Romeo and Juliet

[ami1436]

Thanks so much! I've been following Seo since she was at the Prix, and Stearns from his time at RBS. It's like watching kids grow up! In the best possible way!

[balletnoodle]

Thanks so much! I've been following Seo since she was at the Prix, and Stearns from his time at RBS. It's like watching kids grow up! In the best possible way!

I don't know if anybody else already posted that Gia Kourlas yesterday wrote a very nice interview for Hee Seo's tongiht Juliet debut, with 6 very nicely shot photos. It's appeared on Timeout New York's Dance section.

Gia wrote one for Cory too during his debut as Conrad in Le Corsaire, entitled The New Kid on the Block

Congrats Seo and Stearn! Really feel happy for both of them. Happy Birthday Mr. Franklin!

[abatt]

There is a review of the Seo-Stearns performance on danceview times.

[MJ]

I went on Wednesday evening's performance (Paloma and Gomes) Very nice production. Lighting was a bit off, Fight scenes were poor. The Corps and principals could have spent some time learning to fence. Manhattan is full of great fencing instructors, there is no excuse for a male dancer not knowing how to fight on stage. Not a single parry or block on stage.

Why were only a few dancer wearing masks? It is called un Ballo in Maschera (a masked ball) for good reason.

Casting was perfect, really well thought out for the roles.

[bingham]

In the interest of promptness, I will report that Stearns acquitted himself admirably and Seo scored an unqualified triumph in their shared New York debut (having performed the role a few months ago in Detroit). Bravi! I will edit this post to flesh out the evening, which was special for other reasons.

Carbro, Eagerly awaiting your report on Seo-Stearn R and J.It looks like nobody else was there.

[stinger784]

I attended the Seo-Stearns cast with much anticipation since I had grown up with Cory on Long Island at Seiskaya Ballet and attended the Kirov in DC with Hee Seo. Much to my delight though, Freddy Franklin appeared on stage as the Friar to thunderous applause which prompted the show to be held as he walked forward to accept the ovation with much grace. At 95 years old, Freddy is alive and well and moving to that of a young dancer in their prime. He brought tears to my eyes as he stepped through the curtain of the chapel. It was one of those occurences where you honestly do not have the words to describe what you had just seen. I was so happy for my peers to appear on stage with him so young in their careers. Now on to the rest of the show...

The corps was extremely well put together on Thursday night. The ballroom scene opened with the men walking forward and the women posed exceptionally well each at the precise angle that was intended. Sitting up in the family circle and being able to see the detail in each women from that far away proved that ABT is still the premiere story ballet company in the United States. The fight scenes were exciting and no one missed a beat.

Daniil Simkin played Benvolio young and vibrant. However, Craig Salstein's Mercurtio stole the show with each step he took whether it was his death scene or the mandolin dance with 5 men in toe. Gennadi Savaliev's Tybalt was dead on. His extra weight, experience, picked up where the younger cast may have been a bit to light. In a cast with no principal dancers, it was nice to see a little bit of age on stage to hold things together just in case something went wrong, which nothing did on this night.

Now for Cory and Hee, I am so proud of them. Cory has matured into a true male dancer. His portrayal of Romeo was raw, young and real. Not for one moment did I feel like I was watching an older dancer pretending to be a young boy in love for the first time. He was awkward at times and rightfully so. He truly was Romeo and was truly in love for the first time. The few moments he had for comic shticks were well timed and he got his points across very well. His strength as a partner was magnificent. He was able to put Hee wherever she needed to be at any given time and Hee did not need to worry at all whether or not he was going to be there to catch her. Hee was Juliet. Her por de bras has been unmatched to anything I have seen in a long time on the professional stage. (Why isn't she a soloist yet?) Her expressions were right in everything she did. Her timing as a comedienne with the Nurse was great. Her pain when her Romeo died sent chills through my body. Kevin McKenzie was right to make such a young cast that worked so well together.

