Romeo and Juliet at the Royal Albert Hall 1 December 2021

[FionaM]

@art_enthusiast I’m also sorry that your perfectly normal request for further information led to my posting unallowed links to videos.  I feel these rules in this forum are outdated for the current generation and accepted usage, but until they change, so be it.  

 

I shall happily share links with you privately, and anyone else who is interested can message me also.  
 

My problem was finding ‘one’ recommendation when Sergei danced so many ballets multiple times AFTER leaving the RB.  In addition to his other careers.   Without attaching the link again, can I suggest you search YouTube for “Rhapsody Polunin” and choose the one that is 28 minutes long. 

[FionaM]

On 03/12/2021 at 10:27, emmarose said:

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.

FYI … Sergei turned 32 only 2 weeks ago.  
 

Vadim and Sergei are a few months apart in age (Vadim about 5 months younger), and they would have been in the same UK academic school year.  

 

They were at the same Prix de Lausanne, which Sergei won.  Vadim was awarded a scholarship there to join RBS.  Sergei had been at RBS since 2003 aged 13.  Vadim graduated in 2009 aged 19, Sergei in 2007 aged 17.  
 

And this might be why you think Sergei is much older … as he was in RB company two years ahead of Vadim joining ENB.  

[emmarose]

1 hour ago, FionaE said:

FYI … Sergei turned 32 only 2 weeks ago.  
 

Vadim and Sergei are a few months apart in age (Vadim about 5 months younger), and they would have been in the same UK academic school year.  

 

They were at the same Prix de Lausanne, which Sergei won.  Vadim was awarded a scholarship there to join RBS.  Sergei had been at RBS since 2003 aged 13.  Vadim graduated in 2009 aged 19, Sergei in 2007 aged 17.  
 

And this might be why you think Sergei is much older … as he was in RB company two years ahead of Vadim joining ENB.  

 

Thanks, I did already know all of this though, both of their histories, especially within the RB, that's why I brought them up in the same breath. And Vadim's career has been in it's ascendancy in the years after Sergei quit the RB.

He just seems so much older and looks it too, a bit more world-weary too. It's just quite a stark difference when they're comparable, same age, both graduates at RB, both principals, both technicians. 

[Tango Dancer]

38 minutes ago, emmarose said:

 

Thanks, I did already know all of this though, both of their histories, especially within the RB, that's why I brought them up in the same breath. And Vadim's career has been in it's ascendancy in the years after Sergei quit the RB.

He just seems so much older and looks it too, a bit more world-weary too. It's just quite a stark difference when they're comparable, same age, both graduates at RB, both principals, both technicians. 

 

I think Vadim looks incredibly young for 31.  He's got a really youthful face with no lines and amazing skin.  I did a class with him at Danceworks on Sunday online and he is so warm and encouraging and lacking in ego it makes him come across as youthful and full of positive energy.  He also seems very content in his own skin which helps him look young.    

[TSR101]

I fear I am going to get told off for asking questions not about the RAH performance but so be it! Have either Vadim or Sergei ever spoken about each other? My understanding is that Vadim joined RBS in 2006 and Sergei left the next year. Maybe I am missing something about the intricacies of RBS Upper School life but it seems odd to me that Vadim who couldn't speak English, and Sergei who has talked of being alone in the UK, not having great English, would not naturally have socialised even if there differing personalities stopped them being friends. Who else would Vadim have spoken too?

[Jan McNulty]

6 hours ago, TSR101 said:

I fear I am going to get told off for asking questions not about the RAH performance but so be it! Have either Vadim or Sergei ever spoken about each other? My understanding is that Vadim joined RBS in 2006 and Sergei left the next year. Maybe I am missing something about the intricacies of RBS Upper School life but it seems odd to me that Vadim who couldn't speak English, and Sergei who has talked of being alone in the UK, not having great English, would not naturally have socialised even if there differing personalities stopped them being friends. Who else would Vadim have spoken too?

Dancers personal lives are their own business unless they put them out in the public domain.  I’m afraid that speculation is not encouraged.

