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Sometimes, first impressions are misleading. When I saw Fonteyn and Nureyev in Swan Lake, I was appalled by the exclusive ending, Nureyev’s interjected solos, the reshuffling of Tchaikovsky’s catch, and the radical reworking of the Petipa/Ivanov choreography. I didn’t explore any of the noted Fonteyn/Nureyev chemistry.
But don’t earn the same mistake I did. Avoid the muddled Swan Lake, and order their Romeo and Juliet today! It’s Kenneth MacMillan’s production, and the romantic pick up by Prokofiev is of course delicate. The corps, unlike the underreheased, tiny Swan Lake corps, have it together. The costumes are handsome.
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Most of all, you finally examine the Fonteyn/Nureyev magic. Fonteyn is considerable more splendid to Juliet than Odette/Odile, which requires almost superhuman athleticism from the ballerina. As Juliet, Fonteyn’s grace and charm more than perform up for the fact that at age 46, her leaps aren’t as high and her turns aren’t the fastest. Except for a few unflattering closeups, she peaceful exudes a much girlishness and wide-eyed innocence. Nureyev is also noble — unlike Fonteyn, he was at his peak and his turns and leaps are a survey to contemplate. He got a gradual launch in ballet (17!) and was often criticized for his “unfinished technique” and sometimes in the film you can seek why. For one, he can’t seem to control his pirouettes very well — he can originate them, drag, but can’t neatly ruin them turned out in 4th space (a la Baryshnikov) . Rudolf sometimes overrotates and “cheats” by fast putting down his free leg. Nevertheless, the warmth and ardency he exudes more than compensate for technical defects.
But when Margot and Rudi dance together, they are greater than the sum of their parts. For those feeble to the idealized aloofness of classical ballet, you will be afraid by the intimacy and physicality of Fonteyn and Nureyev. When Nureyev recalled that the two danced with “one body, one soul” it wasnt an exaggeration. It seems like we’re peeping in on a private relationship, not a performance. One particularly gorgeous moment is when Fonteyn and Nureyev at the very beginning of the balcony scene bustle around onstage and bump into each other. Their hands touch, and both shake visibly, as if jolted by electricity. Later on, Nureyev lightly brushes his face in Fonteyn’s nightgown. I dare say it’s hotter than any porn film.
The *only* drawback is the visual quality of the film. There doesnt seem to have been any remastering, and a lot of the film has a grainy search for.
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Tonight I watched Romeo and Juliet again, this time with two of my granddaughters. I have seen it with my parents, with my wife and three children, and now with my grandchildren. I attended the movie in Washington, in Boston, and in Albany, NY many years ago. This version has become fraction of my life, as have its stars, Rudolf Nureyev and Margot Fonteyn. Why I have not reviewed it before, I do not know.
This Royal Ballet version of Romeo and Juliet is so sparkling, so spectacular, so animated, and so incrediblly aesthetic that in my understanding there is no other ballet that can compare with it. First there is the poignantly tragic cherish fable of Shakespeare. Add to it the hauntingly expressive, classic-yet-modern music of Prokofiev. Traipse in Kenneth MacMillan’s sensitive and exuberant choreography. And as the supreme touch, have it danced by the most exhilarating male dancer who every performed, in partnership with the most glorious and vulnerable ballernina of the past century. Here you have the masterpiece of all masterpieces. A ballet that puts other ballets to shame with their aged plots and lack of emotional substance.
My two approved scenes are the balcony scene, and the scene where Romeo dances with a humdrum Juliet. The first exudes cherish and passion, as Nureyev and Fonteyn are transported by their new-found appreciate to a height beyond all measure. In the second, your heart freezes and you strain to beget assist tears as Romeo tries to coax the life relieve into Juliet by dancing with her limp but quiet stunning accomplish. There are no touchingly sterling moments such as these in any other ballet I have seen.
The wonderful costumes are genuine of a Zefferelli production, although this is not one, of course. The scenery is adequate but not impressive. But most distinguished, all the dancers communicate a vitality that is convincing and contagious. The swordplay is astonishing in its complexity and realism. Tybolt’s death and his wife’s effort are overdone with fair the good touch of modernity.
But mainly, Nureyev and Fonteyn bring each scene they dance into gleaming flower. And when they dance together something of the mystery and tragedy of their two very different lives comes to the surface and animates their performance, giving it a realism that communicates their deep emotion for each other.
This is heartfelt and heart-wrenching art. When it finishes, one is exhausted and drained, but also inspired and elated that this one-of-a-kind performance was recorded so that one may devour it over and over again.