Spring 2015: Romeo and Juliet

[Kaysta]

First act done of R&J matinee. Absolutely beautiful and breathtaking balcony pas by Whiteside and Gillian. I love these two dancing together, they compliment each other.

Two other things that standout: Calvin Royal anytime he takes the stage. And Roman Zhurbin as Tybalt--he's quite menacing in the role.

Looking forward to the rest.

[Kaysta]

I would just like to add that anyone who thinks Gillian Murphy dances harshly and not soft, should have seen this performance of Juliet. I have not been so moved and invested in a performance since Vishneva's Manon. Stunningly beautiful dancing and acting.

I think Gillian has become my favorite ABT dancer

Also hats off to Isadora Loyola, who really shone as one of the harlots.

[CTballetfan]

I would just like to add that anyone who thinks Gillian Murphy dances harshly and not soft, should have seen this performance of Juliet. I have not been so moved and invested in a performance since Vishneva's Manon. Stunningly beautiful dancing and acting.

I think Gillian has become my favorite ABT dancer

Also hats off to Isadora Loyola, who really shone as one of the harlots.

Yes Gillian is my favorite ABT dancer too!

[MRR]

I saw all the R&Js Monday-Wednesday (except Gillian's) and will write a more detailed review after I return home tomorrow. Just wanted to say that in spite of the criticism she gets in other roles, Hee Seo was a gorgeous, sensitive Juliet tonight. Unlike Monday where I found her lovely and very beautiful but not much more, tonight she was infinitely better--abandoned in both the pas de deux (thanks to Gomes surely) and far more visceral. Everything she did was bigger and read better in the MET than on Monday. Gomes was not as strong technically as in past years (notably a 2010 R&J I saw with him and Vishneva) but no one can argue his strength of partnering and detailed acting. His grief in the tomb scene was absolutely devastating.

Stearns' Romeo on Monday I enjoyed and found greatly improved from years past. More of a softer portrayal than Gomes but I found his approach totally valid. He was excellent in his fight scene with Tybalt and he has a beautifully elongated line.

Misty Copeland last night gave a creditable debut which suffered from overacting, especially in Act III. There were some good moments: her entrance was lovely, I liked her resistance of Paris in Act III, and she certainly had a gritty death scene, but her emotions frequently ran from A to Z with little in between. Hammoudi was very disappointing. He is tall and looks strong but is partnering is so effortful, there was little sense all night that he was over his legs, and his portrayal of Romeo was inert. Even from row F I couldn't feel anything.

[Kaysta]

I saw all the R&Js Monday-Wednesday (except Gillian's) and will write a more detailed review after I return home tomorrow. Just wanted to say that in spite of the criticism she gets in other roles, Hee Seo was a gorgeous, sensitive Juliet tonight. Unlike Monday where I found her lovely and very beautiful but not much more, tonight she was infinitely better--abandoned in both the pas de deux (thanks to Gomes surely) and far more visceral. Everything she did was bigger and read better in the MET than on Monday. Gomes was not as strong as technically as in past years (notably a 2010 R&J I saw with him and Vishneva) but no one can argue his strength of partnering and detailed acting.

I agree, Seo was fantastic tonight. I can see why everyone says Juliet is her best role. And Marcelo seems to bring out the best in all of his partners.

[terrynyc]

I am so looking forward to Saturday's performance: Kent's farewell with Bolle. I have seen them several times in this ballet. For my money, there is nothing like the way their bodies intertwine. They look so beautiful together and Bolle tosses her around like she weighs nothing (which she probably does, but still).

[stuben]

I am so looking forward to Saturday's performance: Kent's farewell with Bolle. I have seen them several times in this ballet. For my money, there is nothing like the way their bodies intertwine. They look so beautiful together and Bolle tosses her around like she weighs nothing (which she probably does, but still).

Sold out show and so glad I have ticket in hand too! Bringing lots of tissues as I am sure these will be needed.

