Royal Ballet: Romeo and Juliet, Autumn 2021

[MJW]

Just now, Sim said:

I have left the ROH and am wandering the streets of London in a daze.  I have been an emotional wreck for three hours.  I don’t know what happened to me in there today, but whatever it was was incredible.  Be still, my beating heart!  

You’re not the only one! Waterloo Station is a bit of a let down after that!

[Rob S]

That went well 😍👏

 

 

 

 

 

 

 

 

 

 

[FionaM]

Thank you for the reports … so excited for round 2 of Fumi & Will on 23/10

[Sim]

3 hours ago, Legseleven said:

Possibly because Tuesday was the opening night and an opening night which sometimes seemed destined never to happen, with the lockdowns and Covid restrictions? I’m sure my emotions would have been on a knife edge of joy had I been there on Tuesday but perhaps that is what is missing (understandably) today?

Believe me Legseleven, there was NOTHING missing today.  As a matter of fact, the passion, the depth of feeling, the joyful exuberance followed by a totally tragic and heart-wrenching plummet to the depths of despair…and all on the same level from both leads, was a rare and beautiful thing. I’m afraid that, for me, it rendered Tuesday’s performance quite emotionally pedestrian.  I am still feeling stunned and breathless.  Added to this, Nathalie Harrison’s grief at Tybalt’s death made me feel like I had been kicked in the stomach.  I can’t remember ever seeing it done better than this.  A truly special afternoon.  

[Dawnstar]

40 minutes ago, MJW said:

You’re not the only one! Waterloo Station is a bit of a let down after that!

 

Dashing from the ROH to Kings Cross only to find my train cancelled was more than a bit of a let down! The problem with matinees of very emotional ballets/operas is trying to then function for the rest of the day. I don't feel like doing anything other than going to sleep now because I feel shattered after an Act 3 that I found extremely emotionally tense. I was so wound up by the final scene that I was almost willing them to hurry up & die because I couldn't bear much more!

 

I thought Kaneko did an incredible Act 3 & that it was her best act (admittedly it's only between Acts 1 & 3 for Juliet given how little she has to do in 2). Bracewell I thought was brilliant throughout & absolutely adorable. It's amazing how different he & Corrales are in the role - I can't find the words to describe how different - yet both of them absolutely made it work for me. First time I've seen Acri (in the last run despite seeing 5 casts I only saw 2 Mercutios, Sambe & Zuchetti) & I thought he was very good in the role. Hirano's Tybalt is fine but having seen Ball again the other night I think almost anyone would suffer by comparison for me.

 

In terms of debuts, have Buvoli & Gasparini done the harlots before & has Braendesrod done Paris before? I do wish the ROH noted debuts so I'm not sat there wondering whether someone is new to a role or whether they did it in the last run but I didn't see them. Thinking ahead to future debuts, I found myself while watching Richardson as Benvolio wondering what he'll be like as Romeo come February.

[LinMM]

Great Piccies again Rob 🌟

Now just rest up a bit Fumi and William am sending out “no injury” vibes! Have literally just bought my day return ticket and as luck would have it no great impediments on the journey that day (“just  might be a bit slower than usual through Redhill” the lady said) 
I know that dazed feeling where nothing seems quite real but what you’ve just seen (not even Waterloo station!!) 
I did feel that with Hayward and Corrales a couple of years ago but would be quite happy to feel that dazed again on the 23rd!! 

[JohnS]

Many thanks all for the reports and photos. I’d meant to say how good it is seeing flowers once again presented on stage.

 

I can’t recall if there’s been an explanation for cameras filming the performance - is it Japanese television?

 

Looking forward even more so to 23 October and double Romeo & Juliet - this cast and the first night’s cast.

[JennyTaylor]

I think words really do fail me on this occasion as I cannot think of sufficient superlatives to describe the performance I've just seen, and that's for Will and Fumi, let alone the other members of this glorious cast. Thank you for posting such beautiful photos.   

[Dawnstar]

10 minutes ago, JohnS said:

I can’t recall if there’s been an explanation for cameras filming the performance - is it Japanese television?

 

I don't know but if it does get televised in Japan then I really hope someone records it & it gets dissemenated back to the UK because I'd really like to see it!

[Lizbie1]

44 minutes ago, Sim said:

Added to this, Nathalie Harrison’s grief at Tybalt’s death made me feel like I had been kicked in the stomach.  I can’t remember ever seeing it done better than this.

 

As the youth says, THIS.

 

I could hardly speak to my neighbour after it.

