Polunin/Kobborg new Romeo & Juliet in Verona

[redshoesgirl2]

3 hours ago, TerpsichoreLondon said:

... I am mostly struck by the loss of finesse in Polunin's dancing. ...But at many points, there is an evident lack of precision and polish in much of the actual dance quality - the landings; the pirouettes; some of the partnering - which I find a rather sad reminder of greatness let slip away. It's still there in glimmers, but what could have been...

...

yes, i totally agree. i was watching a video of a bit of Alice's Adventures in Wonderland and was reminded of how good he was. the finesse.

i wonder if koborg choreographed sergei's romeo to reflect his style of dancing now. flailing arms, horrid landings. polunin may think it is a freer way of doing ballet but i think many times it is just sloppy and reflects his spoken attitude about not taking class on a regular basis.

[redshoesgirl2]

7 hours ago, Richard LH said:

I was sort of getting into their PDD  until I noticed Putin peering out from Polunin's chest, as if spying on western ballet audiences.....it rather ruined the moment for me! 

 

 

and here i was hoping kobborg would have put the kabosh on putin showing up. that's not rebelliousness, that's disrespect for the whole ballet, the other dancers, the audience, the choreographer. it is not part of Romeo the character and above all, dancers are actors, portraying a role and costumes reflect that role. it's polunin saying his tattoo is more important than everything else.

[JNC]

It's difficult for to judge whether Polunin has lost an element of classical ballet technique - I guess it would be impossible not to without the daily training that professional dancers go through? 

 

I recently saw a clip of Polunin and Lauren Cuthbertson in Sleeping Beauty and it was perfection. The speed, the jumps - all with perfect classical technique. The clips shared here, while they still show the energy he brings to the role, a certain charm/stage presence and he can still jump, as @TerpsichoreLondon says it does seem that something has been lost. I am no expert and have never seen Polunin live so it's perhaps unfair to judge.

 

As @redshoesgirl2 has mentioned, perhaps Kobborg/Polunin are choosing this more 'sloppy' style to suit Polunin's current tastes and skill levels. In fairness, this production isn't necessarily billed as 'classical ballet' so if we see it more in the vein of Bourne's works (and others), as in inspired by classical ballet but not ballet and more akin to contemporary dance? Perhaps that would be a better 'lens' to view it through and then I could put aside my critique of technique? Maybe the fairest way is to put the RB/classical Polunin aside, and judge it as if we were seeing Polunin for the first time (very difficult and perhaps impossible to do in practice though!). 

 

As for the tattoos - yes people can do what they like with their body. Far be it from me to stop dancers getting tattoos if they wish, but I do think when they dance they are playing a character, and let's face it Romeo would not have a tattoo of Putin on his chest!(I still stand by my comment that getting a tattoo of anyone's head is moronic but I didn't mean to speak for all young people on this, it was just my personal opinion!)

 

The reality is the larger the tattoo is the harder it is to hide, and dancers are human so they sweat, meaning any cover up makeup can only go so far with a tattoo as big as this. Anyway my preference would be to not see dancers' tattoos in performances, generally, and this one is particularly distracting/controversial so certainly shouldn't be seen in my opinion! 

 

Anyway I'm still waiting to eagerly read a review of the performance, either from a forum goer or perhaps an Italian newspaper article. From the clips I've seen it does look promising so I hope it does come to London (I'd go to see Alina alone, and Polunin does intrigue me, I'm not interested in his more contemporary offerings but a more classical type role is something that would tempt me). 

 

 

Edited August 28, 2019 by JNC

[Bluebird]

23 minutes ago, JNC said:

Anyway I'm still waiting to eagerly read a review of the performance, either from a forum goer or perhaps an Italian newspaper article. 

 

Here's one I found an Italian site.  I'll give the original link but it can easily be put through google translate:

https://www.apemusicale.it/joomla/recensioni/20-danza/8247-verona-romeo-e-giulietta-26-08-2019

[JNC]

8 minutes ago, Bluebird said:

 

Here's one I found an Italian site.  I'll give the original link but it can easily be put through google translate:

https://www.apemusicale.it/joomla/recensioni/20-danza/8247-verona-romeo-e-giulietta-26-08-2019

 

Thanks Bluebird. Hardly a glowing review, but it seems like something that has potential. 