[mussel]

A pair of orchestra row C center seats for Kent farewell are selling $1175 each:

http://www.stubhub.com/romeo-and-juliet---american-ballet-theatre-new-york-6-20-2015-9275935/event/9275935/

[ABT Fan]

A pair of orchestra row C center seats for Kent farewell are selling $1175 each:

http://www.stubhub.com/romeo-and-juliet---american-ballet-theatre-new-york-6-20-2015-9275935/event/9275935/

Whoa. Not cool in my opinion.

[canbelto]

Family Circle side seats now selling for $300 on CL:

http://newyork.craigslist.org/mnh/tix/5077898619.html

[stuben]

Whoa. Not cool in my opinion.

I agree this is not cool, not cool at all, unless the money goes to the dancers' fund to provide coaching, maybe a fund raiser idea there for Moore (joking). Just curious if this happened to Herrera or Reyes tickets too? Or is this just the draw Kent has.

[fondoffouettes]

I agree this is not cool, not cool at all, unless the money goes to the dancers' fund to provide coaching, maybe a fund raiser idea there for Moore (joking). Just curious if this happened to Herrera or Reyes tickets too? Or is this just the draw Kent has.

There were plenty of tickets available for Herrera and Reyes. I think it's a combination of Kent and the ballet she is retiring in. Perhaps a Herrera Don Q would have been a huge seller; who knows. I imagine any hardcore Kent fans would have bought their tickets months ago when they were affordable, so I don't know who would drop hundreds on a terrible side seat in Family Circle at this point.

[onxmyxtoes]

They must have just released a bunch of seats because there are very very good tickets available for the Saturday matinee R&J.

And a very nice pair in the grand tier for Kent's retirement. Someone snatch them up!

[stuben]

There were plenty of tickets available for Herrera and Reyes. I think it's a combination of Kent and the ballet she is retiring in. Perhaps a Herrera Don Q would have been a huge seller; who knows. I imagine any hardcore Kent fans would have bought their tickets months ago when they were affordable, so I don't know who would drop hundreds on a terrible side seat in Family Circle at this point.

Thank you for the info fondoffouettes I believe you might have something there about the ballet for each. It might have been too that they had both amazing dancers on one day for the same ballet, I was quite disappointed in that myself.

[mimsyb]

Oh, oh, oh, OBRAZTSOVA!! 'Nuff said. She and Cornejo were stellar tonight. Entire cast was splendid. But Ms. Obraztsova left me breathless. Her dancing was, of course, of the highest level, but her portrayal of Juliet was so finely detailed and present at all moments. Things I'd never seen before were brought to crystalline focus. Bravi to the entire cast!!

[Just an Observer]

I was there as well.

Agree 100%

Flowing, delicate movement.

Magnificent realization of character.

Magnificent sense of music.

A privilege to have been there.

[angelica]

I was there as well.

Agree 100%

Flowing, delicate movement.

Magnificent realization of character.

Magnificent sense of music.

A privilege to have been there.

I agree totally with mimsyb and Just an Observer above. A stunning performance, perfect in every detail, infused with just the right degree of emotion, from the slightest gesture to complete abandonment, the very best R&J since the Ferri/Bocca performances. And Obratzova's feet alone were a wonder. Did you see the moment when from standing flat on the floor she rolled up onto releve and bourreed backwards at phenomenal speed? If ABT is going to bring in foreign guest artists, this is the caliber it needs to bring in.

In addition, I have never seen Cornejo so passionate in a performance. The chemistry was electrifying. I had tears in my eyes when they were married by Friar Lawrence, it was all so believable. I did, however, deeply miss Frederick Franklin in that role.

[Amour]

Oh, oh, oh, OBRAZTSOVA!! 'Nuff said. She and Cornejo were stellar tonight. Entire cast was splendid. But Ms. Obraztsova left me breathless. Her dancing was, of course, of the highest level, but her portrayal of Juliet was so finely detailed and present at all moments. Things I'd never seen before were brought to crystalline focus. Bravi to the entire cast!!