[Richard LH]

1 hour ago, Rob S said:

That went well 😍👏

It certainly did! What triumphant debuts for these two, and what a start to the season! The whole company was on great form. Your pictures mark the occasion so movingly, thank you Rob.👏

[Richard LH]

50 minutes ago, JohnS said:

 

I can’t recall if there’s been an explanation for cameras filming the performance - is it Japanese television?

Unless I'm mistaken, the cameras in the stalls area were in place but not being used this afternoon. Camera filming is listed for "Jenufa" this evening.

Edited October 9, 2021 by Richard LH
More information

[Rob S]

56 minutes ago, Dawnstar said:

 

In terms of debuts, have Buvoli & Gasparini done the harlots before & has Braendesrod done Paris before? I do wish the ROH noted debuts so I'm not sat there wondering whether someone is new to a role or whether they did it in the last run but I didn't see them. Thinking ahead to future debuts, I found myself while watching Richardson as Benvolio wondering what he'll be like as Romeo come February.

Isabella Gasparini posted on Instagram that it was her Harlot #3 debut, I would assume it was a debut for  Annette Buvoli too but not sure, they were both great.

 

I also assume it was Braendesrod’s debut too but based on my previous trips anyone that isn’t Tomas Mock must be a debut!! 😆

[Richard LH]

Just now, Rob S said:

Isabella Gasparini posted on Instagram that it was her Harlot #3 debut, I would assume it was a debut for  Annette Buvoli too but not sure, they were both great.

 

I also assume it was Braendesrod’s debut too but based on my previous trips anyone that isn’t Tomas Mock must be a debut!! 😆

I was delighted also to see Kristen McNally as one of those three....I had sort of assumed she had moved on to do character roles, and presenting....but she continues to be a super dancer in straight soloist roles.

[bridiem]

1 hour ago, JennyTaylor said:

I think words really do fail me on this occasion as I cannot think of sufficient superlatives to describe the performance I've just seen, and that's for Will and Fumi, let alone the other members of this glorious cast. Thank you for posting such beautiful photos.   

 

Exactly how I feel, JennyTaylor. Just sublime. Incredibly moving and incredibly beautiful.

 

Bracewell doesn't dance to the music, he dances with the music and so the choreography sings as it should. Real, profound artistry. How is it possible that he's not a principal?!

 

The sheer beauty of Kaneko's dancing, the light and shade, and the melting, yearning, ecstatic partnership with Bracewell. Just brilliant.

 

 

[JohnS]

56 minutes ago, Richard LH said:

Unless I'm mistaken, the cameras in the stalls area were in place but not being used this afternoon. Camera filming is listed for "Jenufa" this evening.

Many thanks Richard and apologies if I’ve got people’s hopes up. I thought I’d seen a reference to cameras being at the General Rehearsal as well as today’s performance so assumed the cameras were actually filming.

[Sim]

The dancing and interpretations of both Bracewell and Kaneko were simply gorgeous.  What a connection they had;  every time they looked at each other I felt a whoosh of emotions and feelings.  They managed to convey love, lust, passion,  curiosity, impending doom (the look on Fumi's face when Nurse tells her that Romeo is a Montague) and the sheer exuberance of youth, their boundless joy starting with that first look, and then that first touch in the ballroom, and then that wonderful balcony pdd, and then that oh so long kiss after their wedding (I thought 'oh my, these kids are going to have a great night'), and then the total and abject despair to which they both succumb in the bedroom pdd. Throughout, the emotional connection between the two of them made every look, every touch, every smile, every tear, oh so real.  Both of these superlative artists showed us exactly what these words mean.  If Will Bracewell's name is not at the very top of the promotions list at the end of this season I will be both astounded and very, very disappointed.  

 

I would also add how much I felt a connection between the three friends today.  Their dance in front of the Capulets' house showed us three mates in harmony with each other, and comfortable joshing around together.  It was clear in the ballroom scene that both Benvolio and Mercutio (Calvin Richardson/Luca Acri) were doing their best to save Romeo from himself...but we could see that it was already way too late for that.  They could only stand by and watch helplessly as their good friend started on the journey to meet his fate.  I loved how, when Mercutio held his hand out to Romeo to say 'look, I am bleeding' Bracewell wiped the blood off Mercutio's hand and then onto his own tunic.  Mercutio would always be a part of him, and he would always be reminded that he literally has blood on his hands.  'A plague on both your houses.'  This is Mercutio's dying wish;  the realisation that he is losing his life because of these two feuding families.  Romeo here realises this too, and the pain of losing his best mate means that he doesn't ponder his response as some Romeos do;  he grabs the sword and with just a quick shadow of presentiment crossing his face he avenges his friend's death, with real anger and meaning. Such a contrast to the gentle way he cradled Mercutio's dead body.   I love the way when, after he kills Tybalt, Benvolio really tries to comfort him.  This was a real band of brothers, and I felt so sad when the band snapped and broke.

