Romeo + Juliet on Live From Lincoln Center

[ivypink]

My local PBS station aired this on Saturday night. Living in Utah, I was very grateful to see NYCB at all since it is doubtful I will ever be able to see this company live. I had read the comments here on BT before I watched, and was eager to see what I would think of it compared to what you all had thought of it.

My first impression was that the sets looked like something from a high school production instead of a famous artist. I had seen Kristin Sloan's podcasts showing the behind-the-scenes preparation for the production, but nothing could have prepared me for how poor the set looked on the stage. Tempera paints, anyone?

The costumes were so ROY G BIV I had to laugh. The poor dancers! At least I hope they were comfortable to dance in. They were just plain ugly.

The choreography made me cringe at times, but that is not the dancers' fault. And of course, this is somewhat subjective.

The dancers, on the other hand, were fantastic. Robert Fairchild is from right here in Salt Lake City, and it's nice to see a local boy do great in such a prestigious company. Very talented. Sterling Hyltin--where do I start? Her arabesques go on for days, and those feet! I think her feet are among the most gorgeous I've ever seen. I'm just not sure she's principal material quite yet. I thought she was perfectly cast as Juliet, but she's still very young and needs refinement. I know it will come with time.

I must say the I was enthralled by the dancing in the Balcony PDD. But the abrupt ending after Juliet goes back up was weird. The Bedroom PDD was just weird with Juliet crying, and there was hardly any passion. And that sad little bed! Maybe it was supposed to portend the funeral bier that Juliet would later be placed upon? But if I had to sleep on that, I would be crying, too.

[Farrell Fan]

The only thing that was missing was a tactless question about Suzanne Farrell.

quote]

Lesley Stahl once conducted an interview of Suzanne Farrell and Peter Martins at the NY State Theater for the NYCB Guild after both had retired from dancing, but before the ultimate breakdown of relations. The place was packed and I remember my excitement. But by the end of the interview it had given way to disappointment. Although I remember Peter being somewhat more forthcoming, Suzanne did not seem happy to be there. As far as I was concerned, the breakdown was complete.

[Cygnet]

. . . to Hyltin and Fairchild (a most handsome Romeo!)---two very talented dancers--it's not their fault.

I agree. The ballet aired locally on PBS yesterday afternoon in Los Angeles. IMO there were several sections where the dance almost came to a complete stop. The music soared (where it wasn't cut); Martins' choreography didn't - and that's what was so frustrating for me. Also, I apologize if someone has already mentioned this, but Shakespeare didn't write, nor did he indicate that Lady Capulet found the sleeping potion vial . I paused and replayed that immediately to see if I saw what I had just seen. The production didn't match Prokofiev's score, which follows the action of the play linking the language directly with its' sweeping dramatic intensity. IMO every word that Shakespeare wrote are in those notes. Martins didn't articulate that in the dance for me.

As for Stahl, how could she challenge Martins on the "lack of experience" point? She had no point of reference; and more importantly, she didn't know her subject. Martins seemed perturbed that the "experience" issue was even brought up. He must have known that would have been an inevitable question.

Oh, but I should add that Ms. Stahl is also a member of the Board of Directors at NYCB, and volunteers a lot of her time at various events (including the "Live From Lincoln Center" event) to help promote NYCB.

Perhaps Stahl was too "close" for synopsis/intermission duties ? But that wouldn't give Stahl - a City Ballet

Board member the benefit of the doubt. For this occaision, the very least she could have done was educate herself before interviewing Martins. I mean, all the data on this ballet can be accessed. Stahl is the example that "LFLC" dance broadcasts should always try to engage bona fide, knowledgeable and objective dance journalists. The last time "R & J's" history was thoroughly and correctly presented on "LFLC," Martin Bookspan did the honors during final credits of ABT's live performance May 8, 1988, at the Met with Makarova & MacKenzie. And yes: That was the famous live performance where MacKenzie performed the tomb scene in his practice pants.

[carbro]

I didn't watch the live broadcast, but I recorded it -- at least until my dvr ran out of time/space at the end of the ballroom scene -- and watched that much. (I've since recorded a full rebroadcast, but my tv is dying, flickering-flickering, and attempting to actually watch would give me a headache, so if I decide to go for the full thing, I'll have to wait until my new set arrives later this week.) I have seen the production live, though. I realize that sometimes what works live doesn't work on tv, and vice versa.

