Romeo and Juliet at the Royal Albert Hall 1 December 2021

[maryrosesatonapin]

After two covid delays, Johan Kobborg's Romeo and Juliet finally took place tonight.  The ballet is classically based but with some fresh updated touches and completely different from McMillan’s version.  It lasted about 80 minutes with no interval.

 

The opening was the same as the closing scene – Romeo and Juliet lying dead on a bier.  This brought to mind classic Greek tragedy where the end of the story is inevitable and all events lead to the final calamity. Once the bier was removed (with a bit of creaking and pushing) Polunin swaggered onto the stage, resplendent in white tights and looking very handsome.  Kobborg had provided showcase choreography to make Polunin immediately stride right to the front of the stage and dazzle with his trademark huge leaps and rapid spins of the kind that his audience seem to expect.  He also included a cheeky mime about Romeo’s flirtatious habits with the girls! 

 

The scenery was a massive, many-staired structure that appeared to be made of grey concrete.  This was manipulated to give different views for each scene – eg tall archways for the Capulet ball, a vertiginous staircase leading to a platform to serve as Juliet’s balcony.  It seemed to be a dramatic and effective combination of the brutalist architecture of Denys Lasdun and the impossible staircases drawn by Maurits Escher.

 

When Alina Cojocaru appeared she was the epitome of a pretty, spirited teenage girl.  Her dancing, as always, was exquisite and her acting was such that by the end, when she awoke from the sleeping potion full of the joy of anticipation of being with her Romeo, and then had that joy crushed by the discovery of his body, it was absolutely heartrending.  I noticed grown men around me weeping.

 

The overall feel of the piece was somewhat timeless – the costumes attractive but anonymous; it is after all a tale that could be repeated to some degree in any time and country.  Apart from the principals, there was great dancing from Daichi Ikarashi as Mercutio and Nikolas Gaifullin as Tybalt. Some very promising young dancers have been hand-picked by Polunin Ink to give them the opportunity they might not have in a traditional company, and at the same time to utilise their special talents.

 

It was lovely to see Alina bring her Johan on to the stage to receive some of the rapturous applause.  I fondly remembered enjoying seeing them dance together many years ago when they were both in the Royal Ballet – beautiful dancers individually but utterly enthralling when they were together on stage.  But I digress.  Tonight was a different experience, merging the old with the new.  The (sold-out) audience were not typical of those at the Royal Opera House – they were mostly a lot younger, and extremely enthusiastic as the lengthy standing ovation showed.  I believe it is Kobborg’s aim to keep ballet alive and also to keep it fresh, and in this he has succeeded. I enjoyed the evening very much and found it a distilled and different version of Romeo and Juliet which is both spectacular and moving.

 

https://maryrosedouglasuk.wixsite.com/ballet

[San Perregrino]

I went prepared to be wowed, I came away underwhelmed. There were some lovely individual performances, most notably Daichi Ikarashi of the Royal Ballet, some admirable leaps and spins from Sergei Polunin (cue cameras and videos from the audience) and some delicate footwork from Alina Cojacaru, and, in places, fine ensemble work. However, the production itself didn’t gel for me. It was creaking at the seams, the music muffled due to over-amplification, the story confusingly told, if at all. The acting left a lot to be desired and there was little, if any, chemistry between the characters. It all felt underrehearsed and at times a little desperate. 

It is fitting that the Royal Albert Hall is known colloquially as the Nation’s village or church hall since of this production was what I might have expected to see in a village hall for £10. It certainly didn’t deliver satisfaction at the extortionate Gala level pricing of the tickets. I am pleased that I got the chance to see this production however, is  I left feeling short-changed and exceedingly grateful (and spoiled) that home was a bus ride away and not a plane journey.

[bridiem]

48 minutes ago, prs59 said:

I went prepared to be wowed, I came away underwhelmed. There were some lovely individual performances, most notably Daichi Ikarashi of the Royal Ballet, some admirable leaps and spins from Sergei Polunin (cue cameras and videos from the audience) and some delicate footwork from Alina Cojacaru, and, in places, fine ensemble work. However, the production itself didn’t gel for me. It was creaking at the seams, the music muffled due to over-amplification, the story confusingly told, if at all. The acting left a lot to be desired and there was little, if any, chemistry between the characters. It all felt underrehearsed and at times a little desperate. 

It is fitting that the Royal Albert Hall is known colloquially as the Nation’s village or church hall since of this production was what I might have expected to see in a village hall for £10. It certainly didn’t deliver satisfaction at the extortionate Gala level pricing of the tickets. I am pleased that I got the chance to see this production however, is  I left feeling short-changed and exceedingly grateful (and spoiled) that home was a bus ride away and not a plane journey.

 

Ouch! Interesting to have two such different perceptions of the production.

[Guest oncnp]

In the links tomorrow but the Guardian's take if you want to get ahead.....

