning stage personality in terms of "usefulness". 

Furthermore I am not so sure height is playing  an important  factor in these casting decisions in any event, when you have   McRae, Sambe and Corrales taking up 7 of the slots, but not even one slot for Campbell. 

 

 

Surely there is (seemingly) an element of favouritism when it comes down to casting dancers. Ball also gets 6 performances ( now that Bonelli isn't dancing Romeo with Cuthbertson Ball gets those 3 extra performances besides his 3 performances with Naghdi). Surely one or two of Ball's performances could have been given to other deserving male dancers. 

 

In the end it is the choreographer who casts his friends/favourite dancers in a ballet. McGregor always works with his same cast (Watson, Cuthbertson, Lamb, Hamilton, ...), so does Scarlett (Morera, Hinkis, Dyer,..) as well as Wheeldon (Cuthbertson, Stix-Brunell, .), surely an AD also has his own favourites.

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Just to wade in here and put the other point of view  ...... to me Campbell is a very good dancer with a clean technique; he is excellent in a certain type of role e.g Colas but I just don't see him as a Prince or a Romantic Hero so from my perspective KoH's casting decisions make sense. I think in years gone by casting decisions were based much more on suitability for a role rather than all the principals getting to dance everything, perhaps suitability is making a comeback if we consider there is a larger pool of talented dancers at the RB.  Now I will duck down behind the parapet ..... 

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Arguably, the character of Romeo is not a Romantic Hero- he is a very young man caught up in an unholy mess. I admire McRae's Romeo and he is not very tall, and I thought Campbell was a very fine and expressive Romeo in a former life. I don't think height on its own is a reason for casting Romeo. . It might be for the Prince in Swan Lake or Sleeping Beauty perhaps.

Perhaps.

I always tend to the view that the AD knows rather more than I do about the situation, but do share a feeling of slight concern about Campbell.

 

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Should the thread perhaps be renamed the 'Campbell Lament' or something similar?

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