The orchestra played well also. The conductor kept everything in time with what was happening on stage. Bravo to the conductor and orchestra. The percussion and horns is what holds this score together and I do hope they enjoyed playing it because they played it well.

You may say I am biased in my review, but this was the first performance in a long time where I did not get bored once. Each scene moved at a comfortable pace and I eagerly anticipated the next scene.

Thank you ABT for this rare performance!

[carbro]

Much to my delight though, Freddy Franklin appeared on stage as the Friar to thunderous applause which prompted the show to be held as he walked forward to accept the ovation with much grace. At 95 years old, Freddy is alive and well and moving to that of a young dancer in their prime.

Thank you, stinger. The company had announced a special "champagne toast" to Mr. Franklin honoring him (about a month belatedly) on his 95th birthday, so many in the audience were there to pay tribute to this amazing artist. The music paused as the audience stood in loving appreciation, and Franklin, never breaking character, opened his hands to the heavens (or was it the Family Circle?), and then drew his palms together in prayer to acknowledge (and silence) us. The rest of his performance was deeply moving. When he married the couple, you could see that he knew these children very well, had baptized them, maybe baptized their parents (and grandparents?), and drew hope from their love for each other. Franklin brings with him more than seven decades of insight and instincts, and I hope his younger colleagues can observe him closely and see how powerfully a few extremely simple getures can reveal a character's soul.

The curtain call included a special ovation for Franklin. Seo and Stearns each presented him with a bouquet, McKenzie gave him a wreath, and beautifully colored balloons (including turquoise and magenta) fell to the stage from above. Unfortunately, it seemed the musicians were about to go on overtime, so there was no one in the pit to lead a chorus of Happy Birthday. It would have been nice.

Now, to the rest of the performance. The more I think about Stearns' Romeo, the richer it becomes. Much is said about Juliet's journey in this ballet from girl to woman, but unusually, Stearns made Romeo's parallel journey just as vivid. He is a first-rate partner, as stinger noted, giving Seo great freedom. Both as James and Romeo, he chose to let his own youth work for him. (I still have to write up the Sylphide.) He doesn't have the strong attack of many of ABT's leading men, but his technique is solid and well rounded, and he has excellent instincts. It makes total sense to me now that his earliest solo (to my best recollection) should have been in Lilac Garden, needing as it does, dancers who can communicate emotion and thought.

Seo's dancing was breathtaking. Every time she opened an arm or leg, she consumed the space around her, became huge without loosing her delicacy. For such a young dancer, she seems totally comfortable to be still on stage. I also loved the way, in dramatic scenes, she would walk like a girl -- flat feet headed forward, knees slightly relaxed, heels down first -- and gradually morph into a step with a slightly pointed foot, to balletic form.

I have been critical of Daniil Simkin over the course of the season, but I was very favorably impressed by his Benvolio. He put the choreography to the service of his characterization, full of adolescent testosterone. He was frighteningly aggressive in the sword fight with Tybalt; I truly feared for Gennadi Saveliev's safety!

We had a stage full of scene stealers, including Franklin, Simkin, and Salstein. Others were Misty Copeland's Lead Harlot, whose every gesture was perfectly scaled, minutely timed, and Alexandre Hammoudi's Paris, so charismatic and handsome that it was surprising that Juliet didn't run off with him before she had a chance to meet Romeo. I also enjoyed Kristi Boone's Lady Capulet.

Side note: I've noted that I don't like this ballet. In fact, this is the first time I've returned to it since Robert Hill (who was such a fine R opposite Julie Kent's J) retired. Before the last act, two friends and I were sitting waiting for the houselights to dim and moaning about the production's problems. I started to laugh at the absurdity of it all. Here we were, three adults who, of our own volition, had paid our money and given up an evening to see something that we were insisting we didn't like. Of course, as you probably can tell from my comments above, last night's cast was terrific enough for us to put aside those complaints.

[bingham]

Carbro, Thanks for the wonderful report. Now, i feel worse for missing that performance.

[ami1436]

Thank you for the reviews!