 

Here is a link to the Acceptable Use Policy that every member signed up to when they joined:

 

 

[capybara]

In his recent interview for Dance Europe, Vadim refers to the help he received from Benjamin Ella. Sergei was in the 3rd Year of the RBS Upper School by the time Vadim arrived and the living arrangements for the students back then were separated by year groups.

 

https://youtu.be/VUDUNlXzfUU

 

Please would a Mod. be so kind as to remove the link to the interview if it infringes any rules. Thank you.

[TSR101]

2 hours ago, Jan McNulty said:

Dancers personal lives are their own business unless they put them out in the public domain.  I’m afraid that speculation is not encouraged.

 

Here is a link to the Acceptable Use Policy that every member signed up to when they joined:

 

 

 

At no point did I ask for general speculation. For me this is another example of over moderation. I asked if they had spoken about each other - I wasn't expecting people to talk about what conversations they might have had in the pub with them, but as public figures, what they may have said in public if anything. I then explain my rationale for asking this - if I was a British kid in Russia and I didn't speak Russian, I would naturally speak to the other British kids. 

 

 

 

[bridiem]

37 minutes ago, TSR101 said:

 

At no point did I ask for general speculation. For me this is another example of over moderation. I asked if they had spoken about each other - I wasn't expecting people to talk about what conversations they might have had in the pub with them, but as public figures, what they may have said in public if anything. I then explain my rationale for asking this - if I was a British kid in Russia and I didn't speak Russian, I would naturally speak to the other British kids. 

 

Well to be fair, TSR101, your post did appear to be speculating about how odd it would have been if they didn't speak to each other, whether they were or were not friends given their personalities, and who else Vadim could have spoken to. That did sound a bit intrusive to me even if you weren't seeking private disclosures.

[art_enthusiast]

4 hours ago, capybara said:

In his recent interview for Dance Europe, Vadim refers to the help he received from Benjamin Ella. Sergei was in the 3rd Year of the RBS Upper School by the time Vadim arrived and the living arrangements for the students back then were separated by year groups.

 

https://youtu.be/VUDUNlXzfUU

 

Please would a Mod. be so kind as to remove the link to the interview if it infringes any rules. Thank you.

This is a great interview. Bit sad to hear the part where he mentions he's halfway to retirement?

[Lizbie1]

28 minutes ago, art_enthusiast said:

This is a great interview. Bit sad to hear the part where he mentions he's halfway to retirement?

 

😱😭

[FionaM]

Interested to see these latest reviews of this performance of R&J at RAH

 

https://www.danceforyou-magazine.com/2021/12/06/sergei-polunin-and-alina-cojocaru-in-romeo-juliet/?fbclid=IwAR0_qAI6KBtgoQryBnaRja5UaLLdkshfCT3ORqsPWpXQG3KTM_bIvJuzTjo
 

https://www.tatler.com/article/sergei-polunin-romeo-and-juliet-royal-albert-hall-review?fbclid=IwAR3vQq8fwXBfQxJWVKlvyKA_mLQT_pqJeBlpVJbZk2Lkrs2KVD-Am5prCTk

[FionaM]

49 minutes ago, art_enthusiast said:

This is a great interview. Bit sad to hear the part where he mentions he's halfway to retirement?

 
Let’s not be too downhearted … they’ve both got many more years ahead of them … look at Federico Bonelli … still in top form at 43 👏

[Guest oncnp]

1 hour ago, art_enthusiast said:

This is a great interview. Bit sad to hear the part where he mentions he's halfway to retirement?

 

'Might be based on his stated goal (some years ago admittedly) to retire, uninjured, at 40. 

[Balletfanp]

8 hours ago, oncnp said:

 

'Might be based on his stated goal (some years ago admittedly) to retire, uninjured, at 40. 

I’ve never heard that. One would hope that 40 was just a number plucked from the air, and that he won’t suddenly down tools at that age regardless of how he is dancing!

[Guest oncnp]

1 hour ago, Balletfanp said:

I’ve never heard that. One would hope that 40 was just a number plucked from the air, and that he won’t suddenly down tools at that age regardless of how he is dancing!

 

Of course I can't find the article now........and it was pre-pandemic. Much may have changed. 

