Royal Ballet - Romeo and Juliet - Winter 2022

[Rob S]

Just now, Silke H said:

I was in SCS D36, so I may have overheard and revealed myself 😉

 

You were on your own towards the end of the interval when I was umming and erring. Next time!!🙂

[Lizbie1]

Now that we're on a new page anyway, I can comment that though I wasn't a fan at the time I rather liked seeing Mr Blobby in this thread!

[LinMM]

What is the Star Circle thingy you were mentioning Alison 🤔

Is this there on mobile phones as well as I can’t see anything like that by the thread name. 

[Blossom]

On 02/02/2022 at 22:28, JohnS said:

 I thought Anna-Rose O’Sullivan and Marcelino Sambe really well matched and very much the young lovers, intoxicated in their passion. James Hay was a great Mercutio and I very much enjoyed Leo Dixon’s Benvolio. I wasn’t so taken with Thomas Whitehead’s Tybalt. Romeo and Juliet really takes off when the audience cares what happens to all the principal characters. There were some fabulous ensembles in the earlier run and I thought more energetic, better timed sword fights. Nevertheless I’m very much looking forward to seeing this cast in the cinema.
 

 

 

I would echo your comments about Whitehead's Tybalt. There was something ratehr flat about the character, it wasn't really clear why he wanted to get into a fight at any one time in terms of character motivation and there was definitely a lot less brooding menace than Gary Avis or Matthew Ball. What makes Tybalt a great character role is the acting and there was definitely something missing last night too.

 

Anna-Rose O'Sullivan and Marcelino Sambe were indeed incredibly well matched. O'Sullivan perfectly characterises the young Juliet and is so beautifully expressive that the audience can feel everything she is feeling.

 

I was at opening night where Marcelino Sambe played Mercutio and interestingly my companion commented that she would love to see him dance Romeo. Indeed his quick, light footwork and immense speed in places really put his stamp on the role and that was before even considering his dramatic ability. What particularly engaged me was his perfect match with O'Sullivan, they are so incredibly in tune with each other. 

 

James Hay was a wonderful Mercutio, but I don't think anyone can come close to Sambe's perfection in this particular role. As always, Mercutio's impaling completely crept up on me as always as I get so drawn into the drama and music.  I was delighted to see Leo Dixon as Benvolio - really enjoying seeing him play more soloist roles having first come across him at an insight (or Ashton event?)  a few years ago. There's always something special when a dancer you've been watching has a bit more of a spotlight put on them and it was such a pleasure to see him interpret the role last night.

 

I really miss Beatriz Stix-Brunell as harlot - every time I see 'her' red harlot wig on someone else!! It was nice to see some new dancers in this role but I wasn't particularly enamoured with the combination on this occasion, they just weren't brash enough.

 

 

[bridiem]

1 hour ago, LinMM said:

What is the Star Circle thingy you were mentioning Alison 🤔

Is this there on mobile phones as well as I can’t see anything like that by the thread name. 

 

On my laptop there's a star to the left of a topic if there are new posts I haven't read and it's a topic where I've posted something. There's a blob (to use a technical term) if there are posts I haven't read but it's not a topic where I've posted anything. The stars and blobs also appear on my phone.

[art_enthusiast]

2 hours ago, Blossom said:

I would echo your comments about Whitehead's Tybalt. There was something ratehr flat about the character, it wasn't really clear why he wanted to get into a fight at any one time in terms of character motivation and there was definitely a lot less brooding menace than Gary Avis or Matthew Ball. What makes Tybalt a great character role is the acting and there was definitely something missing last night too.

 

James Hay was a wonderful Mercutio, but I don't think anyone can come close to Sambe's perfection in this particular role. As always, Mercutio's impaling completely crept up on me as always as I get so drawn into the drama and music.  I was delighted to see Leo Dixon as Benvolio - really enjoying seeing him play more soloist roles having first come across him at an insight (or Ashton event?)  a few years ago. There's always something special when a dancer you've been watching has a bit more of a spotlight put on them and it was such a pleasure to see him interpret the role last night.