 

And finally...another little touch that broke my heart was that in her dying seconds, Juliet manages to take Romeo's hand and kiss it.  She dies smiling.  And I was alive, crying.    

[capybara]

26 minutes ago, bridiem said:

 

Bracewell doesn't dance to the music, he dances with the music and so the choreography sings as it should. Real, profound artistry. How is it possible that he's not a principal?!

 

 

I felt that William (always wonderful and never more so than today) was held back when he was with BRB and, since his arrival at the RB, he has been plagued with injuries which have made it difficult for him to dance when cast (and probably caused him not be be cast more than once).

He is an ARTIST of rare talent and huge appeal (whatever his rank may be) and one feels certain that, as far as the RB's management is concerned, he is enroute to having the title to match. 

[maryrosesatonapin]

Like others I wandered out into Bow Street this afternoon with my head still in Verona, with the result that I walked for a while in quite the opposite direction from where the car was parked!  What a beautiful and emotional performance.  This Russian, Scottish, Welsh and Japanese smörgåsbord was certainly a feast to be relished.  Kaneko danced and acted beautifully, her girlishness veering from sweet to headstrong to passionate.  Bracewell’s Romeo was just on the right side of the line between the innocent and the gormless and his acting too was excellent.  I did find him rather ‘ordinary’ in appearance and dancing quality (eg heavy landings, a few strained lifts), but in a way that made him more relatable and poignant.  I realise I'm in a minority with this opinion! But I thought him vastly outshone by Luca Acri’s Mercutio – I would really like to see what Acri could make of the Romeo rôle.
 

Hirano’s Tybalt was domineering and bad-tempered (although, admittedly, he did have to put up with a lot of taunting from those three naughty boys).  He has real stage presence, partly because of his imposing physique, but I did find him somewhat one-dimensional.  Another imposing physique was that of Lukas BB as Paris (sorry, I’m being lazy here).  He looks the epitome of a prince or nobleman and I consider him to be the most classically handsome dancer the RB has at the moment.
 

I agree with others that Nathalie Harrison’s Lady Capulet was particularly touching – she was the only one who actually brought a tear to my eye.
 

The real stars of this masterpiece, though, are Kenneth MacMillan for creating such a powerfully emotional ballet laden with vibrant, original choreography.  It is no mean feat to attempt to translate to dance one of the most famous plays of all time, yet he does the original justice with the greatest possible clarity of story-telling. He even manages to introduce moments of humour to contrast with the overall sadness of the story. And the other star is of course Prokofiev – I am sure that for weeks to come I will do my chores to that powerful Capulet’s Ball theme and have Juliet’s delicate, haunting leitmotif running through my head as I lie in bed at night.
 

I bought this ticket on a whim just a couple of days ago and am so glad I did – thank you to those who recommended Kaneko/Bracewell from seeing the rehearsal.  Hardly anyone seemed to be wearing a face mask and some who did, were hanging it down beneath their chins!  I kept my super-effective one on from the moment I got out of the car to the moment I got back into it.  I enjoyed reading the programme in the interval – did you know that Shakespeare actually made his Juliet younger (13) that his sources, so as to match the then age of his daughter Susanna, presumably as he felt he had insight into the mind of a girl of that age?
 

In case you’re interested, I mentioned on another thread that I saw BRB’s R&J three days ago and was greatly moved by it.  I couldn’t help comparing the two productions.  BRB’s principals (Hirata/Morales) were considerably superior IMO (but this was a debut and I am sure Kaneko/Bracewell will improve from their already impressive beginning). The scenery was similar but it was clear that RB have a much larger budget, not least in the number of dancers on stage – BRB’s marketplace and ballroom scenes were rather thin on the ground and they had less strength in depth, which is to be expected of the smaller company.  If I had to go to one again though I’d still prefer BRB, simply from the emotional impact and exquisite dancing of the lead pair.
 

I am now looking forward to my next RB R&J, which won’t be until January (Osipova/Clarke).  Not to mention Polunin’s version in December… I wonder what that will be like.