Edited December 7, 2021 by oncnp

[emmarose]

15 hours ago, Balletfanp said:

I’ve never heard that. One would hope that 40 was just a number plucked from the air, and that he won’t suddenly down tools at that age regardless of how he is dancing!

 

I think when people are younger it's easy to throw out a number, then as it approaches their perspective changes.

I know Roger Federer had stated he was going to retire after the 2012 Olympics as he would be past 30, obviously he decided when he got there he wasn't ready to say goodbye and carried on.

 

When you're so young 30 and 40 can seem far away, but it comes up on you fast!

[art_enthusiast]

15 hours ago, oncnp said:

 

Of course I can't find the article now........and it was pre-pandemic. Much may have changed. 

Do you mean that after the pandemic, he would want to extend his career?

[FionaM]

23 hours ago, art_enthusiast said:

Do you mean that after the pandemic, he would want to extend his career?

I think that the more senior dancers have found that this unexpected break has given their bodies time to properly heal from many niggles and that their own time on stage can be extended longer than they might have previously thought.  
 

It’s food for thought for company directors as well as dancers … longer real breaks rather than whizzing here and there to squeeze in extra projects, galas, whatever.  

[EVWS]

Sorry wrong thread! 

Edited December 9, 2021 by EVWS

[FionaM]

Warning … spoiler alerts.

 

This reviewer has noticed that Juliet lifts the dead Romeo on to the tomb….
 

this slight girl manages to haul him up on to the tomb, where she dies on top of him, wrapping his arms around her in final embrace

 

https://www.britishtheatreguide.info/reviews/romeo-and-julie-royal-albert-ha-20512

 

How does tiny Alina lift him from the floor, he must help somehow, but I cannot see it.  I’ve had a look at an audience video from Verona with a good view.  Maybe he doesn’t 🤷🏼‍♀️ 
 

The interesting point for me is how deliberate this is to ‘equalise the roles’.  Both lovers get to lift the other’s dead body back onto the tomb.  
 

I’ve also realised how Johan has equalised the roles further by giving Juliet two friends to match Romeo’s two friends.  Clever.  

And then there’s the last moments with her lying and dying on top of him, both facing upwards where she wraps his arms around her … it’s both erotic and tragic.
 

 

[maryrosesatonapin]

We both remarked on that, @FionaE.  I actually think Alina lifted him.  I know it sounds incredible.  And I agree it was incredibly moving and dramatic. 

[art_enthusiast]

40 minutes ago, maryrosesatonapin said:

We both remarked on that, @FionaE.  I actually think Alina lifted him.  I know it sounds incredible.  And I agree it was incredibly moving and dramatic. 

Really makes me wish that they had recorded it!

[FionaM]

2 hours ago, art_enthusiast said:

Really makes me wish that they had recorded it!

You’ll likely have to travel somewhere (hopefully in Europe rather than further afield) to see performance #3 😉  I’m hoping for summer 2022 🤞

[art_enthusiast]

2 hours ago, FionaE said:

You’ll likely have to travel somewhere (hopefully in Europe rather than further afield) to see performance #3 😉  I’m hoping for summer 2022 🤞

 

If Covid permits!

Edited December 10, 2021 by art_enthusiast

[bridiem]

8 hours ago, FionaE said:

You’ll likely have to travel somewhere (hopefully in Europe rather than further afield) to see performance #3 😉  I’m hoping for summer 2022 🤞

 

Is it really the intention to retain this as an infrequent one-off event? If it's a production worth seeing, why not stage it at a venue for a period of time so that more people can actually see it, and at prices that more people can afford? 

[bangorballetboy]

1 hour ago, bridiem said:

 

Is it really the intention to retain this as an infrequent one-off event? If it's a production worth seeing, why not stage it at a venue for a period of time so that more people can actually see it, and at prices that more people can afford? 

 

I think the intention is to make is as exclusive as possible to encourage hype and to keep prices high.  I'd love to be proved wrong.

[annamicro]

11 minutes ago, bangorballetboy said:

 

I think the intention is to make is as exclusive as possible to encourage hype and to keep prices high.  I'd love to be proved wrong.

