Last night’s performance of Romeo and Juliet should have been retitled Juliet and Juliet, as Tamara Rojo was dancing for two. Replacing the magnificent (and injured) Carlos Acosta in the role of Romeo, Rupert Pennefather fluttered and bandied weakly about the stage, his facial expression flitting between lost and half-hearted, as Rojo flooded every step with heart-wrenching sincerity.
Tamara Rojo as Juliet in Romeo and Juliet at the Royal Opera House Photo: Dee Conway
Her interpretation of Macmillan’s choreography verges on definitive. She wraps her limbs around the score as though they are an organic extension of every note and drags us through Juliet’s emotional journey as though we are constantly at her side.
The majority of the cast, however, seemed to be experiencing a shaky opening night. One mandolin dancer seriously misjudged his centre of balance mid-jump and was sent crashing to the floor, while several corps de ballet members seemed to be wrestling with the music in the opening act. Admittedly, the score was being conducted at a noticeably brisk pace by Boris Gruzin (guesting from the Marinsky Ballet), yet other dancers managed to work this to their advantage.
The three harlots, danced by Laura Morera, Samantha Raine and Francesca Filpi, bounded through the notes with relish, lifting the stage with buoyant personality and exuding a worldly-wise command over the choreography. This is the first time I have ever noticed just how much time is given over to the harlots and yet these three dancers proved they were worthy of every second they spent centre stage.
Despite some shaky performances, this production is always worth catching, especially if Rojo is dancing at its heart.
Production information can change over the run of the show.
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