 

Romeo & Juliet review – Sergei Polunin in swashbuckling form | Dance | The Guardian

 

and the Evening Standard's Polunin Ink Romeo & Juliet at the Albert Hall: Might this finally be the start of his comeback? | Evening Standard

Edited December 2, 2021 by oncnp

[maryrosesatonapin]

6 hours ago, prs59 said:

this production was what I might have expected to see in a village hall for £10.

That would indeed be a bargain!  If you could alert us next time you see the equivalent of this world-class, memorable ballet at a village hall for a tenner please let us know.  😄😄😄

[KyleCheng]

I will admit upfront that RAH has never been among my favourite venues. It's too cavernous for good reverberation and the audience tends to be particularly trying. Last night the two young ladies who arrived late and squeezed past me to sit next to me BOTH took SEVERAL photos with their phones and were apparently filled with reflections so urgent that had to be uttered to each other on the spot.

 

The ensemble choreographies were, for the most part, a bit unidimensional and overly homogenous. Sitting on the rausing circle as I did, one expects to see some creative formations but there was very few. Set and props also left much to be desired. I am not quite convinced of the added value of the giant building. It certainly looks magnificent and intimidating but it felt to me like an ambitious idea that was under-utilised in practice. The storytelling was also a bit rushed, a particularly notable moment for me was after the marriage between R&J, when the light came back on Tybalt and Mercutio were very abruptly already prepared to engage in a fight. The sounds Tybalt's and Mercutio's epees made when they hit the stage also felt embarrassingly plastic and cheap to me. I appreciate that they can't be real steel but the texture of the ones used in the RB production, which one cannot help but compare the current one with given their temporal proximity, felt much more realistic and convincing.

 

Notwithstanding the faults in the venue and the production, the virtuosity of the leading dancers shone through. And indeed the cast was what caused me to purchase the ticket at the first place. The lyrical interpretation and delicate style of Alina Cojocaru were like none other. It is incredible how such amount of strength and intricacy coexist in her. To me, the one scene I felt palpable emotion from was when Juliet sat on Romeo's body trying to wake him up, torn between denial and sorrow. Now that she has left ENB, it will be much harder to see her dance and I am thankful for the opportunity to be reminded again of how enchanting a performer she has always been. Sergei Polunin's dancing was also very enjoyable and exciting to watch, but I kept thinking if can see Putin's silhouette through his white costume. I don't think I have seen Daichi Ikarashi dance previously but his electric and powerful performance last night was sufficient to convince me that he is someone to look out for in coming years.

 

All in all it was not a particularly satisfactory experience but as memory fades with time I will probably remember it as one of the few nights I saw Alina dance and, consequently, do so fondly.

[FionaM]

This production seems to be attracting ‘marmite’ reviews … either really love or really hate.

I totally agree with this one.  I’m fed up of overly long ballets with crowd scenes that serve only as fillers (or to provide dancing for the other ranks in a company), intervals that break the drama, and multiple extras on stage that distract.  Let’s focus on the real story.  

 

From a Dancing Times journalist  👏

 

[alison]

I thought Polunin had had the Putin tattoo removed?

[Beryl H]

I like the sound of a clever, shorter R and J, scenery doesn't look very packable though.

[AnneL]

Yes the reviews are ‘marmite’ - I just read a less-than-complimentary one in The Times. I am interested to see other views too. 

[emmarose]

3 hours ago, FionaE said:

This production seems to be attracting ‘marmite’ reviews … either really love or really hate.

I totally agree with this one.  I’m fed up of overly long ballets with crowd scenes that serve only as fillers (or to provide dancing for the other ranks in a company), intervals that break the drama, and multiple extras on stage that distract.  Let’s focus on the real story.  

 

From a Dancing Times journalist  👏

 

 

Well, a lot of people enjoy those 'filler' pieces, however, even if they do not, by being in those pieces it is how stars rise in the ranks and become great performers.

If you was to cut those from ballets, you would have a big issue on your hands as all of the future principals and stars will have missed out on a big part of their development, or they just won't be there at all.

 

Anyway, I am enjoying reading the reviews, both the good and the bad. 

[LinMM]

The Evening standard one is so so gives it three stars but seems reasonably favourable. 

[San Perregrino]

6 hours ago, maryrosesatonapin said:

If you could alert us next time you see the equivalent of this world-class, memorable ballet at a village hall for a tenner please let us know.  😄😄😄

As it happens, I regard Covent Garden as being my local village hall and world-class ballet is available there at every performance for a tenner or less 🩰🩰🩰

Consider yourself alerted 😉

Edited December 2, 2021 by prs59

[maryrosesatonapin]

13 minutes ago, prs59 said:

As it happens, I regard Covent Garden as being my local village hall and world-class ballet is available there at every performance for a tenner or less 🩰🩰🩰

Consider yourself alerted 😉

I prefer not to sit in seats so removed from the action that I cannot make an accurate judgement of the techniical capabilities of the dancers, their acting ability, mutual chemistry etc.  But I am sure the ROH would be delighted to be considered your local village hall   Or not.