 

I definitely agree with your comments regarding Tybalt - for me, the best portrayal is by Ryoichi Hirano. Adore his acting, it's extremely believable, you feel as if there is some significant backstory for Tybalt and his aggression is subtly implied throughout every scene, not just the fights.

 

I also enjoyed James Hay as Mercutio - excellent technique, jumps etc. But I was completely dazzled seeing Marcelino himself perform the role of Mercutio in the cast with Marianela and Federico, completely stunning. 

 

Leo Dixon was definitely very well cast as Benvelio.

 

Anna Rose and Marcelino have amazing chemistry and are wonderful to watch together. I loved Marcelino as Romeo, but he is equally good as Mercutio! 

[LinMM]

 Thankyou Bridiem I can see them now by the individual threads! For some idiosyncratic reason I was looking by the overall threads titles (Performances seen and General Discussions ) etc. 

I had no idea what they were there for but worse still hadn’t even thought to wonder why!! 
 

More on topic it seems that quite often dancers are equally good at both Mercutio and Romeo …Corrales is another one among many. 

[capybara]

1 hour ago, LinMM said:

 

More on topic it seems that quite often dancers are equally good at both Mercutio and Romeo …Corrales is another one among many. 

Of course, Corrales’s amazing Mercutio was with ENB. 

[Meetmeatthebarre]

I actually enjoyed Whitehead's Tybalt - the one-dimensional portrayal as just a hot-head and in contrast to the three Montague lads emphasised how ongoing and pointless this feud was; hate borne out of nothing but being told to hate. 

[Scheherezade]

I think that Matthew Ball has set a new bar when it come to Tybalt but, that said, I didn't find Thomas Whitehead's rancorous Tybalt as unpalatable as others seem to have done. That could have been because my expectations were lowered, and, yes, his Tybalt was more the drunken, confrontational thug on the football terraces than the entitled nobleman but a valid interpretation all the same and, in mitigation, Mercutio's fatal stabbing was very clearly accidental; I almost gasped out loud when he fell backwards onto Tybalt's sword.

 

I was also more impressed than others by the red-haired (Meaghan Grace Hinkis?) harlot. She was getting in there, giving it some, flouncing, kicking, spitting at the Capulets, lifting her skirt; as street-wise and reckless as they come, although her co-harlots were perhaps a little more genteel than they might have been.

 

As expected, James Hay and Leo Dixon gave well-characterised and beautifully danced performances as Mercutio and Benvolio. The camaraderie factor was high, convincingly fleshed out with spontaneous little touches that brought added authenticity to the tripartite friendship with Romeo, whose extraordinary chemistry with his Juliet made the inevitable tragedy of Act 3 more heartbreaking than ever.

 

I just loved the Sambe/O'Sullivan partnership. There wasn't a moment when I wasn't totally convinced by their all-consuming, and ultimately tragic, young love; when I didn't empathise with Anna Rose's Juliet as, in turn, she gave her heart to Romeo and shrank in horror from Paris; when I didn't ache for Romeo as each tender and telling gesture signalled the depth of his feelings for Juliet and reinforced his despair as events, and the stars, conspired to drive them apart.

 

There were lots of individual little touches that marked out this performance and made it so real, not to mention the post-performance "Aw" moment captured in RobS's gorgeous curtain call photos, when Marcelino lifted Anna Rose off her feet to embrace her with the biggest bear hug.

 

And slightly off at a tangent, but are Romeo, Mercutio and Benvolio usually blessed by a passing priest in the street scene with the mandolin players or is this new, because if it isn't, how can I possibly have missed it on each and every one of the countless previous performances I have attended?

Edited February 4, 2022 by Scheherezade

[Sim]

20 minutes ago, Scheherezade said:

I think that Matthew Ball has set a new bar when it come to Tybalt but, that said, I didn't find Thomas Whitehead's rancorous Tybalt as unpalatable as others seem to have done. That could have been because my expectations were lowered, and, yes, his Tybalt was more the drunken, confrontational thug on the football terraces than the entitled nobleman but a valid interpretation all the same and, in mitigation, Mercutio's fatal stabbing was very clearly accidental; I almost gasped out loud when he fell backwards onto Tybalt's sword.

