New York City Ballet Romeo and Juliet Review
NYCB'southward Romeo + Juliet: New Performances; Indelible Memories
New York Urban center Ballet
David H. Koch Theater
Lincoln Centre
New York, New York
February 16 and 21, 2018
Romeo + Juliet
Jerry Hochman
Witnessing successful role debuts, including successful "returning debuts" (as I'll define below), are among the ingredients that make attending ballet performances a joy. After each of the two boosted performances of Peter Martins's Romeo + Juliet that I had the privilege of seeing in the past 2 weeks (across the opening functioning that I've already reviewed), each of which featured memorable office debuts, I left the theater flying. Considering what information technology takes to become me off the ground, both literally and figuratively, that says a lot.
In a nutshell, Peter Walker's debut equally Romeo on Feb 16 opposite the triumphant return of Erica Pereira as Juliet was wonderfully vibrant – both delivered exceptional performances. And in her function debut as Juliet, opposite an extraordinarily improved, seminal performance by Taylor Stanley as Romeo, Indiana Woodward hit information technology out of the park.
And theirs weren't the only debuts. During these two performances I also saw superb debuts past Roman Mejia every bit Mercutio, Christopher Grant equally Benvolio, and Spartak Hoxha as Tybalt.
New York Urban center Ballet dancers
Erica Pereira and Peter Walker
in Peter Martins'due south "Romeo + Juliet"
Photo by Paul Kolnik
Just an apprentice (and barely that) when she get-go assayed Juliet during its premiere run in 2007, Pereira was my favorite of all the Juliets then given the opportunity to trip the light fantastic the office – not because she was the best technically, just because, to me, she was the most united nations-ballerina-ish. There was no arrayal to her portrayal, and from my point of view she did everything she was called upon to practice right. Most significantly to me, she looked (and was) so young and naturally vulnerable-looking: she very plain stole the audition's heart.
In the ballet'southward subsequent render to the repertoire, I saw Pereira trip the light fantastic toe the role again with a different partner, and the results were not as exhilarating. To me, this was the product of a lack of chemistry with or conviction in (or, more than likely, insufficient rehearsal time with) her new Romeo. In that location wasn't anything specifically wrong, but something seemed lost. And, inexplicably, she was non given the opportunity to dance Juliet over again when it next returned to the repertoire.
Whatever may have been lost has now been found.
Perhaps information technology was her new Romeo, perhaps renewed conviction (I noted in an earlier appearance this flavor that she seemed unleashed) – whatever the reason, Pereira's Juliet concluding Friday evening was a memorable "returning debut." [A new opportunity to dance a function later on a long and inexplicable hiatus.] If I had to discover something to criticize, it's mayhap a touch of cautiousness besides every bit an increased air of maturity – both of which, under the circumstances, were to be expected. But these are minor observations. Pereira'southward Juliet soared. Coming dorsum from what to me was an unjustified snub takes considerable internal strength. It was a courageous, triumphant functioning – and one clearly acknowledged equally such by the audience.
New York City Ballet dancers
Erica Pereira and Peter Walker
in Peter Martins's "Romeo + Juliet"
Photo by Paul Kolnik
And if Pereira found new wings, it was in large part due to Walker'southward Romeo. I must admit that when the casting was announced, I thought Walker was a poor selection – he towers over her, and I thought it would be a Mutt and Juliet mismatch. Information technology's nice to be wrong … occasionally. Walker does tower over Pereira on stage – but perhaps every bit a effect, in his hands Pereira appeared both gratuitous and lighter than air. His characterization and execution were flawless (he comes across equally more powerful than other NYCB Romeos), and, more than chiefly, he was an outstanding partner. His was a noteworthy debut.
At this same performance, Troy Schumacher repeated his portrayal of Mercutio. Martins'southward choreography requires Mercutio to dance with seeming abandon, and merely a little mischievous craziness (ok, a lot), but Schumacher took his portrayal to new heights, without seeming the to the lowest degree bit jaded by having danced the part many times previously. And in his role debut, Grant added depth to the function of Benvolio that I had not previously noticed. He made Benvolio not only apparent, but meaning.