[Ian Macmillan]

Folks, could we please agree that the 'village hall' analogy has run its course?  Thanks.

[Lizbie1]

I'm quite tired of the assertion that cheaper seats or anything in the Amphitheatre are sub-standard - and the implication, intended or not, that the judgement of those sitting there cannot be trusted.

 

I have much less than perfect vision and have no trouble assessing technical (as far as I'm capable) or acting ability from seats costing a fraction of those lower down the theatre, and there are some extremely knowledgeable regulars there - including former and current teachers - who feel likewise. And yes, sometimes those seats have indeed cost less than a tenner.

 

Obviously it doesn't suit everyone to sit there, but the view from, for example, the front amphi sides is excellent - and there are in fact times when certain faults (such as travelling during series of fouettes or imperfections in the corps) are *only* really picked up by people sitting there. It is in some ways the most unforgiving view of dancers in the house.

[Lizbie1]

Just now, Ian Macmillan said:

Folks, could we please agree that the 'village hall' analogy has run its course?  Thanks.

 

Sorry 😕

[FionaM]

7 hours ago, alison said:

I thought Polunin had had the Putin tattoo removed?

Yes Sergei says he is having all his tattoos removed.  I understand it’s going to take a number of YEARS … especially for the ones that are more deep or dense.  It’s not an instant process.  You can only have the laser treatment once every few weeks and each treatment only removes some depth of each tattoo.   He says he’s already had 15 laser removal sessions.  I’m sure you can google more about the painful and lengthy process online. 
 

Romeo was fully clothed in this version.  No body tattoos were visible.  

 

 

 

 

[FionaM]

I’ve seen one review that says Sergei’s technique is rubbish but his acting is great, …

and another that says his technique is much improved and he’s in really good shape, but he’s never been a good actor.  

I’m paraphrasing, but that is the gist.  

 

So, which is it?   
 

I’m amused watching them tying themselves up in knots.

Edited December 3, 2021 by FionaE

[San Perregrino]

9 hours ago, maryrosesatonapin said:

I prefer not to sit in seats so removed from the action that I cannot make an accurate judgement of the techniical capabilities of the dancers, their acting ability, mutual chemistry etc.  But I am sure the ROH would be delighted to be considered your local village hall   Or not.

If that is your bent, then all those things can be readily achieved at the ROH from a stalls circle standing (SCS) place, generally available for a tenner or less.  My experience is that expensive seats don’t  necessarily guarantee a better view of what is happening on stage. For example, I know people who will go to great lengths to sit in rows A-E of the Orchestra Stalls whereas for me, they are a no-go area because I can’t see the dancers’ feet.  

 

I am an amateur, a lover of ballet and dance, nothing more. I don’t pretend to know the difference from a jeté or a jump, a twist, a turn or a triple Salchow. As such I am rarely disappointed by a performance. I go to be entertained and, for my money, I expect to come away with my senses, particularly my eyes and ears, having been stimulated and pleased.  On occasion I am transported to other worlds and these moments I cherish.

 

I was fortunate to be sitting in a very expensive stalls seat with fantastic view of the stage at the RAH for R&J on Wednesday and the production sadly fell well short of my expectations. 
 

On reflection, whilst the RAH is known as the village hall, Community Centre is possibly a more appropriate etiquette to describe the ROH, given that it brings together, and is a meeting place for, the ballet community, the dance community and the opera community on a regular basis. 
. 

[San Perregrino]

6 hours ago, FionaE said:

I’ve seen one review that says Sergei’s technique is rubbish but his acting is great, …

and another that says his technique is much improved and he’s in really good shape, but he’s never been a good actor.  

I’m paraphrasing, but that is the gist.  

 

So, which is it?   
 

I’m amused watching them tying themselves up in knots.

it’s both. one man or woman’s meat or tofu is another man or woman’s poison. 

[Jan McNulty]

There are 5 reviews of the performance to choose from in Today's Links (as well as lots of other goodies to read over your elevenses:

 

 

[FionaM]

Yes it is both!

 

Sergei is in super shape and performed beautiful and free classical ballet without showing off his still super technique.  He keeps it subservient to the story telling.  

 

He has always been a superb dance actor  … his many performances of Giselle, Marguerite and Armand, Rhapsody, Mayerling etc attest to that plus his own productions.  All these critics wrote so when he was at RB.  He has only improved since.  

 

This was a fine and subtly judged portrayal appropriate to the intimate feel in the RAH created by having the stage project into the arena.
 

The photos and videos show this to be the truth.  