 

I was also more impressed than others by the red-haired (Meaghan Grace Hinkis?) harlot. She was getting in there, giving it some, flouncing, kicking, spitting at the Capulets, lifting her skirt; as street-wise and reckless as they come, although her co-harlots were perhaps a little more genteel than they might have been.

 

As expected, James Hay and Leo Dixon gave well-characterised and beautifully danced performances as Mercutio and Benvolio. The camaraderie factor was high, convincingly fleshed out with spontaneous little touches that brought added authenticity to the tripartite friendship with Romeo, whose extraordinary chemistry with his Juliet made the inevitable tragedy of Act 3 more heartbreaking than ever.

 

I just loved the Sambe/O'Sullivan partnership. There wasn't a moment when I wasn't totally convinced by their all-consuming, and ultimately tragic, young love; when I didn't empathise with Anna Rose's Juliet as, in turn, she gave her heart to Romeo and shrank in horror from Paris; when I didn't ache for Romeo as each tender and telling gesture signalled the depth of his feelings for Juliet and reinforced his despair as events, and the stars, conspired to drive them apart.

 

There were lots of individual little touches that marked out this performance and made it so real, not to mention the post-performance "Aw" moment captured in RobS's gorgeous curtain call photos, when Marcelino lifted Anna Rose off her feet to embrace her with the biggest bear hug.

 

And slightly off at a tangent, but are Romeo, Mercutio and Benvolio usually blessed by a passing priest in the street scene with the mandolin players or is this new, because if it isn't, how can I possibly have missed it on each and every one of the countless previous performances I have attended?

Yes, they have been being blessed for a long time!  
 

[Scheherezade]

18 minutes ago, Sim said:

Yes, they have been being blessed for a long time!  
 

 

Clearly I should've gone to Specsavers!

[Rob S]

36 minutes ago, Scheherezade said:

 

And slightly off at a tangent, but are Romeo, Mercutio and Benvolio usually blessed by a passing priest in the street scene with the mandolin players or is this new, because if it isn't, how can I possibly have missed it on each and every one of the countless previous performances I have attended?

 

I just look for the harlot/priest interaction and their preparation for it

[ninamargaret]

9 hours ago, Blossom said:

I was delighted to see Leo Dixon as Benvolio - really enjoying seeing him play more soloist roles having first come across him at an insight (or Ashton event?)  a few years ago. There's always something special when a dancer you've been watching has a bit more of a spotlight put on them and it was such a pleasure to see him interpret the role last night.

I first noticed him at an Insight for Liam Scarlett's Symphonic Dances,where he partnered Laura Morera. Very impressed by him then and pleased to see him in more roles.

[Sophie_B]

Having seen 3 casts in this Jan / Feb run, I feel very lucky to have seen some amazing dancing! I'd seen this ballet a few times before, and saw the film in 2019, but I never really "got" the ballet the way everyone else seemed to love it. Two things changed. One, I thought I learnt something entirely new about the ballet from both the Nuñez / Bonelli and O'Sullivan / Sambé casts, and I finally learnt to appreciate the style of the ballet for what it is. Sometimes it feels more like a performance of very physical theatre that happens to have some spectacular dancing in places, and I've learnt to love its sometimes slow pace where you then get to focus on listening to the music. (I know it seems very obvious, especially having read up on MacMillan now, but when I first saw it and I wasn't quite sure what to do with the lack of pointe shoes and the ball dance scene which is very visually impressive but doesn't "look difficult" to a layperson the way that a jumpy solo does).

 

I've never seen Nuñez dance and not loved it, but I thought the bits which were most spectacular were the utter heartbreak of the death scene, as well as some brilliant comic timing in her "pretending to be tired so she can be alone with Romeo" and making Paris's life hard when he tries to dance with her in Act 3. Plus, the intense love and desperation of the bedroom pas de deux which was my favourite moment between these two principals.