 

Maybe in a smaller venue (which solves the phones problem!), with a live orchestra (rather than a booming sound system) and a bit more training/familiarity/rehearsal time for the corps to ensure a bit more tightness all seem fixable to me. Also seems like it could do with an interval or perhaps a structural rethink? 

 

It does seem a shame for something on this scale to get only one night! Despite a not great review I think it does have potential and hopefully this initial performance can be used to hone it into a work which is actually good! 

[Ivy Lin]

Actually what struck me is how OLD Polunin looks compared to Cojocaru although chronologically she is quite a few years older. His sunken eyes and sallow cheeks look like someone who has been through the wringer and not an impetuous teen. Cojocaru otoh looks very youthful even though shes  near 40 and a mom.

[FionaM]

21 hours ago, LinMM said:

Will you be posting a review FionaE ....though realise not long been back etc.

Yes I will, but I am still travelling with family....so posting links of highlights in the meantime

[FionaM]

16 hours ago, Jan McNulty said:

 

 

Is this a private account?  I am an IG user but cannot see the post.

 

I will repost - it was my account and was private.  Johan’s words should not be missed. 

 

 

[FionaM]

On 27/08/2019 at 05:13, redshoesgirl2 said:

i thought polunin looked amazingly thin. good thing cojocaru is tiny.

 

Really?

 

 

[FionaM]

More beautiful words and photos ... from Valentino Zucchetti

 

 

[maryrosesatonapin]

1 hour ago, FionaE said:

 

I will repost - it was my account and was private.  Johan’s words should not be missed. 

 

 

This is so moving!  Thank you @FionaE.  Enjoy your travels and we look forward to hearing more from you in due course. 

[Anna C]

I don’t think Polunin looks thin in the clips or photos; he looks in good shape but daily class would benefit him enormously because his technique is visibly lacking. 

 

I watched the balcony scene on Youtube with great interest and tried to keep an open mind because I am a self-confessed adoring fan of MacMillan’s choreography and his R&J is my favourite ballet.  Neither Nureyev’s nor Derek Deane’s balcony scenes come near MacMillan’s for me (and of course that is personal choice) but for Kobborg’s Juliet not to come down from the balcony for almost half of the scene seemed both odd and rather a waste of such sublime music.

 

I didn’t much like the “contemporary” style landings into a roll which initially looked as if Polunin had stumbled.  There was a great deal of allegro for Polunin which looked designed to show that he can still jump (although he needs to point his toes more IMHO) but the combination of “sort of contemporary” and slight untidiness in the execution really didn’t float my boat.  

 

I rather liked Polunin’s costume (except the incongruous sight of the top of Putin’s head 😳) and loved Cojocaru’s nightdress.  She, as ever, was so convincing as a young girl and looked as beautiful as ever with such gorgeous lines.  She’s such a joy to watch.

 

I’d be very interested to see more of the ballet because I wasn’t very impressed but Polunin may have been tired by this stage - was his technique better earlier on, FionaE?

[LinMM]

Those are such lovely words FionaE ....indeed very moving .....though am easily moved to tears just at the mo! 

Id definitely like to see this especially when they've had more time to refine etc 

If they want to continue the big arena how about the Albert Hall!!

[Sim]

From the short clips, I agree with Anna above.  Whilst it's great to see Polunin dancing in a more classical mode (although the choreography seemingly can't decide what exactly it is) I think he would really improve with daily class and perhaps also if he'd had a few more performances.  Alina is beautiful as ever.  I loved the set and the costumes (although perhaps another couple of stitches on the front of Polunin's shirt wouldn't go amiss;  I really don't want my dreams of Romeo to be marred by Putin's face suddenly appearing), and as Anna said I would love to see the whole.  If they bring it to London, I will.

[Anna C]

2 hours ago, Sim said:

From the short clips, I agree with Anna above.  Whilst it's great to see Polunin dancing in a more classical mode (although the choreography seemingly can't decide what exactly it is) I think he would really improve with daily class and perhaps also if he'd had a few more performances.  Alina is beautiful as ever.  I loved the set and the costumes (although perhaps another couple of stitches on the front of Polunin's shirt wouldn't go amiss;  I really don't want my dreams of Romeo to be marred by Putin's face suddenly appearing), and as Anna said I would love to see the whole.  If they bring it to London, I will.

 

Yes, I would too, Sim.  I wonder where they’d stage it?  Royal Albert Hall might work.

[LinMM]

Is the O2 arena bigger than the RAH? 

