It was a great treat to see four Frederick Ashton ballets (Scènes de ballet / Five Brahms Waltzes in the Manner of Isadora Duncan / Symphonic Variations / A Month in the Country) in one programme earlier this week at Covent Garden, and despite some imperfections of performance the sheer quality of choreography carried the evening.

The opening piece, Scènes de ballet, was a disappointment not so much because there were mistakes and some of the cast were clearly not on form, but because evidence of the company’s understanding of Ashton’s style appeared only intermittently. The choreography of this ballet is so subtle, so original and so exquisitely balanced that it cannot fail to delight, but it should have been better danced. (more…)

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Romeo and Juliet (Royal Ballet), broadcast live to the Oxford Phoenix,
22 March 2012

The intensity and immediacy of this ballet makes it difficult to believe
that it is 47 years old.  On Thursday, Lauren Cuthbertson and Frederico
Bonelli danced with fierce sincerity; the moment that they first saw
each other, the audience knew that they were falling into the grip of an
inescapable but forbidden passion.  Cuthbertson’s growing revulsion at
Paris’ advances and her desperate appeals to her parents, were
heartbreaking, as were Bonelli’s pain at the death of Mercutio and his
excruciating anguish on killing Tybalt.

My one disappointment was in the dance at the beginning of the ballroom
scene, with which the Capulets convey so clearly and directly “This is
who we are, and we are together”, in a way that words cannot do, but
dance can.  It is hugely important, because the entire story turns on
the allegiances and enmity of warring clans, and this scene sets that
out unambiguously as part of the status quo.  Perhaps it was filmed with
too many close-ups, which disturbed the flow of the panorama, or perhaps
there was a slight lack of focus in the performance that diminished the
impact.  Otherwise, it was a totally compelling production.

There were particularly fine performances from a vicious Tybalt, a
mischievous Mercutio and an insolently engaging Whore, but alas the
cinema had no cast sheets, and I have been unable to find cast details
on the Royal Opera House website.  It was all the more irritating then that although
the cast were listed in the rolling credits at the end, far more
prominence was given to a repeating scroll of tweets at the foot of the
screen during the curtain calls.  However tweets have their uses:  it
was thanks to the fact that Alexander Campbell had already sent a tweet
that I was quick enough to spot that he had played Mercutio, as his name
rushed by.

Maggie Watson
25 March 2012