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Royal Ballet - Romeo and Juliet - Winter 2022

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Candleque

Candleque

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I spotted Stanisław Węgrzyn a row or two behind me in the stalls. (Hope to see his own Romeo debut next time 🤞 although I guess Benvolio might come first). Might be just my impression, but I felt there were more than the usual amount of accolades from other dancers for Mayara and Calvin on Instagram, including ENB's talented Francesca Velicu as @Dawnstar  mentions. I love seeing the support for these emotional debuts from the dancer community.

 

Also — again, personal reflection vs hard data — the ROH seemed to have a younger audience overall last night. Anyone else notice this? 
 

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capybara

capybara

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I heard that there were offers for Wednesday afternoon for ROH staff but not generally for last night.

It is not unusual for dancers from other companies to be in the ROH audience at times of the year when they are not performing themselves.

Reference has been made in other threads to how artists can learn from appearing as guests elsewhere but experiencing other performances is surely vitally important too, even if there is a  ‘busman’s holiday’ side to it .

 

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San Perregrino

San Perregrino

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37 minutes ago, Henry said:

For the 19th Feb matinee Mr Ellla is cast as both Benvolio and Mandolin dancer.  Seems a lot to ask.  

 

https://www.roh.org.uk/events/l07x1

 

 

 

 

ella.png


Given that cast sheets go up mostly on the day, that’s a very early cast for a performance still over a week away.  I could only find it by following your link, not on the website. Subject to change I’d suggest. 

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JennyTaylor

JennyTaylor

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Where I was sitting next to Nicol Edmonds, that seat had been 1 of a pair of returns. I snapped up the aisle seat J6 and the RB had clearly nabbed the other one. The two in front where Matthew Ball and another member of staff were sitting are normally occupied by patrons such as Aud Jebsen.  BTW I did have a little chat to Nicol. He was delightful. 

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FionaM

FionaM

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Adding to the applause for this special double debut.  Hugely emotional performances from both.  I can feel the evidence of intense coaching and thoughtful personal interpretation.

 

Am I correct in thinking this was Calvin’s debut in a full length role too?  I know he’s had lead roles in the (long) one acts Yugen, and, The Cellist. 
 

His dancing throughout was very good indeed and especially the difficult solo part of the balcony pdd.  Such expansive and fluid movement.  The intensity he brought to the ballroom scene … couldn’t take his eyes off Juliet. Reminded me of the super freedom and lovesick interpretation by Wayne Eagling.  A super debut!
 

Mayara’s Juliet was so clear  … flinching from her father, bourre’ing seamlessly away from Paris, fully intrigued by Romeo’s attention in the ball.  Her final act was a tour de force .. that scream.  I see why Mats Ek had her as alternative cast to Osipova in his recent piece for RB.  She caught the contrasts of Juliet … unusual lightness and effortless flow to her dancing in Act 1.  Hard to believe it was a debut.  And extra applause from me for totally soundless shoes.

 

Thomas Mock is excellent as Paris … he manages to be sympathetic.  Some of the others do perplexed only.

 

Super Mercutio by Luca Acri too … best one I’ve seen him do.  I loved his Hilarion last year too.  It’s good to see his dramatic side on top of his excellent technique.  


There were a few moments in the partnering where Calvin did not have Mayara on balance and where the lifts did not look effortless.   It highlighted for me the huge step up in partnering skills from corps de ballet to principal.  It’s a another league of complex combinations of difficult lifts.  
 

I’m willing to bet the second show will be another level again … in all aspects. 

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Anna C

Anna C

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17 hours ago, art_enthusiast said:


Where were you sitting, could I ask? Just curious about where the dancers themselves like to sit :)
 

Also has anyone ever sat in the front row of the Grand Tier, and what was it like? Just wondering, because it seems a bit far away compared to the stalls circle/stalls

 

Sometimes Kevin O’Hare and various Repetiteurs/Coaches can be seen sitting in the Grand Tier, slightly round to the side, in rows B or C.  I once sat right in front of Matthew Golding in the stalls when he had just joined RB and was watching Giselle. 

 

I’ve only sat in Row A of the GT on a few occasions and it was a wonderful view - *but* it was for performances of Swan Lake, Giselle, La Bayadère etc. where you want to watch the beautiful patterns of the Corps from an elevated position.  

 

It wouldn’t be my position of choice for R&J, Onegin or Manon where I want to see faces, but that’s just my personal preference.

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Swan

Swan

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I was able to buy a returned GT seat for the R&J matinee on Saturday 19th. I’m looking forward to seeing the ballet from a new perspective as I’ve never sat in the GT before and hope my glasses will allow me to zoom in for the action if I’m too far away! Will be excited to see a new, for me, Tybalt in Tomas Mock.

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Silke H

Silke H

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20 hours ago, Henry said:

For the 19th Feb matinee Mr Ellla is cast as both Benvolio and Mandolin dancer.  Seems a lot to ask.  

 

https://www.roh.org.uk/events/l07x1

 

 

 

 

ella.png

 

This had been a real thing once before, at the O2 (2012 I think?) when the lead Mandolin was missing/sick and Sergei Polunin quickly danced lead Mandolin whilst being Benvolio.

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jmhopton

jmhopton

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Posted (edited)
On 11/02/2022 at 19:11, art_enthusiast said:


Where were you sitting, could I ask? Just curious about where the dancers themselves like to sit :)
 

Also has anyone ever sat in the front row of the Grand Tier, and what was it like? Just wondering, because it seems a bit far away compared to the stalls circle/stalls

Ages ago when I was a Friend of the Kirov we were able to buy rehearsal tickets for £10 and they were always in the Grand Tier. It was first come first served but I managed to get seat number one on the front row, next to the boxes. I really liked it as you were the nearest point to the stage and yet could still see everything. In the interval they didn't mind you spilling out into a box which I did a couple of times but wasn't impressed. Always went back to the Grand Tier. However I've never been able to afford to go back since.