Although I've seen R&J loads, if these two dance it in DC, I might be there.

Carbo, your note on walking reminded me of when I saw Monica Mason coaching Ansanelli as Juliet, when she had just joined the company. It was supposed to be another dancer who was injured, Ansanelli stepped in having learned nothing of Juliet before. In the dramatic scenes before Juliet goes to Friar Lawrence (and obtains poison), and when she decides to take it, there is, of course, walking. Ansanelli, at first, attempted to walk like a ballerina, toe ball heel. Mason kept commenting (and I paraphrase) -- walk, walk normally. You're a young girl about to fake a death -- you're not thinking about walking like a ballerina! The difference that just *walking* made was immense.

[Klavier]

With the recession, I haven't been going much to either concerts or ballet this year, and most of

my discretionary income has been going to build up my modest little art collection. This year I've

seen only the Dancers' Choice at NYCB (much more cohesive than last year's, and a good

opportunity for some unsung dancers to shine), the last Midsummernight's Dream on Sunday 6/21

(I think I lucked out with one of the better casts), and this. I decided that rather than see one of

the veteran Big Gun teams, it would be more interesting to see this pair of newcomers.

I sat a little too close in center orchestra row F, which sounds great on paper but because the

auditorium is not raked or the seats well-staggered at that point, it presents sight-line problems if

someone even a little on the tall side is ahead of you, and I'm of moderate height (5'9"). I

occasionally missed some feet for the heads in front of me, but acoustically it's an excellent spot,

and the orchestra sounded pretty good. Having read some complaints here about them, I was

prepared for the worst, but there were no major problems.

Announced cast changes included Daniil Simkin replacing Jared Matthew as Benvolio. I had

heard a lot about him but never seen him before. Tiny little fellow. But he certainly can command a

stage, with crisp, precise movements and an engaging presence. As a dance performance,

excellent; as a characterization of Shakespeare's Benvolio, nicht so gut. Benvolio (= good will) in

the play is the peacemaker, and Daniil was a bit too brash and bravura. He really ought to be seen

as Mercutio, where I'm sure he could have nailed the part at least as well as the excellent Craig

Salstein.

Sorry if I can't share the general awe over Freddie Franklin. He did what he did perfectly well,

and I hope I'm 10% as good when I'm 95, but I was just not as wowed by it all as some others

were.

I was amused by the comment above on Hammoudi's Paris. I felt the same two years ago when

seeing the impossibly handsome Grant deLong in the part. But that's just the point. Shakespeare

could have portrayed Paris as something of a villain (like Tybalt, executed with perfect malice by

Saveliev); instead, he made Paris a model Renaissance gentleman, in contrast to the far more

passionate and hot-headed Romeo.

Both young leads did very well. This time youth paid off, though of the two, I would probably give

the palm to Hee Seo's lyrical, sweet Juliet. Or rather, I would say that she was most effective in

her earlier scenes (her first scene was well-nigh perfect), and he gave his strongest performance

in the final tomb scene.

It is extremely difficult for either lead to get all elements just right. Both lovers are extremely difficult to perform (in the play) because they are transformed overnight from a callow boy and docile girl to two

adults of glowing passion.

In the play, in fact, Juliet's transformation is even more remarkable than Romeo's. Despite his

killing of Tybalt, despite her parents, despite her devoted Nurse, she emerges as fiercely, almost

savagely loyal to her young husband and actively hostile to all who oppose him. Here Seo had

some trouble really conveying Juliet's maturation, but the fault is less her own than the ballet's

clumsy scenario. Complaints have been registered about the harlots, the sword-fighting, and other

time-wasting elements. (At least we were spared a quintet of boys in the dramatically superfluous

Mandolin number.) But the real problem with the scenario is that so many elements of the play

that follow the deaths of Mercutio and Tybalt are passed over in the ballet. In the ballet, 2/3 is

over at this point; in the play, we have half to go. And so in the ballet we see nothing of Juliet's

reaction to Tybalt's death, of her rejection of the Nurse ("Ancient damnation!" - take note, Mr.