[alison]

25 minutes ago, FionaE said:

He has always been a superb dance actor  … his many performances of Giselle, Marguerite and Armand, Rhapsody, Mayerling etc attest to that plus his own productions.  All these critics wrote so when he was at RB. 

 

Well, they can't have done about his Mayerling, since he never danced it with the RB.

[FionaM]

22 minutes ago, alison said:

 

Well, they can't have done about his Mayerling, since he never danced it with the RB.

I didn’t say that ..  I said they wrote he was a superb dance actor whilst at the RB.  
 

Critics and more importantly audiences elsewhere have much lauded his acting abilities in Mayerling and everything else.  
 

you know it’s true.  

[FionaM]

Sergei participated in every class and rehearsal with the whole cast.

 

It’s a team effort and this is no prima donna.  
 

As this video shows.  Enjoy 
 

 

[Lizbie1]

10 minutes ago, FionaE said:

I didn’t say that ..  I said they wrote he was a superb dance actor whilst at the RB.  
 

Critics and more importantly audiences elsewhere have much lauded his acting abilities in Mayerling and everything else.  
 

you know it’s true.  

 

FionaE, I can't decide if you're being deliberately provocative or whether you believe that there is only one fair, honest and uncompromised opinion of Polunin's acting.

[emmarose]

Reading the reviews one thing I couldn't get over is that he's still only 32! He just seems so much older, especially compared to say Vadim, who still seems so young. He left RB so long ago now too, crazy.

[emmarose]

12 hours ago, maryrosesatonapin said:

I prefer not to sit in seats so removed from the action that I cannot make an accurate judgement of the techniical capabilities of the dancers, their acting ability, mutual chemistry etc.  But I am sure the ROH would be delighted to be considered your local village hall   Or not.

 

I think we're all better than this, no?

For one, some of the cheapest seats/standing places do offer those exact things, and for another, let's not shame people who love ballet and can only manage to afford those. We're all on here because we love the art form and to see it live when we can is a real treat, let's not belittle those who love it just as much as you do but may not have as much disposable income, it's a bit of a cheap shot. 

[San Perregrino]

Can i perhaps steer the conversation back to the original topic, which is "Romeo and Juliet at the Royal Albert Hall 1 December 2021"?  (there's another thread on the forum to discuss the wider merits and flaws of Sergei Polunin should people wish).  Yes, Polunin happened to be one of the dancers cast on Wednesday but, as has just been highlighted by FionaE,  he was just a cog in a machine of many parts .   My problem is that the machine wasn't well constructed nor oiled and didn't deliver what it claimed to do.   In my original post i acknowledged that Polunin acquitted himself reasonably well with the material given.   Was Wednesday his finest hour? not in my opinion.

[Anna C]

48 minutes ago, prs59 said:

Was Wednesday his finest hour? not in my opinion.

 

Which is the whole point of this Forum, isn’t it? - to offer - respectfully - our own *opinions*; for this is Art we’re discussing, which is of course subjective.  It’s not a Fan Site and nobody’s opinions are facts, or “the truth” for everybody else. 

[maryrosesatonapin]

1 hour ago, emmarose said:

 

I think we're all better than this, no?

For one, some of the cheapest seats/standing places do offer those exact things, and for another, let's not shame people who love ballet and can only manage to afford those. We're all on here because we love the art form and to see it live when we can is a real treat, let's not belittle those who love it just as much as you do but may not have as much disposable income, it's a bit of a cheap shot. 

I totally agree with you @emmarose and indeed have spent many a happy evening in the standing area of the stalls before becoming too decrepit!  I was being snarky because I was so annoyed with @prs59's statement that the production was so poor it was only worthy of a village hall for £10 (NOT the ROH note, but any old village hall).  That was so blatantly untrue and unfair that I became overly snippy.  I apologise

 

[emmarose]

22 minutes ago, maryrosesatonapin said:

I totally agree with you @emmarose and indeed have spent many a happy evening in the standing area of the stalls before becoming too decrepit!  I was being snarky because I was so annoyed with @prs59's statement that the production was so poor it was only worthy of a village hall for £10 (NOT the ROH note, but any old village hall).  That was so blatantly untrue and unfair that I became overly snippy.  I apologise

 

 

But that's the thing, it's not untrue, it's that posters opinion and perspective and we all have different ones and they're all equally valid. Some people can adore a performance and others can think it utterly pedestrian and both are valid. You can't take it personally because it should detract from your own love of something, someone else doesn't have to agree with you for you to get enjoyment. And, you know, it's not cool to tear down others because you didn't like someone else's review. 

 

I'm glad you've apologised, I just think it was a bit of a low blow. Some of the biggest fans will be those paying the least because it's all they have to spare, but they want to get there and see a live performance, and I don't think anyone should ever make that person feel small or less worthy than someone will to pay hundreds per ticket.