Yes, what an unbelievably wonderful performance!!! I actually teared up at the end, which is a first for me (and I'm a veteran of the Ferri/Bocca performances). BTW, Ferri was in the house (she coached Obraztsova) as was David Hallberg. It was a packed house. More details later.

[Amour]

In order to collect my thoughts about tonight, I went back and reviewed Ferri and Bocca's balcony scene from 1999 in the ABT DVD Variety and Virtuosity (it's also on YT); there's also an earlier one from 1992 in Frederick Wiseman's documentary Ballet) They are the gold standard and really no dances R&J like they did (I was especially looking at Bocca's renversées, the press lifts and Ferri's lightning fast pirouettes). Their performances were especially on my mind as Ferri was sitting somewhat near me and I said a few words to her (I actually gushed) as she entered. However, that does not diminish what was a fantastic portrayal of Juliet by Obraztsova, (especially as I believe it was her debut in the Macmillan version of R&J) or Romeo by Herman Cornejo. So here are some of my highlights.

I'll start with Herman, since he enters first, along with Daniil (Mercutio) and Joey (Benvolio). I thought the chemistry (or camaraderie) between the 3 of them was great. Each man is superb technically and a joy to watch. Cornejo, with his beautifully elegant upper body and dynamic jump is perhaps the most pleasing on the eye because he has the dance/drama combined so seamlessly. I was sitting in row J orchestra and as I watched through the binoculars I saw an array of emotions constantly coming over his face and in his eyes. He went from mischievous to trying to play peacemaker to fighting all within a few minutes. When he fell in love, first with Rosaline, then Juliet, he was truly smitten.

Obraztsova played Juliet rather more shyly and inward than Ferri. I think the delicacy of her features helps contribute to this portrayal. During Act 1 I thought she was just finding her way into the role. But nevertheless she was totally committed. And despite being shy, is as smitten with Romeo as he is with her. Her love grew and, as it did, so did her abandonment and impetuosness. They had great chemistry and, as Angelica says, it was electrifying. My only complaint about the Act was really the press lifts. Romeo should lift Juliet at the hips. She has one leg outstretched, the other slightly bent and her arms are outstretched almost over her head. As Romeo lowers her, she looks deeply into his eyes. For this to happen the man must be strong enough to lift the woman but she must be strong enough in her center to hold herself in this almost horizontal position. She should not put her arm down for balance (as Misty did) nor should she be too upright (the problem tonight, caused I think because Herman put his hands too high on her). Nevertheless Obraztsova's very quick bourrees, the flexibility of her back, and the innocence so apparent (she's a great actress) transcended technique. I really enjoyed how her portrayal deepened as the relationship with Romeo did. Her bedroom scene was far more full of abandonment and impetuosness.

Next, Daniil performed a great mandolin dance, full of virtuosity and tricks. No feigning a bad back like Craig did on Tuesday. The audience went wild with applause. Daniil was also very successful at portraying Mercutio as both fun loving and a bit of a hothead. His dying scene, though, was a little too histrionic for my taste (it was almost campy) but still a lot of fun. Joey was again perfect, with his long, elegant lines and refined manners. He was also very good at playing the most rational of the 3 men. And their PDT before going into the ball was so excellent in its musicality and symmetry. I also loved how, after killing Tybalt, remorse immediately came over Herman's face and clutching at Lady Capulet's skirts, to beg forgiveness, was a nice touch.

(To be continued tomorrow)

[Drew]

Thanks for these reports on Obraztsova's ABT debut. The performance sounds wonderful. (She has danced Macmillan's Juliet with the Royal ...)

[alexL]

It was a magnificent performance. Definitely the best R&J I've seen this week. With Cornejo, Simkin, and Gorak, it was a star casting (at least for me) as well.

Simkin and Gorak were sometimes out of sync in the 2nd Act. Gorak dances right on the beat while Danil lingers on each pose a tiny bit longer. However, I think it's forgivable because it's not like they are dancing Big Swans.