And this was my get-go opportunity to see Sebastian Villarini-Velez assay Tybalt. Although his characterization wasn't the about outwardly violent of the NYCB Tybalts, information technology was remarkably cerebral. Not that he didn't execute vividly, but to me he looked coldly calculating – like a immature Vladimir Putin (save your emails – I have no idea how Putin looked in his 20s). I plant it to be quite a thrilling, and unusual, portrayal.
That performance was peculiarly special. Only the one the following Wednesday was equally special – maybe more so.
New York City Ballet dancer
Indiana Woodward
in Peter Martins's "Romeo + Juliet"
Photo by Paul Kolnik
Woodward impressed me the showtime time I saw her on stage in a featured function. Later on, in the context of a review of Alexei Ratmansky'due south Pictures at an Exhibition in February, 2015, I wrote that she has an innate girl-adjacent-door character that is particularly endearing, coupled with growing technical facility and feisty attack (and that, in a way, and although they don't look at all alike, she reminded me of Nichol Hlinka, a onetime NYCB principal dancer). "And down the road … " I wrote, "she could be a Juliet."
She'southward a Juliet. It may be nice, occasionally, to be wrong. But information technology's nicer to be correct.
Woodward is the only "new" Juliet that NYCB cast in the role this flavour, and it was an extraordinary debut. Her debut in La Sylphide several seasons ago while still a member of the corps (she's now a soloist) was memorable as well, but her Juliet is even more so because the office is then much more complex.
When she first appeared in Scene two of the commencement act, I idea she was overly caffeinated – fifty-fifty in the context of this furiously paced production. But appearing hyper isn't inconsistent with the style Martins presents this scene, and an overabundance of adrenaline goes with major function debut territory, frenetic choreography or non.
Simply I wasn't prepared for the character development that that took place in every scene thereafter. Effectively, Woodward's stage immaturity level was gradually (and visibly) ratcheted downward to the bespeak where, in comparison to her demeanor in her first scene, her actions and responses unwound both emotionally and physically, were expressed more slowly and deliberately, and were executed with softer edges. Other NYCB Juliets do the aforementioned matter – graphic symbol development is essential to the role. But hither the contrast was more pronounced and more than noticeable, and the result more impressive – specially for a debut.
And it got all the same better. Technically, I observed null remotely worthy of criticism, and Woodward'due south characterization was spot on in every respect, with details and nuances, and phrasing and punctuations, that I would find laudable in any Juliet, much less one in a part debut. In effect, and as contradictory as information technology sounds, she was feather light and substantially weighted at the same time. I tin can think of no other fashion to draw it, merely information technology'due south no small trick to pull off.
Equally memorable was Stanley'southward Romeo. I've seen his Romeo twice earlier, and, although the 2nd was an comeback over his debut, I felt that something was still lacking. Whatever that was, there is nothing lacking in his portrayal now. Every gesture had a purpose, and that purpose was clearly communicated.
But more than that, Stanley's role attitude now seems to take changed. He never came across equally the stereotypical (in many other companies) self-absorbed male dancer, but in presentation information technology oftentimes appeared to me that he was relatively indifferent to, and distant from, his partner. Not whatsoever longer. In his Romeo on Wednesday contrary Woodward, he clearly focused less on himself and more on being there for her, and the departure is seismic. Everything looks ameliorate. It's ane of the almost remarkable transformations of stage persona that I can call up seeing.
For example, in the balustrade scene, which in this production is somewhat corrupted past the set, every Juliet I've seen (and I believe over the years I've seen them all) very carefully descends from the "balcony" to the phase floor. I suspect that this is either because the steps were non constructed with sufficient depth to adapt rapidly descending pointe shoes, or that the descent is from stage right rather than stage left (perhaps making it more difficult to navigate), or both. This level of caution (specially in contrast to, say, the Juliets in a MacMillan production) is particularly unfortunate since a rapid descent to the stage is disquisitional to convey Juliet's impulsive haste to meet Romeo. Indeed, this descent was the sole sticking point I had with Pereira's performance several nights earlier – she came downward those narrow steps very gingerly and methodically, one pace at a time.
At this functioning (and it must accept been rehearsed this way in accelerate), Stanley positioned himself by the stairs, met Woodward about 2/3 of the manner downward, reached out for her hand, and so held her hand as she deeply, and rapidly, descended down the rest of the stairs. This one gesture, this one prototype sequence, was so perfect for the moment that it set up the tone for everything that followed. It's certainly possible that other casts that I did not meet this season now do this, merely that doesn't affair. For whatever reason information technology was done, it was a brilliant gesture, and information technology cemented in my mind the nature of their stage human relationship more than than the kisses and the slap-up partnering that was to come e'er could.