Martins), of Romeo's attempt at suicide in the Friar's cell, of the Friar's failed attempt to send a

messenger to the exiled Romeo in Mantua, of Romeo's purchase of the poison from the

wonderfully ghoulish Apothecary, of the Friar's plan to rescue Juliet from the tomb, of the feuding

families' final reconciliation, and more. All of these events and miscarriages in Shakespeare

deepen the sense of tragedy and doom. But Act Three of the ballet rarely gets beyond the lyrical.

And since the scenario in so many other ways stays close to Shakespeare, these lapses are the

more frustrating, giving the main characters only limited opportunity to grow and evolve.

But what a relief after the Peter Martins travesty to see actual sets, as well as costumes that look

like Renaissance Italy. You could even tell the Montagues and the Capulets apart. Despite any

lapses, it's a powerful staging, and there is always that great Prokofiev score.

[DeborahB]

I'm going to keep this brief. I've never seen ABT's Romeo and Juliet before (the house was packed, by the way). I loved it!

Jared Matthews (Mercutio), Daniil Simkin (Benvolio), Patrick Ogle (Tybalt), and Susan Jones (the nurse) were all excellent. It was great so see Victor Barbee (Lord Capulet) too. Gillian Murphy was a lovely Juliet. The orchestra was also in fine form.

But it was all about David Hallberg. The man is a ballet god. Even though I'm a NYCB fan first and foremost, I do try to see at least 8 ABT performances each season (and always look for Hallberg). He was simply magnificent today (and actually every time I've seen him dance). Bravo!

[Helene]

Apollinaire Scherr reviewed the Murphy and Hallberg for her blog "foot in mouth":

Hallberg is a swift stream of impulse and warmth; Murphy is one of the only ballerinas today who is exploring a domain of femininity that I recognize, that feels familiar more than mythic, and all the more beautiful for it. Male dancers have been changing character--not just steps--for the last few decades, but women have incrementally lost character--and then been told (by critics if not coaches) to look to precedent. Murphy's characters and the musicality and silent-star animation by which she conceives them do something new. This allows Hallberg to be more interesting too--softer, more exposed at heart, without ever being effete or princely. (My friend Carlene said, "I don't think I've ever seen a romantic male dancer," and I know what she means: men are so often playing the courtier that it's not always clear whether you're watching the expression of their character's heart or merely good manners.) These two often dance together, but this is their most symbiotic relationship, as it should be, given the story.

It sounds like quite a cast. I wish I'd been able to see Murphy live when I was in NYC a couple of weeks ago, but "La Sylphide" isn't her rep.

[DeborahB]

Apollinaire Scherr reviewed the Murphy and Hallberg for her blog "foot in mouth":

Hallberg is a swift stream of impulse and warmth; Murphy is one of the only ballerinas today who is exploring a domain of femininity that I recognize, that feels familiar more than mythic, and all the more beautiful for it. Male dancers have been changing character--not just steps--for the last few decades, but women have incrementally lost character--and then been told (by critics if not coaches) to look to precedent. Murphy's characters and the musicality and silent-star animation by which she conceives them do something new. This allows Hallberg to be more interesting too--softer, more exposed at heart, without ever being effete or princely. (My friend Carlene said, "I don't think I've ever seen a romantic male dancer," and I know what she means: men are so often playing the courtier that it's not always clear whether you're watching the expression of their character's heart or merely good manners.) These two often dance together, but this is their most symbiotic relationship, as it should be, given the story.

It sounds like quite a cast. I wish I'd been able to see Murphy live when I was in NYC a couple of weeks ago, but "La Sylphide" isn't her rep.

Thank you so much for posting this, Helene! I love Apolloinaire's pieces in the Financial Times, but didn't realize she also wrote a blog! I'll now check it out frequently.