A large amount of tickets in Verona was sold half priced on a number of channels: I bought mine full priced, without knowing that few weeks later I could have bought a better one for less via my company "employees club". Even with reduced prices to fill the Arena remains a huge achievement: unfortunately I don't see the point to bring that kind of ballet (and production) to the Arena di Verona or the RAH, or the O2 Arena as the Royal Ballet also did (and I skipped it)

[FionaM]

I doubt prices will change … I suspect this is the true cost of ballet without state subsidy and huge private support.  There were plenty of seats priced £30-50 …. top end was £150, except front row at £250.   (RAH seem to add high booking fee … but that’s a separate issue.) 
 

Once the show was fully sold out, late returns priced at £150 were resold at £200.  I don’t know who benefitted from this uplift … RAH or the promoters.  I assume no one was willing to take the financial risk of a second show at RAH.
 

Whilst there is demand in other countries for these productions, I can see why the company will favour that over repeat performances.   
 

I’m guessing the lack of repeat performance may also be due to promoters not willing to take that risk.  That was certainly the case for other productions in other cities, where a second show was only announced when the first performance had sold out quickly.  

[bridiem]

25 minutes ago, FionaE said:

I doubt prices will change … I suspect this is the true cost of ballet without state subsidy and huge private support.  There were plenty of seats priced £30-50 …. top end was £150, except front row at £250.   (RAH seem to add high booking fee … but that’s a separate issue.) 
 

Once the show was fully sold out, late returns priced at £150 were resold at £200.  I don’t know who benefitted from this uplift … RAH or the promoters.  I assume no one was willing to take the financial risk of a second show at RAH.
 

Whilst there is demand in other countries for these productions, I can see why the company will favour that over repeat performances.   
 

I’m guessing the lack of repeat performance may also be due to promoters not willing to take that risk.  That was certainly the case for other productions in other cities, where a second show was only announced when the first performance had sold out quickly.  

 

There must be huge private support/sponsorship behind this production. And I just wonder what the point is when so few people will ever see it on the current model.

[maryrosesatonapin]

13 minutes ago, bridiem said:

 

There must be huge private support/sponsorship behind this production. And I just wonder what the point is when so few people will ever see it on the current model.

There are eight individual 'donors' listed in the programme.  I know nothing from 'behind the scenes' but suspect there is no other sponsorship.  Sponsors are usually keen to be advertised as such (cf the very visible support to the RB - both from wealthy individuals and upmarket companies.) I believe the ticket prices reflect the actual cost of staging the production, which must be huge - hence the need for a large venue to gain as large an audience as possible per night.

As for 'what the point is' - are you suggesting that when 'only' a few thousand people see something that makes it pointless?

[bridiem]

18 minutes ago, maryrosesatonapin said:

There are eight individual 'donors' listed in the programme.  I know nothing from 'behind the scenes' but suspect there is no other sponsorship.  Sponsors are usually keen to be advertised as such (cf the very visible support to the RB - both from wealthy individuals and upmarket companies.) I believe the ticket prices reflect the actual cost of staging the production, which must be huge - hence the need for a large venue to gain as large an audience as possible per night.

As for 'what the point is' - are you suggesting that when 'only' a few thousand people see something that makes it pointless?

 

One of the articles about the production mentioned a huge amount of sponsorship for the costumes. And given the amount of time and effort and money that has clearly gone into it, I do find the limited vision strange. It must be very frustrating for the artists involved, with no chance to evolve their performances or for any issues with the production to be ironed out. (I should add that I would love to see this production; but the only seats I could afford would be the worst seats at the RAH, which whilst OK for classical music are definitely not OK for ballet/theatre etc.)

Edited December 10, 2021 by bridiem
Added sentence

[Guest oncnp]

16 minutes ago, maryrosesatonapin said:

  Sponsors are usually keen to be advertised as such (cf the very visible support to the RB - both from wealthy individuals and upmarket companies.)

 

I don't think supporting this production is comparable to supporting the ROH, a large mainstream, organization that stages generally tradition fare. When a controversial individual is involved, sponsors may not be so keen to be associated.   

 

As the production doesn't have to publish its accounts we'll never know.