abatt Posted June 11, 2019 Share Posted June 11, 2019 (edited) I saw this ballet again last night with Copeland and Stearns. I thought Copeland's movement was much more fluid than Boylston's performance last Wednesday. In fairness, though, I saw Boylston's first performance, whereas this was Misty's third performance. This choreography suits Misty's strengths, so I am surprised that she got the role of Jane by default only after Murphy withdrew for maternity leave. I found Forster to be a more moving Rochester than Stearns. On this second viewing, I still came away feeling that this work has far too little ballet. Even though I was seated much closer to the stage last night (Row K orchestra) than last week (balcony with binoculars), I still felt that the use of scrims and the dark lighting were problematic. Edited June 11, 2019 by abatt Link to comment
tutu Posted June 27, 2019 Share Posted June 27, 2019 Constance Grady has a review (if you could call it that) of the production in Vox, published about two weeks after the end of the Jane Eyre run. Quote Jane Eyre might be celebrated for Jane’s romance with the saturnine Mr. Rochester, but it’s immortal because of Jane, because of Jane’s journey toward self-acceptance, and because of Jane’s anger. Which makes it a perfect subject for a ballet adaptation, because ballet bypasses language to build its stories purely out of emotion. And in Marston’s Jane Eyre ballet, which was developed at the UK’s Northern Ballet in 2016 and played this June in New York City at the Lincoln Center’s Metropolitan Opera House, Jane and her anger are front and center. Link to comment
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