Stream: Romeo and Juliet
Oh! Why are our modern stage actors incapable of performing with the passion of the ballet? After watching several static and frankly disappointing live streams of classic plays which failed to move me, what a joy to watch a full-blooded nuanced emotional performance performed with impeccable technique!
MacMillan’s great production has been a staple of the repertoire since its premier. Originally conceived for Lynne Seymour and Christopher Gable in 1965, due to a decision by management the premier was given to Margot Fonteyn and Rudolf Nureyev as they were perceived to be box office gold. They received an ecstatic reception taking forty-three curtain calls. Fonteyn was nearing retirement, but this performance reinvigorated her career and the partnership went on to storm America. However, this cast change contributed to Seymour leaving the Royal Ballet for three years and MacMillan’s further departure.
A full blooded three act ballet, with sumptuous costumes and set, and the bonus of a score by Sergei Prokofiev, this is for me MacMillan’s finest production. It has everything a ballet fan adores. Swirling movement for the large corps, giving them the opportunity to embody their characters with individuality. Nobody moves dancers around the stage better. Exciting divertissements showcasing artists and stunning swordplay. You can see the fun they are all having, and of course the stirring ‘Dance of the Knights’ (unfortunately linked by TV to ‘The Apprentice’). Who would not want to dance that? And of course, lyrical passionate pas de deux, as only Macmillan can choreograph, with a heart-rending finale.
Admirably conducted by Pavel Sorokin, this streamed production was danced by the finest pairing of star-crossed lovers I have ever enjoyed. Mathew Ball was born to dance Romeo. Not only has he beautiful fluid lines, effortless elevation, and handsome good looks, but his portrayal of Romeo was spot on. It is a rather thankless part. Romeo is a thoughtless young blade who gets sucked into situations which are beyond his control, ending up in tragedy for him and his mates. Ball’s despair as he must leave Juliet is utterly believable. Jasmine Naghdi threw herself into the role of Juliet with the full force of youth and desire. Her performance as she sits alone on her bed deciding to take the potion as the music swells was riveting. This is a difficult moment to hold the stage alone, but you could not take your eyes off her. The genius of the choreography is to give the dancers a chance to inhabit their roles. Particularly moving in the final act is where Romeo attempts to replicate their love duet with Juliet’s limp body before he takes the poison. (These drugs are quick!) The curtain call let the two of them hug each other before they took the traditional bows. They were obviously emotionally drained. Not to be overshadowed by the two principals Gary Avis made a splendid arrogant Tybalt. Valentino Zucchetti a quick-fire Mercutio, Benjamin Ella a sympathetic Benvolio and Nicol Edmonds as Paris (A Man of Wax) a surprisingly interesting portrayal. They all attacked the fight scenes with skill and brio as Romeo departs to his fate. (‘Oh, I am Fortunes Fool’). Good to see the lads given centre stage for a change.
I must confess I am biased. I love the play and the ballet and know both almost by heart. I wondered if I would be moved seeing it again. But this cast brought a new different perspective. No wonder the lovely Kevin O’Hare chose this filmed version for streaming. Modern classical actors beware. These young dancers outperform you. And they can dance divinely too.
Check out the new version by the Ballet Boyz, if you get a chance. A different take filmed in Europe but riveting stuff.
Available to stream on the Royal Opera House website until the 23rd of July.