[T]he fact that public television is able to offer

this live performance from Lincoln Center is to be applauded, and commended. What a wonderful opportunity for

people all over the country -- especially those that don't live in ballet-rich cities and towns -- to see one of the best

companies in the world perform.

I am not quite ambivalent about this. In theory, you are right of course, but if this R+J had been my introduction to ballet, I probably would not be a member of BT. Part of that is my personal taste. Story vs. no story isn't an issue for me, but beautiful, well-crafted choreography is. If I have that, I can grudgingly overlook ugly sets and costumes.

NYCB is one of the world's best companies, and they have a roster of superb and exciting dancers (among whom I include our Romeo and Juliet) and a repertory overflowing with great works. I understand that there are legal constraints against televising those ballets in full, and that's so much the sadder for everyone involved.

PBS should be rewarded for broadcasting great works. I am proud to support its news coverage, Nature, and American Experience. This? Not so much.

[bingham]

I understand that there are legal constraints against televising those ballets in full, and that's so much the sadder for everyone involved.

Carbro, Can you elaborate on these legal constraint? Is it the Balanchine Trust that is against televising those ballets?

[Ray]

I am not quite ambivalent about this. In theory, you are right of course, but if this R+J had been my introduction to ballet, I probably would not be a member of BT. Part of that is my personal taste. Story vs. no story isn't an issue for me, but beautiful, well-crafted choreography is. If I have that, I can grudgingly overlook ugly sets and costumes.

NYCB is one of the world's best companies, and they have a roster of superb and exciting dancers (among whom I include our Romeo and Juliet) and a repertory overflowing with great works. I understand that there are legal constraints against televising those ballets in full, and that's so much the sadder for everyone involved.

PBS should be rewarded for broadcasting great works. I am proud to support its news coverage, Nature, and American Experience. This? Not so much.

Well put, carbro, thank you. The repetition of R&J, though, is of a piece with PBS's solidly middlebrow tendencies when it comes to creative products. I mean, how many versions of Sense & Sensibility have they shown, too?

[Natalia]

....Leslie Stahl's interview with Peter Martins was great -- there was more crackling tension in that interview than in the entire production. ....

Especially the part about "the slap." "People make mistakes in life..."....ahum....

The irony is that you could barely hear "the slap" during the telecast. It was far louder when I saw the ballet live two years ago...and I was sitting way up in 4th tier.

[Elizaveta]

I was unable to watch and am hoping that my programming for dvr and videotape worked.

Thanks, 4mrdncr, for your insights as a filmer of ballet. And thanks, Deborah R and others, for reminding us how rare and important it is to have ballet availble to national audiences.

That said, it is a disppointment how many PBS affiliates opted not to show this performance when scheduled. There was much to be said in favor of having ONE SIMULTANEOUS broadcast, as in the old days. That bound ALL arts lovers into a single community (within our time zones, at least), sharing the experience in the same real time.

The director of the old Dance in Americ series had time to experiment and come up with techniques that were quite successful. Current tv producers must not get the chance to do this kind of work very often. Did anyone notice especially effetive camera work -- or something that was lost, glossed over, over- or under-emphasized, etc.? (This question is a for DETAILED DESCRIPTIONS. Please!)

Ah yes, I was extremely disappointed when my affiliate decided to show 'This Old House' instead! That being said, it almost doesn't matter, as the quality of digital TV is so choppy and horrendous (for those without cable) that I can no longer watch PBS.

I'm grateful for all the comments and insight, since I have never been able to see this production. I'm hoping it will be available on DVD at some point.

[Rosa]

I just got 'round to watching my recording of the broadcast.

The camera work left a bit to be desired. Quite a number of times half of a main dancer's body was cut off from the screen. Distracting.

To me this came across as an abstract sort of Romeo and Juliet, with most of the dancers simply dancing their characters, not being the characters. While set in a historic time, something about this performance -- I can't place my finger on what -- seemed to give it a 21st century vibe.

I didn't mind the single...box, unit that served as the set too much. But the costumes were very unappealing, particularly Tybalt's and Juliet's. (Was none of her family embarrassed that Paris saw her in her short short short (night)dress??)