Probably not too big an arena but ballet has been performed successfully at these two places though of course with Swan Lake and Nutcracker etc one can hire more dancers to fill the space without it looking too out of place.

I suppose with R and J one could hire extra villagers etc. Could be a terrific sword fighting scene! 

[JNC]

12 minutes ago, Anna C said:

 

Yes, I would too, Sim.  I wonder where they’d stage it?  Royal Albert Hall might work.

 

I too was thinking Albert Hall as it is a similar set up in terms of size and 'in the round' to Verona. I have to say I really hope it isn't the Albert Hall - I am not really sure about how I feel about ballet 'in the round' productions and find the Albert Hall pricing to be quite pricey if one wants a reasonable view of faces etc. Oh well if it is the Albert Hall I'll still go...with binoculars! 

[maryrosesatonapin]

9 minutes ago, LinMM said:

Is the O2 arena bigger than the RAH? 

Probably not too big an arena but ballet has been performed successfully at these two places though of course with Swan Lake and Nutcracker etc one can hire more dancers to fill the space without it looking too out of place.

I suppose with R and J one could hire extra villagers etc. Could be a terrific sword fighting scene! 

I hate the acoustics in the O2.  Mind you, with recorded music it wouldn't matter so much....

[Anna C]

8 minutes ago, LinMM said:

Is the O2 arena bigger than the RAH? 

Probably not too big an arena but ballet has been performed successfully at these two places though of course with Swan Lake and Nutcracker etc one can hire more dancers to fill the space without it looking too out of place.

I suppose with R and J one could hire extra villagers etc. Could be a terrific sword fighting scene! 

 

Sorry Lin, I completely missed your mention of the RAH earlier! ☺️ The O2 has a seating capacity of 20,000 so markedly bigger than the RAH.  

[JNC]

12 minutes ago, maryrosesatonapin said:

I hate the acoustics in the O2.  Mind you, with recorded music it wouldn't matter so much....

 

I really hope they can bring some sort of orchestra (even if it's not a 'full' orchestra) to do proper justice to the score. 

 

Alternatively if they are not providing live music I would expect ticket prices to reflect this. 

[Jan McNulty]

It didn't look "in the round" in the Insta photographs so perhaps a proscenium theatre would work just as well.

 

I appreciate the theatre in Verona is round but when I went on a trip and saw some opera there (a good few years ago now) they definitely weren't done as "in the round" performances.

[alison]

34 minutes ago, Anna C said:

 

Sorry Lin, I completely missed your mention of the RAH earlier! ☺️ The O2 has a seating capacity of 20,000 so markedly bigger than the RAH.  

 

I think it's more like 15,000 if you take out the "stalls", as they do e.g. for the tennis.

[Anna C]

24 minutes ago, alison said:

 

I think it's more like 15,000 if you take out the "stalls", as they do e.g. for the tennis.

 

True - still an awful lot of tickets to sell though.

[capybara]

But isn't this show only about an hour in length? I can't quite get my head around it being performed as a 'stand-alone'.

[LinMM]

Yes O2 looks far too big! Though i seem to have a memory of an R and J there with Tamara Rojo....but perhaps a senior moment! 

I d prefer somewhere like the Colisseum to these really big arenas or even Sadlers Wells.

I suppose if it is on the short side it could be shown with another work. 

 

 

[Anna C]

1 hour ago, capybara said:

But isn't this show only about an hour in length? I can't quite get my head around it being performed as a 'stand-alone'.

 

Oh gosh!  I can’t imagine condensing Romeo and Juliet into an hour.

[bridiem]

1 hour ago, LinMM said:

Yes O2 looks far too big! Though i seem to have a memory of an R and J there with Tamara Rojo....but perhaps a senior moment! 

I d prefer somewhere like the Colisseum to these really big arenas or even Sadlers Wells.

I suppose if it is on the short side it could be shown with another work. 

 

 

I think the RB may have performed R&J at the O2 - quite a few years ago now. (I didn't go so can't be sure, but they definitely performed there.)

[Scheherezade]

1 hour ago, LinMM said:

Yes O2 looks far too big! Though i seem to have a memory of an R and J there with Tamara Rojo....

 

Yes, I saw the Tamara Rojo R&J at the O2 from tickets in the ‘stalls’ so fairly close to the stage. I seem to remember that there was no, or virtually no, rake but the prices were extremely reasonable, although that may have been because I bought my tickets more or less when the performance was announced. 

