In the Bolshoi's new production
of Romeo and Juliet, everything from Prokofiev's score to
the various shades of Shakespeare's theatre have been gutted
out and reconsidered - to great effect. Arguably the choreographic
language is underdeveloped, but the nuanced theatricality
of the production builds into an extraordinary climax that
seems a distilled vision of both the play and the score's
intent. It's unfortunate that Luke Jennings's review (July
28 ) fails to acknowledge the many risks that were undertaken
in bringing this new production to life. It takes a brash
courage to take on giants like Shakespeare and Prokofiev -
a leap of faith which was amply recognised by an enthusiastic
audience.
Katie Kitamura
London
Fine, Luke Jennings didn't like the choreography.
OK, so he missed what was, for us punters, a palpable dramatic
tension in the final scenes. But the curtain call was pure
Marx Brothers genius. Not because the audience booed. Far
from it. They applauded, so rapturously that the over-excited
stage manager had the velvet curtain going up and down like
a whore's drawers. Finally, more exhausted than the corps
de ballet itself, we groaned for relief.
Sophie
Fiennes, London
I heard no booing, either
for the performers or the creative team. Many curtain calls
were taken and the atmosphere was one of great excitement
and warmth.
Louise
Jeffreys, Head of theatre, Barbican Centre
On Tuesday I attended
an abysmal production of Iphigenia at Aulis at the Lyttleton
theatre. I imagine I could afford my ticket with rather more
difficulty than Max Hastings could afford his to the ballet
(We'll be busy that night, July 29). Nor could I recoup my
expenses by complaining about it on the comment pages. So
I did what he might have done - I walked out early and went
down the pub. It's no big deal.
Justin
Horton, London
The production related
dance to situation and character and brought out key aspects
of the story: the lovers' spiritual isolation; Mercutio's
sexual ambivalence; Lady Capulet's fixation with the macho
Tybalt. It was one of the most intelligent renderings of Shakespeare's
story, either in dance or drama, that I have seen in years.
Why the fury so vehemently articulated by Max Hastings? Is
it that ex-Telegraph editors are as aesthetically conservative
as British ballet critics?