And speaking of keen partnering – Stanley'southward partnering, somewhat suspect previously, is now top notch. Both he and Woodward are relatively brusk in stature, which might have fabricated partnering difficult (see, to the contrary, Pereira and Walker to a higher place). But he (they) compensated. For example, at that place are multiple occasions in the various Romeo and Juliet pas de deux in which Romeo lifts Juliet and and then quickly releases her and drapes her over his shoulder (perpendicular to his body) – a sign of ecstasy of form, but also a foreshadowing of Romeo carrying Juliet's lifeless trunk in the tomb scene to come. Here, in every situation in which it was a choreographed component, Stanley lifted Woodward over his head and maintained her in that position until near the end of the choreographed phrase, when he finally lowered her and draped her over his shoulder. It may have been an essential modification since having Woodward draped downward Stanley'southward back to his knees for a longer catamenia of time might accept looked bad-mannered, but the aligning non only hit the right emotional chords as also as in other portrayals, to me information technology enhanced them.
I cannot overstate how impressive Woodward and Stanley were in their preparation, phase connection, and technical and emotional execution.
New York City Ballet dancer
Roman Mejia
in Peter Martins's "Romeo + Juliet"
Photo by Paul Kolnik
As with other performances, wasn't express to the leads. In his role debut as Mercutio, Roman Mejia, a relatively new member of the corps (and one with a visitor pedigree), too made a fabulous impression, dancing with both carelessness and finesse. And his pairing with Grant, who repeated his function as Benvolio, was particularly electrical. I had not previously seen Spartak Hoxha's Tybalt, simply his portrayal was positioned in between being overly violent and overly cerebral, and it was very finely drawn. Silas Farley'due south role debut every bit Friar Laurence was a powerful as his Prince the previous week, but the ability was effectively internalized.
New York City Ballet
Winter 2018 Art Exhibition (2)
Art installation by Jihan Zencirli
Photo by Jerry Hochman
Debuts, and return debuts, were not express to dancers. I previously wrote of this yr's incarnation of the NYCB Winter Art Festival, and the sheer fun of Jihan Zencirli's art installation. This year, for the offset fourth dimension in my retention, the installation has been completely changed mid-run. Zencirli (aka Geronimo) has now installed a completely new installation, a render debut of sorts, which is even more joyous than the beginning. Kudos to her, and to the company for giving audiences both inside and outside the performance space to smiling.
Lastly, the urchins who so ably perform Martins's version of the Standard mandarin Dance, and who brought the house down with each performance, deserve specific recognition. Keeping in listen that of the 5 urchins in the 2007 performances, at least iii (including Hoxha) afterward became company members, the quintets I saw this flavour were Philip Duclos (at the ii/13 and 2/21 performances) and KJ Takahashi (at the 2/16 operation) as the "lead" urchin, and Aaron Plous, Tanner Quirk, Sawyer Reo, and Ian Zelbo (2/xiii and ii/21), and Charles Klepner, Tenzin Niles, Quirk, and Athan Sporek (ii/16).
New York City Ballet
Wintertime 2018 Art Exhibition (2)
Art installation past Jihan Zencirli
Photograph by Jerry Hochman
1 final observation – in my previous review, I noted that Daniel Ulbricht and Joaquin De Luz (equally Mercutio and Tybalt) had "flubbed" the moment in which Tybalt stabs Mercutio, since I never saw a sword come up anywhere about Mercutio'south body, and there was no immediate reaction to his being wounded. In these ii performances I saw the aforementioned sequence of events. So the staging this manner is intentional, not the "fault" of whatsoever of the dancers – but information technology's a staging error that should be modified to give Mercutio's death a measure out of credibility.
Thank you to Shakespeare, Prokofiev, and a multitude of choreographers who managed to avert ruining the story or the score, I've never seen a bad ballet functioning of Romeo and Juliet. The string continues. More significantly, even so, these two performances not only engendered appropriately visceral emotional responses: they created enduring memories.
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Source: https://criticaldance.org/nycbs-romeo-juliet-new-performances-indelible-memories/
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