[Helene]

Here's the link:

http://www.artsjournal.com/foot/2009/07/go...nd_gillian.html

[Barbara]

DeborahB, I wholly agree that David Hallberg is a ballet god! I was also at the Sat matinee. I was getting so teary-eyed during the first love pas that I had to consciously stop myself so that my eyes wouldn't blur over and prevent me from enjoying the rest of the performance. I was simply stunned at the end of each act and was loathe to break the spell but of course one has to rush to the bathroom line before it becomes impossible! I think Hallberg has improved greatly in his interpretation since his last R&J. He seemed less restrained, dancing with abandon and impulsiveness that I don't think is inherently his nature. A small point - I liked that he kept his hair loose and "unsprayed", it added to the reckless and boyish quality. I like Gillian very much but from the Dress Circle I didn't feel the emotion of her performance. Like you said, "it was all about David Hallberg." What a lovely end to the season for me. I'm already heading for a minor depression and wish fall season were more than 4 days!

[Barbara]

PS - Walking back to my car after the matinee I passed the lovely Stella Abrera. I'm hoping she was on her way for the evening performance as Lady Capulet. Can anyone report?

[mimsyb]

PS - Walking back to my car after the matinee I passed the lovely Stella Abrera. I'm hoping she was on her way for the evening performance as Lady Capulet. Can anyone report?

Not Lady Capulet. That was Kristi Boone. Stella played one of the Harlots.

[Batsuchan]

I attended last night's performance (the last of the Met season, sob!) with Bolle and Dvorovenko, and it almost shocks me to say this, but it was fabulous! Maybe it was the fact that this was my second viewing and knew what to expect, or that I was closer to the stage (row O vs row BB), or that I wasn't jet-lagged, but even though I immensely enjoyed Vishneva and Gomes on Monday night, on the whole, I thought this performance was better.

First of all, I'm in love with Roberto Bolle! This was my first time seeing him live, and I simply cannot imagine a more perfect Romeo! He was a god in this role; he owned the stage.

As for Irina - well, much of her dancing made me feel anew just how good Vishneva is in comparison, but she had fabulous chemistry with Bolle. From the moment when their eyes locked in the ballroom scene, I believed in their love story.

And bravo to Craig Salstein as Mercutio! He may not have all of Herman's technical chops, but what personality!! I absolutely loved him in this role and was riveted during his death scene.

Yes, I think this is what made the big difference for me versus Monday night - the supporting cast was great and thoroughly held my attention in the scenes I found somewhat dull on Monday. I actually ENJOYED the harlots last night (thank you Misty Copeland, Stella Abrera and Melanie Hamrick).

At the end of the show, the audience gave the leads a thunderous standing ovation. Irina gave one of her bouquets to Roberto, and then she gave a rose to the conductor, Ormsby Wilkins, who was great!! He then proceeded to throw the rose into the orchestra pit in dramatic fashion - I just loved it!

After Monday night, I was worried about my ability to sit through another performance, but if the cast from the leads to the supporting roles is a great as it was last night, I think I could watch it every night!

So sad that the ABT Met season is now over...I can't wait until next year!

[Amour]

Did anyone see Friday night's performance with Reyes and Cornejo? I'm very curious how he did in his first Romeo in NY.

[sjk]

I watched the Seo/Stearns performance on Thursday and loved it much more than Monday night's performance. Seo mentioned in her TONY interview that her R&J might be a bit "rough" compared to the seasoned principals but that's exactly what I liked about it. It made Romeo and Juliet seem like real characters and I understood them better. Herman Cornejo was great on Monday night but I actually liked Craig Salstein's more humorous Mercutio better. Seo seems like a terrific dancer and though there were times when I thought maybe she wasn't relaxed enough, I enjoyed her Juliet a lot more than Vishneva's. She was beautiful, convincing, and not hysterical. Stearns was great as Romeo but having already watched Roberto Bolle in the role, I think there is still room for Stearns to grow. On Monday, I was ready to bolt by the beginning of the second act but on Thursday, I think I might have even been entertained by the harlots dancing. It was a completely different R&J for me, and for the better.