Edited by jmhopton
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FionaM

FionaM

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16 hours ago, Silke H said:

 

This had been a real thing once before, at the O2 (2012 I think?) when the lead Mandolin was missing/sick and Sergei Polunin quickly danced lead Mandolin whilst being Benvolio.


yes that’s right.  

 

I don’t know about ‘quickly’ … as Sergei danced both roles in both the 17 and 19 June 2011 shows at the O2.  (According to ROH collections database) 
 

The other O2 shows had separate Benvolios & Mandolin dancers.  

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RHowarth

RHowarth

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12 hours ago, jmhopton said:

Ages ago when I was a Friend of the Kirov we were able to buy rehearsal tickets for £10 and they were always in the Grand Tier. It was first come first served but I managed to get seat number one on the front row, next to the boxes. I really liked it as you were the nearest point to the stage and yet could still see everything. In the interval they didn't mind you spilling out into a box which I did a couple of times but wasn't impressed. Always went back to the Grand Tier. However I've never been able to afford to go back since.

I have a recurring anxiety dream where I finally have front row grand tier tickets, but because of a never-ending series of mishaps, don't ever reach my seat.

Edited by RHowarth
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art_enthusiast

art_enthusiast

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16 hours ago, jmhopton said:

Ages ago when I was a Friend of the Kirov we were able to buy rehearsal tickets for £10 and they were always in the Grand Tier. It was first come first served but I managed to get seat number one on the front row, next to the boxes. I really liked it as you were the nearest point to the stage and yet could still see everything. In the interval they didn't mind you spilling out into a box which I did a couple of times but wasn't impressed. Always went back to the Grand Tier. However I've never been able to afford to go back since.


That's very cool. I suppose the Kirov tier seats might be different in terms of how they're designed though? Maybe they have a better view than the Royal Opera House ones

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capybara

capybara

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40 minutes ago, art_enthusiast said:

That's very cool. I suppose the Kirov tier seats might be different in terms of how they're designed though? Maybe they have a better view than the Royal Opera House ones

 

The rehearsals were at the ROH. It was when the Kirov/Mariinsky was on tour here.

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jmhopton

jmhopton

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6 hours ago, art_enthusiast said:


That's very cool. I suppose the Kirov tier seats might be different in terms of how they're designed though? Maybe they have a better view than the Royal Opera House ones

Sorry art-enthusiast I wasn't making myself clear. I was referring to when the Kirov (as they were known then back in about 2000) visited the ROH for their summer season. The rehearsal seats were one of he main reason I became a Friend of the Kirov. But my membership lapsed and I don't know if they still do rehearsal tickets. One of the perks of being a ROH Friend is being able to purchase rehearsal tickets but by the time they get to ordinary Friends there never seem to be any Grand Tier seats left, alas. 

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WoodlandGladeFairy

WoodlandGladeFairy

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Also back from my local cinema's screening.

 

Really, really enjoyed the performances of both Marcelino Sambé and Anna Rose O'Sullivan, intensely emotional dancing, you could feel the raw emotion.

 

The entire cast had an energy, and James Hay was wonderful as Mercutio. 

 

Top playing from the orchestra as well, such a fantastic ballet score.

 

Also was nice to see a different take on it from when we saw Yasmine Naghdi and Vadim Muntagirov last year, I liked both and it's good to see how much talent the Royal Ballet has now. 

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jmhopton

jmhopton

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31 minutes ago, alison said:

I'll have to catch up with it at an Encore, but I'm pleased to know it was good.

Alison, at first I thought you meant you had to catch up with Thomas Whiteheads hair style!

 

Really enjoyed the cinema screening tonight. Thought Sambe and O'Sullivan were incredible, such emotion and chemistry and the whole cast responded with energy and enthusiasm. Loved seeing James Hays very laddish Mercutio and Leo Dixon was great as Benvolio, definitely someone to watch out for. Interesting that Romeo definitely seemed to push Mercutio onto Tybalts sword which would account for the ferocity of his attack on Tybalt. There would be a lot of guilt there.

 

The only thing I really missed was seeing Erico Montes as Tybalts leading henchman. I always looked out for him and it seemed strange without him. 

 

But a really excellent performance.  The RB are currently an incredible advert for British arts and culture and make you proud to be British. Not forgetting the technology that screens and streams so much opera and ballet all over the world should  be applauded too. 

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Swan

Swan

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I loved last night’s screening and enjoyed seeing the facial expressions of the dancers up close which I’m not able to see at the ROH, even with glasses. Terrific acting from the whole cast and lovely performances from O’Suliivan and Sambe. It was my third time seeing Joonhuyk Jun as the lead mandolin dancer and he is always really good.

 

Sadly the Saturday matinee will be my last R&J this run and I will miss it as as much as I’m still missing Giselle!

 

 

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FionaM

FionaM

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Loved the cinema relay … well, I always love them for the close-ups and interviews! Katie Derham was leaps and bounds the best presenter I’ve seen.  Hope she’s a permanent fixture.  
 

Anna Rose was especially believable.  Marci was adorably sweet … not an interpretation I’d seen before.  It works.  These two have a special connection.   One odd moment … when Romeo lifts her onto pointe for the first kiss, he then had to go up on demi-pointe.
 

I realise I’ve now seen all 3 new principal ballerinas as Juliet this run.  My goodness aren’t they all fabulous!

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