 

As for the O'Sullivan/Sambé cast... wow. I know their partnership has been praised many times on this forum but I hadn't seen it outside of gala type showpieces - this was quite another level. Completely believable chemistry and tension from start to finish. Obviously their dancing and technique is great (loved Sambé in everything I've seen him in) but especially the balcony pas de deux was just so beautifully emotionally intense. I've always appreciated watching other dancers in this PDD and I realise that how you react emotionally to dance depends on any number of factors, but this is the first time I got really emotionally wrapped up in it. For me personally O'Sullivan and Sambé were a lightbulb moment of "ah, THIS is how you're supposed to feel when you watch this". So basically, I'm a R&J convert now.

[art_enthusiast]

26 minutes ago, Sophie_B said:

For me personally O'Sullivan and Sambé were a lightbulb moment of "ah, THIS is how you're supposed to feel when you watch this". So basically, I'm a R&J convert now.

Indeed! But I think all of the pairings I've seen so far are great (in addition to O'Sullivan/Sambé, who are both magic throughout), so it's very hard to choose! 
Other standouts for me are Fumi Kaneko and William Bracewell. Theirs was the first one I saw and it still sticks with me now, as does Fumi's performance in the final crypt scene. Just astonishingly real.
And of course - Steven McRae and Sarah Lamb. Both brought the awakening passion, joy and intimacy of the balcony scene into a very strong reality.

[ninamargaret]

I have seen many casts, dating back to the Fonteyn/ Nureyev one, and I  can honestly say the majority of casts have brought something fresh to their interpretation. I think recent showings, in this and the previous run a couple of years ago have really shown what a superb ballet it is - so open to subtle interpretation for the leads. ., with numerous opportunities for dancers other than R and J. This season in particular there seem to have been many comments on the forum about even  the smaller parts like the Mandolin Dance, the Nurse. I think more care and attention is given to these nowadays. Just wish I could have seen more of the current casts this season but grateful to have seen Naghdi/Campbell and Nunez/Bonelli - consider myself very lucky!

. 

[art_enthusiast]

34 minutes ago, ninamargaret said:

I have seen many casts, dating back to the Fonteyn/ Nureyev one, and I  can honestly say the majority of casts have brought something fresh to their interpretation.

Agreed! And how amazing that you got to see Fonteyn/Nureyev, the original pairing! I've watched their performance of the balcony pas de deux repeatedly on YouTube (and on a highlights collection treasured by my grandma) and am rendered speechless every time.
Which is also why I always love to visit the bust statues of Fonteyn/Nureyev every time I'm at the ROH, to say hello and also to thank them both for their amazing legacy. 

[ninamargaret]

Thanks Alison. Should say that it was from stalls circle row A seat on the extreme right hand side so the bed in act 3_was invisible!

[Rob S]

The new correct answer to the third question of the Open Barre quiz is ‘a knife’…in case she can’t find the one by Paris’s feet. 

[Sim]

6 minutes ago, Rob S said:

The new correct answer to the third question of the Open Barre quiz is ‘a knife’…in case she can’t find the one by Paris’s feet. 

Yasmine improvised very well.  It looked like Matthew had a bit of trouble stabbing Paris so the knife fell awkwardly.  But none of this detracted from a deeply moving performance from them both.  
 

Excellent Tybalt from Gary Avis.  I could really feel his regret at killing Mercutio.  
 

I must also say that the “three boys” dance was executed beautifully and with almost perfect timing!  Lovely.  

[Rob S]

 

 

 

 

 

 

 

 

 

 

 

Edited February 6, 2022 by Rob S

[RuthE]

Loved tonight’s performance, including the truly vicious Tybalt/Romeo showdown. Like Sim, I was impressed by Naghdi’s quick thinking when she couldn’t find the dagger - I’ve seen far more obvious stage mishaps relating to vital props being in the wrong place! (Remember the Bayadere a few years ago when the snake visibly escaped Roberta Marquez’s basket before it was due to bite her? 😆)

 

I did find some of tonight’s casting rather visually odd in terms of relative heights, however; the petite Hinkis as lead harlot opposite Ball’s tallish Romeo, and she and Gasparini alongside the much taller Lubach as Benvolio’s harlot? And Gartside seemed on the small side to be quite right as the father of Naghdi’s Juliet.