Martins' choreography was uninteresting. The balcony PPD did not seem to build with the music. The bedroom pas de deux I interpreted as Juliet dealing with her cousin's death, whether to reject Romeo or forgive/love him, instead of delaying his departure as in other versions. The Mandolin Dance had the strongest choreography IMO.

In Act I I did not care much for Sterling Hyltin's Juliet and Robert Fairchild's Romeo, especially in the ballroom; I was not able to believe that they fell in love like *snaps fingers* that. Yet as Act II went on I warmed up to their performance more and more, and by the end was quite impressed. Lovely dancing and good acting from both.

The best parts of this production were Antonio Carmena's and Daniel Ulbricht's fantastic Benvolio and Mercutio, and the realistic sword fights.

[miliosr]

The costumes were very unappealing, particularly Tybalt's and Juliet's. (Was none of her family embarrassed that Paris saw her in her short short short (night)dress??)

ITA agreement w/ you Rosa. The bedroom scene took me right out of the story. No noble family would allow their "virginal" daughter to be seen that way.

[atm711]

The costumes were very unappealing, particularly Tybalt's and Juliet's. (Was none of her family embarrassed that Paris saw her in her short short short (night)dress??)

ITA agreement w/ you Rosa. The bedroom scene took me right out of the story. No noble family would allow their "virginal" daughter to be seen that way.

absolutely---I thought those 'baby-doll' nighties went out with the 50's.

[Helene]

No noble family would allow their "virginal" daughter to be seen that way.

Not unless it was a Kudelka version.

[bart]

We were travelling at the time of the transmission. I returned delighted to find that my dvr-ing had been successful, as well as my videotaping.

I've enjoyed reading the comments on this thread. On the whole I agree with those who find the costumes, set, camera work, and (most important) the story-telling to be unfortunate, but the dancing often superb. I also agree with those who loved Ulbricht, Carmen, and de Luz.

The key moment for me was when, somewhere in the middle of the balcony pas de deux, I found my mind wandering to some unpacking I still had to do. Without much hesitation, I actually stopped the video, finished the unpacking, and then forgot to return to the video.

In my experience, when I don't care about what the protagonists are going through, or believe on any level that they are actually experiencing what the story tells us they are feeling, something is very wrong. It may have been jet lag. But, it may have also been my sense -- speaking for myself only -- that this was an unconvincing, uninvolving, and slightly dead telling of the Romeo and Juliet story.

I did return to it the next day and will resort to it as a reference many times in the future, I know.

[Ray]

In my experience, when I don't care about what the protagonists are going through, or believe on any level that they are actually experiencing what the story tells us they are feeling, something is very wrong. It may have been jet lag. But, it may have also been my sense -- speaking for myself only -- that this was an unconvincing, uninvolving, and slightly dead telling of the Romeo and Juliet story.

Martins's sublime indifference, revealed to me through watching his dance, to the fact that this story has been told and retold (too) many times astounds me. But in a boring way.

[bart]

Casting was really an issue for me in this performance.

This made me think about Martins's policy of using very young dancers in the leads. Joel Lobenthal, reviewing ABT's Tudor season (Ballet Review, Spring 2009) says it very well:

Casting young dancers as young people in leading roles often doesn't work: what you get is an authenticity that is biological rather than artistic.

[richard53dog]

Casting was really an issue for me in this performance.

This made me think about Martins's policy of using very young dancers in the leads. Joel Lobenthal, reviewing ABT's Tudor season (Ballet Review, Spring 2009) says it very well:

Casting young dancers as young people in leading roles often doesn't work: what you get is an authenticity that is biological rather than artistic.

Yes, I understand Lobenthal's comment and agree that for me this is NOT an advantage. I'd rather have a performer project youthfulness in their performance rather than merely being a teenager.

But there is more and more a segment of today's audiences that prize youthfulness itself rather than the appearance of it and I think Martins is trying to appeal to that segment.

[Jack Reed]

But there is more and more a segment of today's audiences that prize youthfulness itself rather than the appearance of it and I think Martins is trying to appeal to that segment.