[FionaM]

3 hours ago, capybara said:

But isn't this show only about an hour in length? I can't quite get my head around it being performed as a 'stand-alone'.

 

It was 1 hour and 20 minutes.  I timed it as I knew you would all ask!   It works as a long one act as the drama keeps building, without an interval to break the mood.  I was as emotionally exhausted at the end as the dancers.  It’s a new paradigm.  I thought it worked.

Edited August 29, 2019 by FionaE

[FionaM]

8 hours ago, Anna C said:

I don’t think Polunin looks thin in the clips or photos; he looks in good shape but daily class would benefit him enormously because his technique is visibly lacking. 

 

I watched the balcony scene on Youtube with great interest and tried to keep an open mind because I am a self-confessed adoring fan of MacMillan’s choreography and his R&J is my favourite ballet.  Neither Nureyev’s nor Derek Deane’s balcony scenes come near MacMillan’s for me (and of course that is personal choice) but for Kobborg’s Juliet not to come down from the balcony for almost half of the scene seemed both odd and rather a waste of such sublime music.

 

I didn’t much like the “contemporary” style landings into a roll which initially looked as if Polunin had stumbled.  There was a great deal of allegro for Polunin which looked designed to show that he can still jump (although he needs to point his toes more IMHO) but the combination of “sort of contemporary” and slight untidiness in the execution really didn’t float my boat.  

 

I rather liked Polunin’s costume (except the incongruous sight of the top of Putin’s head 😳) and loved Cojocaru’s nightdress.  She, as ever, was so convincing as a young girl and looked as beautiful as ever with such gorgeous lines.  She’s such a joy to watch.

 

I’d be very interested to see more of the ballet because I wasn’t very impressed but Polunin may have been tired by this stage - was his technique better earlier on, FionaE?

 

His technique was pretty consistent throughout I thought.  I agree he does not have the same technical perfection that he had previously at RB and also at Stanislavsky (see Coppelia and Nutcracker videos).  I am surprised that Johan Kobborg did not call him out on the lack of finish in beautiful 5th positions (which we know he can do) and the retiré foot becoming unpointed too early from the saut de basques jumps.  These are minor imperfections that he could easily fix.  And he can point his feet terrifically well as plenty of the photos show - but it doesn’t seem to happen all the time.  As someone mentioned, I am sure this will improve with more rehearsals and/or performances.

 

He does do daily class I am told and we did see brief clips of Sergei and the cast in class in Belgrade during the rehearsal process for R&J.  Personally I think his technique (and shape) has come back from a low point last year, due to his return to regular daily class, and also the sheer number of performances he has done this year.  Sergei also mentioned that Johan has been showing him how to work the body in a different way to what he had been doing.

 

I too would prefer that he used makeup to cover tattoos when they are not appropriate to the role.

 

It is easy to nitpick on Sergei’s current technical imperfections, but what it is not so easy to see is how difficult his solos are, because he makes the movement and height of the jumps look so easy.  He has so much time in the air.  There are very few dancers who can do this.   

 

 

 

 

[maryrosesatonapin]

@FionaE thank you for your description of the event. I really appreciated hearing about this.  It sounds like a 'mixed bag' with more positives than negatives, a brave adventure that will no doubt lead to greater things.  What an experience you have had!

[FionaM]

Brilliant choreography from Johan Kobborg throughout.  Here’s a few highlights for me:

 

- Romeo’s repeated rolls to lying down flat at the end of the balcony pdd moving away from Juliet on her balcony ... exactly portraying his first flushes of love.

 

- Juliet’s first arrival on stage when she jumps off the steps , goes back up and  jumps down again - just like a child.

 

- the interplay of the two young lovers when they first meet and flirt amongst the arches of the set.  

 

- the pathos of Juliet once she has stabbed herself and then drags herself back on top of Romeo and wraps his arms around her as she points at the stars, as they had done in the balcony pdd.

 

 

 

 

 

 

[FionaM]

2 hours ago, Anna C said:

 

Oh gosh!  I can’t imagine condensing Romeo and Juliet into an hour.

 

It was 1 hour 20 minutes of continuous action.

 

thinking about it RB R&J performances are usually 3 hours.  Removing the intervals leave 2 hrs 15mins.  If you then cut most of the townspeople/Harlots dances and Juliet’s friends dancing in the ball and her bedroom, along with scenes with Prince Escalus and the friar, you can easily see how the essence of the play/ballet remains intact in 1hr 20 mins