Although he didn't get to show off his skills like Danil, Joey Gorak definitely drsaw my attention because of his clean technique. He looked effortlessly elegant even when he was waving at the harlots.

Amour already described how wonderful Obratzsova and Cornejo were so I won't repeat. Zhenya is definitely tailor-made for Juliet!

[abatt]

Both Obratsova and Cornejo danced brilliantly, although I was not as convinced that there was any chemistry there as some others Herman is now dancing at his peak. I believe this is the first season in some time that he has not been plagued by injury. Obratsova is a beautiful, fluid dancer. I would be happy to see more of her in the future. It is a shame that the Bolshoi did not include her in its tour to the US last summer. Nor did they include her in their Giselle performances in DC last spring. Yes, it was definitely luxury casting to have Gorak and Simkin in the two supporting roles, but as noted they were not in sync. Simkin pulled off some wonderful bravura dancing, but he made his part look like a competition performance. I did not like his characterization. Salstein is a lesser dancer, but a much better actor.

Just a note about the Seo Gomes performance on Wednesday. Seo was a lovely Juliet. She and Gomes made an excellent partnership. This is Hee's best role. . Gomes looked like he was saving himself for Friday's show in his dancing of his solos. Gomes danced conservatively, and the toll of performing additional performances for absentees may be starting to show. Recall that Wednesday was originally supposed to be Osipova and Hallberg, but Gomes ended up getting the assignment once Hallberg pulled out of the season. (There were plenty of people outside the opera house hoping to sell their tickets since Osipova was not performing.)

Tonight should be marvelous.

Thanks to ABT for bringing Obratsova to NYC for this performance.

[Rick]

Such a moving R&J with Obraztsova and Cornejo. Both projected an almost painfully youthful innocence and innate goodness that made the final scene just heartbreaking. Many audience members were still in tears as they left the theater. A memorable performance indeed.

[stuben]

Such a moving R&J with Obraztsova and Cornejo. Both projected an almost painfully youthful innocence and innate goodness that made the final scene just heartbreaking. Many audience members were still in tears as they left the theater. A memorable performance indeed.

Thanks Rich and everyone for all the wonderful report, I now wish I had seen it for myself but I am hoping she will be one of the return guests in the future. I am guessing though many tears will be shed tomorrow night...ticket in hand and so are the tissues.

[California]

My only complaint about the Act was really the press lifts. Romeo should lift Juliet at the hips. She has one leg outstretched, the other slightly bent and her arms are outstretched almost over her head. As Romeo lowers her, she looks deeply into his eyes. For this to happen the man must be strong enough to lift the woman but she must be strong enough in her center to hold herself in this almost horizontal position. She should not put her arm down for balance (as Misty did) nor should she be too upright (the problem tonight, caused I think because Herman put his hands too high on her).

Thank you so much for this explanation. Those lifts looked off to me, and I just assumed it was because he didn't completely straighten up each time. I blamed that on upper-body strength. (Just about the only thing Thursday night that was off...)

I am not a big fan of Seo, but I was moved by her Juliet Wednesday night. It seems to be her best role and Gomes no doubt brought out the best in her.

Obratsova was glorious and I thought the acting and rapport between her and Cornejo was genuine. There were moments when she reminded me of Gelsey Kirkland -- maybe it was the way she crooked her elbows on those backward bourees in the bedroom, running away from Paris, or maybe the huge eyes or the way everything was just a little more extended and developed in surprising ways. I had never seen her in performance before and hope they bring her back.

Extreme trivia department: I wish somebody would show the Juliet's how a mandolin is played. They could start by spending five minutes watching the mandolin players in the pit. Both Seo and Obratsova would pluck a little with the right hand, which is okay, but you can't just clutch the instrument with your left and never move it! How do they think different chords are produced! Seo clutched it from the top, Obratsova from the bottom. Yes, I know, absolutely trivial, but easily corrected.