Edited February 6, 2022 by RuthE

[Silke H]

and here some of my pics

 

Ball Nagdhi 05 Feb 22

 

Facebook album of R&J 21/22 season

[JennyTaylor]

5 hours ago, art_enthusiast said:

Indeed! But I think all of the pairings I've seen so far are great (in addition to O'Sullivan/Sambé, who are both magic throughout), so it's very hard to choose! 
Other standouts for me are Fumi Kaneko and William Bracewell. Theirs was the first one I saw and it still sticks with me now, as does Fumi's performance in the final crypt scene. Just astonishingly real.
And of course - Steven McRae and Sarah Lamb. Both brought the awakening passion, joy and intimacy of the balcony scene into a very strong reality.

For me William Bracewell and Fumi Kaneko are still the stand outs - in fact streets ahead in the emotion they managed to elicit from me.  I hasten to add that all other partnerships have been wonderful in their own particular ways and I have shed a tear (or several) on quite a few occasions.  As I might have mentioned before, emotions seem to be even more raw in this current world that we live in. I am just so grateful to be there every time I go to this wonderful theatre.  

[Stephenwolf]

20 hours ago, art_enthusiast said:

Other standouts for me are Fumi Kaneko and William Bracewell. Theirs was the first one I saw and it still sticks with me now, as does Fumi's performance in the final crypt scene. Just astonishingly real.

I couldn't agree more. Imagine, seeing my first ever ballet last 23 October and I get to witness Fumi and William give their all in a performance that I will never forget. Utterly wonderful. Coincidentally, a very nice couple seated beside me were also attending their first ballet, and like me, were just speechless after the final scene. 

[San Perregrino]

Here’s a question that has probably been discussed on the forum before I joined but I can’t find anything relating to it? 

 

””Why are only some guests at the Ball masked…..?”

[Rob S]

16 minutes ago, prs59 said:

Here’s a question that has probably been discussed on the forum before I joined but I can’t find anything relating to it? 

 

””Why are only some guests at the Ball masked…..?”

 

It's like that with masks everywhere 🙃

 

 

[Jan McNulty]

49 minutes ago, prs59 said:

Here’s a question that has probably been discussed on the forum before I joined but I can’t find anything relating to it? 

 

””Why are only some guests at the Ball masked…..?”

 

I've wondered that in just about every production of R&J I have ever seen and I still don't know the answer!!

[Rob S]

I wondered if it was to do with status but then thought that's more likely to be reflected in the clothing. 

[San Perregrino]

I did wonder if there’s some recycling of the guests during the entrance scene with the masks allowing dancers to double up but have never counted. 

[RuthE]

3 hours ago, prs59 said:

Here’s a question that has probably been discussed on the forum before I joined but I can’t find anything relating to it? 

 

””Why are only some guests at the Ball masked…..?”

Another similar thing I wondered for the first time at Saturday’s performance:

 

If the masked ball is a family party, or some kind of coming-out event for Juliet, why are “Juliet’s friends” portrayed as a homogeneous group? Wouldn’t they be the teenage daughters of some of the other guests, and arrive with various adults?

 

(…edited to add: and also, how realistic is it that all six of them, as the only young girls at the party besides Juliet, get through the whole evening without either Mercutio or Benvolio trying his luck…)

Edited February 7, 2022 by RuthE

[Rob S]

15 minutes ago, RuthE said:

Another similar thing I wondered for the first time at Saturday’s performance:

 

If the masked ball is a family party, or some kind of coming-out event for Juliet, why are “Juliet’s friends” portrayed as a homogeneous group? Wouldn’t they be the teenage daughters of some of the other guests, and arrive with various adults?

 

Maybe they did, there are plenty of parent aged people viewing the ball from the balcony area.