Apropos richard53dog's idea, here's an extension of it, FWIW, from a management guide written by Michael Kaiser. (The guy who saved ABT, RB, Ailey from bankruptcy. In good times.):

The aim of any arts organization is to achieve its artistic and educational goals - not to be a profitable business. Building visibility should not require artistic directors to change their visions. Too many arts organizations (usually after substantial Board pressure has been brought to bear) are now planning their repertories simply to meet popular tastes.

Here's a link to the page: http://artsmanager.org/strategic/primer/chapter7.cfm

Anyway, I infer from the author's surrounding discussion here is that pandering (my word) is misguided, to say the least.

[bart]

The strange thing about casting Sterling Hylton's is that she dances like a very strong, mature woman, not a teenager at all.

Look at her outward reaching arabesques (held at the waist by Romeo) -- almost identical in both the ball and balcony scenes. They are powerful, solid, rather grand in effect. Compare this to the yearning, longing, and joy that Fonteyn or Ferri, much older dancers, projected in the MacMillan version.

The impression of solid maturity is increased by the relative lack of upper-body flexibility.

Also, look at the formal dances at the ball in which Juliet dances side by side with her mother, father, Tybalt, and (in a reprise of the first dance) Paris. I suspect that anyone who did not already know the plot of R&J would have a hard time guessing that this was supposed to be the first appearance in society of a very young, innocent girl in the clutches of a powerful family. Compared to the wierdly loopy Lady Capulet, Juliet actually looks and dances like the strong sensible woman in the group.

I'd like to see her in Ashton's or Neumeier's Sylvia.

[4mrdncr]

Maybe being young works. (If the choreography is better?)

I found this NYTimes article from 1997. Romeo was 21 at the time. Juliet?

http://www.nytimes.com/1997/07/04/arts/lov...oung-again.html

BTW: How old was Ferri the first time she did it at RB, or for that matter, Seymour (sp?) and Gable?

Generally, though, I agree with most of the BT posters--and my old post--that technique was fine, but other elements of the NYCB R+J not.

[cinnamonswirl]

Alessandra Ferri was 21 when the video of R&J with Wayne Eagling was filmed. (The video is from 1984, and Ferri was born in 1963, according to Wikipedia). I don't know if she had danced Juliet in a prior season.

[Cygnet]

BTW: How old was . . . Seymour . . . Gable?

They were both 25 at the time of MacMillan's London premiere in February 1965, one month before their 26th birthdays.

Both dancers were born in March, 1939: Lynn on March 8, and Chris on March 13.

[zerbinetta]

I found this NYTimes article from 1997. Romeo was 21 at the time. Juliet?

http://www.nytimes.com/1997/07/04/arts/lov...oung-again.html

Yan Chen was a beautiful ballerina, Korean born, probably about the same age as Corella. She was a soloist. She gave up her career to marry and have children not too long after. A major loss, in my book. She did a gorgeous Sylphide Act II with the very young Cornejo which I still remember as a very special performance.

[LiLing]

McMillan choreographed his Juliet on Lynn Seymour. Cranko's Juliet was Marcia Haydee. They were cast because they were both dramatic ballerinas, wonderful actresses. In addition they had close collaborative relationships with the choreographers. They, and other members of the casts contributed to the development of their characters. Martins chose to work with inexperienced young dancers. While narrative ballets don't appear to be PM's strength, I think he really put himself at a further disadvantage by casting for youth.

[abatt]

McMillan choreographed his Juliet on Lynn Seymour. Cranko's Juliet was Marcia Haydee. They were cast because they were both dramatic ballerinas, wonderful actresses. In addition they had close collaborative relationships with the choreographers. They, and other members of the casts contributed to the development of their characters. Martins chose to work with inexperienced young dancers. While narrative ballets don't appear to be PM's strength, I think he really put himself at a further disadvantage by casting for youth.

I think that it is Martins' poor choreography and the horrible production that make this ballet unimpressive, not the "inexperienced" dancers. Robert Fairchild has become one of my favorite dancers in the company. Hyltin is an excellent dancer. What are they to do with such pedestrian choreography? I'd love to see them dance the MacMillan Romeo & Juliet.

[sjk]

Yan Chen was a beautiful ballerina, Korean born...

Really minor point, but I believe Yan Chen is Chinese.

I would love to Hyltin and Fairchild dance MacMillan's R&J also. I thought the NYCB one was decent, not atrocious or anything, but probably not something I'd want to watch over and over again.