[JennyTaylor]

I think Mercutios often do "outdo" Romeos in bravura dancing, because that is how the choreography is written.  Look at Marcelino Sambe as Mercutio - unmatched!  But, Romeo has the lyrical dancing which is equally technically challenging but different steps and tone. For me Lucra Acri (who was brilliant) and Will Bracewell were equally superb in their respective, very different roles.  (Calvin Richardson as Benvolio was wonderful too). I'm struggling to pick out my favourite moments, as I'm still in the beautific dream which the whole show engendered, but I always love the 3 male friends' divertissements and it was gut wrenching today to see the joy and fun of Act 1 and early Act 2, to how it all finishes in tragedy.   

[capybara]

27 minutes ago, JennyTaylor said:

I think Mercutios often do "outdo" Romeos in bravura dancing, because that is how the choreography is written.  Look at Marcelino Sambe as Mercutio - unmatched! 

 

Interestingly, some of the reviews suggest that, while Sambe's bravura dancing was amazing, his interpretation lacked wit and pathos. I tend to agree. BTW, I love Acri and today's 'team of three' was somehow more believable (more natural) than Tuesday night's, although they, too, were excellent.

 

I've been wanting to say this since Monday's rehearsal but I am left wondering the same today. Is it possible that Bracewell's 'lad' of a Romeo (which I take to) is a little too much of a contrast with the classy Juliet portrayed by Kaneko? Yes, I know that the two families come from different sides of the 'track', but even so........If I had the power to 'shuffle the pack', I think I could envisage Bracewell with O'Sullivan and Kaneko with Muntagirov.

 

 

 

 

Edited October 9, 2021 by capybara

[maryrosesatonapin]

8 minutes ago, capybara said:

 

I know that the two families come from different sides of the 'track',

 

 

... I could envisage Bracewell with O'Sullivan and Kaneko with Muntagirov.

 

 

 

 

My understanding is that Romeo is of the same class as Juliet, just from a rival family.  But I agree Kaneko came over as much 'classier' as you put it.  And yes, I'd love to see her with Muntagirov.

[maryrosesatonapin]

37 minutes ago, JennyTaylor said:

I think Mercutios often do "outdo" Romeos in bravura dancing, because that is how the choreography is written.

I agree, but it wasn't just the dancing.... Acra's every glance and movement was more nuanced.

[bridiem]

43 minutes ago, capybara said:

I've been wanting to say this since Monday's rehearsal but I am left wondering the same today. Is it possible that Bracewell's 'lad' of a Romeo (which I take to) is a little too much of a contrast with the classy Juliet portrayed by Kaneko? Yes, I know that the two families come from different sides of the 'track', but even so........If I had the power to 'shuffle the pack', I think I could envisage Bracewell with O'Sullivan and Kaneko with Muntagirov.

 

I agree that those could be seen as more natural pairings, but I felt that with Bracewell's Romeo there was an element of him playing the 'lad' because his life had no focus - he was just joining in with messing around with his friends; but when he saw Juliet, he instantly recognised what he was missing and matured before our eyes into a serious and passionate young man. And Kaneko's Juliet saw past the laddishness to the real person underneath, and knew this was it. Together they would fly through life, supporting each other, growing together, and bearing each other's burdens. Except that, tragically, they didn't.

[Dawnstar]

5 hours ago, Rob S said:

Isabella Gasparini posted on Instagram that it was her Harlot #3 debut, I would assume it was a debut for  Annette Buvoli too but not sure, they were both great.

 

I also assume it was Braendesrod’s debut too but based on my previous trips anyone that isn’t Tomas Mock must be a debut!! 😆

 

Thanks. I saw a fair number of Parises in the last run, Edmonds, Hirano & Donelly, as well as Mock (who's my favourite in the role) so knew there are more than Mock out there. It was kind of odd to see Mock as the Prince instead today!

 

3 hours ago, capybara said:

 

I felt that William (always wonderful and never more so than today) was held back when he was with BRB and, since his arrival at the RB, he has been plagued with injuries which have made it difficult for him to dance when cast (and probably caused him not be be cast more than once).

 

Am I right in thinking he missed an entire year? I remember seeing him in Winter Dreams December 2018 (only my 2nd time seeing the RB live so it took me quite a while to work out who was who between Bracewell & Edmonds as they were in identical uniforms & I didn't know what either of them looked like!) then the Nutcracker Prince January 2019 but after that he seemed to disappear until Dances At A Gathering in February 2020. It's a shame he was presumably still off injured for the casting of the last Onegin run as I'd love to see him as Lensky.

