Choreographed
by Evgeny Amosov
Presented by
the Russian National Ballet Theatre
Canberra
Theatre, 26th September, 2017
Reviewed by
Bill Stephens
Co-founded
by Evgeny Amosov in 2001, The Russian National Ballet Theatre is one of several
Russian ballet companies which regularly tour Australia offering productions of
ballet classics. It’s 2017 tour; alternating performances of “Romeo and Juliet”
with “The Nutcracker” will see the company perform in about 50 towns and cities
across Australia, between September and December, offering around 85 performances
in all.
It’s a gruelling
schedule, but the Russian National Ballet Theatre manages to service an
audience outside the capital cities which would otherwise rarely get the
opportunity to experience a full scale classical ballet production.
An unfortunate lack-lustre
performance of “Swan Lake” last year may have accounted for the disappointingly
small audience which greeted its only Canberra performance of “Romeo and Juliet”
this year. This was a shame because this production of “Romeo and Juliet”,
offered much to enjoy.
One of the stated
aims of the Russian National Ballet Theatre is to preserve the creative
heritage of the great masters of Russian Ballet, which helps explain why, when modern
audiences are regaled with new innovative productions of the classics, these
heritage productions sometimes come across as dated and unimaginative.
Despite the
restrictions of gruelling touring schedule, the richly painted backdrops and splendid
costumes, particularly for the ensemble scenes, provide a sense of lavishness.
The choreographic style, interpreted by Artistic Director, Evgeny Amasov, sticks strictly to the traditional
Russian style with its attention to line and technique. Amasov stays with the
familiar Prokofiev score for his production, concentrating on telling the story
with the minimum of fuss, relying on the backdrops and costumes for spectacle,
and allowing the choreography to interpret the emotions.
The
Montagues and Capulets glare appropriately at each other as they process around
the stage. Taking his cue from Juliet’s parents, Tybalt glowers threateningly whenever
Romeo looked like getting anywhere near Juliet. Tybalt and Mercutio’s sword
fight is efficiently, if unexcitingly staged with Mercutio dying dramatically, stabbed
under the arm.
Handsome, Filipp
Parkhachev is dashing and attentive as Romeo. Juliia Nepomniashchaia looks exquisite
and dances superbly as Juliet, displaying lovely line and flowing extensions. Though both
are obviously excellent dancers, neither appeared to invest their roles with
subtext, apparently content instead to focus their attention on executing the choreography
neatly and efficiently.
Indeed the most
exciting dancing of the night came from the dancer who played Mercutio, with
his high confident jumps and energetic attack, but I can’t share his name with
you as , regretfully, the glossy souvenir program provides very little
information about the other dancers, other than the five principals. However,
they all do credit to their company coach, Evgenya Rytova.
For those interested experiencing a taste of ballet history, this production of "Romeo and Juliet" provides a
welcome glimpse of ballet’s rich cultural heritage.
This review also appears in Australian Arts Review. www.artsreview.com.au