 

1 hour ago, capybara said:

I've been wanting to say this since Monday's rehearsal but I am left wondering the same today. Is it possible that Bracewell's 'lad' of a Romeo (which I take to) is a little too much of a contrast with the classy Juliet portrayed by Kaneko? Yes, I know that the two families come from different sides of the 'track', but even so........If I had the power to 'shuffle the pack', I think I could envisage Bracewell with O'Sullivan and Kaneko with Muntagirov.

 

I personally didn't think he came over as too laddish. In fact a couple of times I interpreted his acting as Romeo deliberately making himself be more laddish to fit in with his mates when he'd possibly rather not be as much, though whether I'm interpreting correctly I don't know. For instance I don't recall seeing other Romeos spend quite a long time sitting on their cloak tuning their mandolins rather than chatting to others at that point in the first scene. Though I could have been paying more attention to that today because he was sitting on the closest point of the stage to me.

 

It's so difficult to know how much perceived differences between casts are down to the actualy dancers & how much are down to me as an audience member seeing the stage (or not seeing a fair chunk of the stage today!) at different angles & focusing on different things. I know for instance that I focused more on Ball's Tybalt on Tuesday than Hirano's today because I knew from the previous run that I found Ball much more interesting in the role.

Edited October 9, 2021 by Dawnstar

[Sim]

1 hour ago, maryrosesatonapin said:

My understanding is that Romeo is of the same class as Juliet, just from a rival family.  

Yes.  Shakespeare confirms this in the first words of the play: Two houses, both alike in dignity…

[alison]

Talking about not seeing the whole of the stage, that's reminded me that on the first night there was some action at one point - I'm guessing either in the first scene or at the ball - when the "boys" must have been completely invisible to all audience members in the left-hand "arm" of the horseshoe because whatever they were doing was taking place behind the proscenium arch.  That needs some attention - it's a common failing.

[MJW]

Some rather wonderful photos of Bracewell and Kaneko from the ROH's Flickr:

 

https://www.flickr.com/photos/royaloperahouse/albums/72157720031365270

 

 

[capybara]

9 hours ago, Sim said:

Yes.  Shakespeare confirms this in the first words of the play: Two houses, both alike in dignity…

 

Whoops. I last read the play when a child. I guess that the costumes in the ballet (various productions) suggest that the Capulets enjoy a more well-heeled lifestyle.

In which case.............I wonder even more why Bracewell and Kaneko seemed to be born of entirely different worlds.

[Jan McNulty]

6 minutes ago, capybara said:

 

Whoops. I last read the play when a child. I guess that the costumes in the ballet (various productions) suggest that the Capulets enjoy a more well-heeled lifestyle.

In which case.............I wonder even more why Bracewell and Kaneko seemed to be born of entirely different worlds.

 

I've wondered for some time whether they were part of a Ghibelline/Guelph divide? I don't know too much about this apart from the fact that they were opposing factions in the city states of medieval Italian city-states.

 

I've just found this snippet on Wikipedia:

 

Broadly speaking, Guelphs tended to come from wealthy mercantile families, whereas Ghibellines were predominantly those whose wealth was based on agricultural estates

 

https://en.wikipedia.org/wiki/Guelphs_and_Ghibellines

 

 

[Dawnstar]

10 hours ago, MJW said:

Some rather wonderful photos of Bracewell and Kaneko from the ROH's Flickr:

 

https://www.flickr.com/photos/royaloperahouse/albums/72157720031365270

 

Nice to see a few of the bits I missed from my as-far-to-the-side-as-you-can-get seat yesterday! (I still can't decide if far left or far right is worse for R&J.) Though these were presumably taken at the dress rehearsal as they have Sissens & Saunders rather then Richardson & Avis.

[Sim]

1 hour ago, Jan McNulty said:

 

I've wondered for some time whether they were part of a Ghibelline/Guelph divide? I don't know too much about this apart from the fact that they were opposing factions in the city states of medieval Italian city-states.

 

I've just found this snippet on Wikipedia:

 

Broadly speaking, Guelphs tended to come from wealthy mercantile families, whereas Ghibellines were predominantly those whose wealth was based on agricultural estates

 

https://en.wikipedia.org/wiki/Guelphs_and_Ghibellines

 

 

Yes. The original, earlier Italian story from which Shakespeare drew for R&J was apparently based on these two families.  The original feud was that one family was for the Pope, the other for the Holy Roman Emperor.  

[Lizbie1]

2 hours ago, capybara said:

I wonder even more why Bracewell and Kaneko seemed to be born of entirely different worlds.

 

I didn't find this - their different demeanour seemed more to do with the far greater licence afforded to boys and young men.