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Boston Globe
3 days ago
- Entertainment
- Boston Globe
Boston Ballet takes a leap of faith with Jean-Christophe Maillot's ‘Roméo et Juliette'
Boston has seen many versions of Prokofiev's 'Romeo and Juliet' ballet. The Kirov brought Leonid Lavrovsky's 1940 Soviet première staging to the Wang Center in 1992. Over the past 40 years, Boston Ballet has offered versions by Choo San Goh, Daniel Pelzig, Rudi van Dantzig, and John Cranko. Now, as its 2024–25 season closer, the Ballet is presenting the stripped-down, streamlined creation that Les Ballets de Monte-Carlo director Jean-Christophe Maillot devised in 1996, and it's safe to say Boston has never seen a 'Romeo and Juliet' like this one. Thursday's opening night at the Citizens Opera House slid off the rails from time to time, but stupendous performances from Advertisement Prokofiev's score is a literal evocation of Shakespeare's play; that's why, regardless of choreography, stagings of the ballet tend to the traditional, with sumptuous Renaissance costumes and sets, a carnival atmosphere in the town square, and lots of swordplay. 'Roméo et Juliette' goes its own way. Ernest Pignon-Ernest's sliding white panels and ramps and blocks conjure the backdrop for a dream sequence; Dominique Drillot's atmospheric lighting sets the emotional tone for each scene. Jérôme Kaplan dresses the Montagues in pale tones and the Capulets in darker shades, everything long and flowing and floppy, no two outfits quite alike. Ernest Pignon-Ernest's sliding white backdrop and Dominique Drillot's atmospheric lighting provide emotion and contrast in each scene. Rosalie O'Connor The Prince, Lord Capulet, and Lord and Lady Montague have been eliminated from the cast, along with the Gypsies, the market wares, and anything resembling a sword or dagger. The full score can last close to 150 minutes; here, about a half hour has been removed, mostly ensemble numbers. Thursday's performance, with an intermission after act one and a pause between acts two and three, ran a reasonable 2½ hours. The Boston Ballet Orchestra under music director Mischa Santora was in top form; the erotic Knights' Dance in particular had the weight and accent it needs and doesn't always get. Advertisement 'Roméo et Juliette' opens with the credits — including the performance's principal cast — projected on a scrim while the orchestra plays the Introduction, a nice touch. When the curtain rises, we see Friar Laurence being hoisted aloft, in a crucified position, by two 'acolytes.' Maillot's conceit is that the story is being narrated by the friar, who's racked by regret at having failed the star-crossed lovers. It's a bold idea, given that he's a very minor presence in the score, but it's not a good one. Wearing a clerical collar and acting more like the Revivalist in Martha Graham's 'Appalachian Spring' than Shakespeare's humble Franciscan, this Friar Laurence stalks the action in one-dimensional anguish, his silent screams powerless to affect the outcome. It would be the same ballet, only better, without him. Maillot's contemporary choreography adds to a "Romeo and Juliet" unlike any other performed in Boston before. Rosalie O'Connor Maillot's version still has much to recommend it. His contemporary choreography is, like the costuming, flowing and floppy, but it has an angular quality that suits the music. His Romeo and Juliet are giddy, dizzy, frolicking teenagers; one moment she's backing off when he tries to kiss her, the next she's kissing him. In the balcony scene Thursday, Chae and Cirio were all speed and spontaneity, and their nuances made conventional ballet partnering seem generic. Advertisement A slinky, slit-skirted Rosaline (Emma Topalova on Thursday), who like Juliet is a Capulet, shines as Romeo's first love before a spiky Tybalt (Yue Shi) intervenes. Maillot's jittery, overworked Nurse (Courtney Nitting) is comic but not ridiculous; a sassy Mercutio (Sun Woo Lee) and a peacemaking Benvolio (Daniel R. Durrett) get room to ramble in the 'Masks' prelude to the Capulet party. Lady Capulet ( The delivery of the tragedies in the ballet's second and third acts occasionally feels out of place and uneven. Rosalie O'Connor Acts two and three are less rewarding. A slapstick puppet show in the square anticipates the deaths to come. When Tybalt kills Mercutio, slapstick Mercutio's prolonged death agony, a highlight of the score and a showpiece for the dancer, is cut. Romeo's pursuit of Tybalt is enacted in slow motion, a neat counterpoint to the lickety-split music, but the eventual brutal strangling seems out of place. Maillot is, again, at his best with Romeo and Juliet in the lovers' farewell, where she slaps him for killing Tybalt before falling into his arms and coaxing him back to bed. By now, though, the Nurse's idiosyncrasies and Lady Capulet's histrionics have begun to wear thin. An underused Paris exits the reluctant Juliet's bedroom and is never seen again. After a perplexing sequence with Friar Laurence and the acolytes that has nothing to do with the all-important potion, Juliet in bed becomes Juliet in the tomb. Romeo appears and rams his head into the base of the bier; Juliet wakes and, with Friar Laurence looking on helplessly, strangles herself with a long red rope of sheet that she seems to have pulled from Romeo's body. No Capulets or Montagues arrive to reconcile. Watching this bleak dénouement, you could sympathize with Prokofiev's original impulse to rewrite Shakespeare and give the ballet a happy ending. Advertisement ROMÉO ET JULIETTE Music by Sergei Prokofiev. Choreography by Jean-Christophe Maillot. Sets by Ernest Pignon-Ernest. Costumes by Jérôme Kaplan. Lighting by Dominique Drillot. Presented by Boston Ballet. With the Boston Ballet Orchestra conducted by Mischa Santora. At Citizens Opera House, through June 8. Tickets $32-$232. 617-695-6955, Jeffrey Gantz can be reached at Jeffrey Gantz can be reached at
Times
21-05-2025
- Entertainment
- Times
Ballet BC review — horror and comedy in a classy Canadian double bill
The Dance Consortium is a collective of UK venues whose aim is to bring the best international dance to our shores. It has made a winning choice with this exceptionally fine double bill by the Vancouver-based Ballet BC, unveiled this week at Sadler's Wells before continuing to tour to six locations — from Edinburgh to Plymouth — until mid June. The 20 dancers of Ballet BC are classically trained, but the works they perform are very much within the contemporary field. In other words, don't go expecting to see pointe shoes. But do go if you want to watch a superb ensemble delivering two complementary works that are, respectively, aesthetically impressive and marked by a smart, generously crowd-pleasing touch. First up is Crystal Pite's Frontier
The Guardian
21-05-2025
- Entertainment
- The Guardian
Ballet BC review – fizzing energy from dancers laid bare
In brief, this double bill from Vancouver-based Ballet BC comprises one really great piece and one that starts promisingly but loses its way. Plus some incredible dancers. To the good stuff first: these dancers, the men especially, are so vividly alive in Canadian choreographer Crystal Pite's Frontier, with quicksilver reflexes and fizzing energy, even though everything's executed with total control. Soloists dressed in white dance Pite's treacle moves as if you can see the gravity. But they are among shadows, hooded figures all in black, who at times lift and support the soloists as if they're being carried by invisible forces. Elsewhere they loom ominously, they are ghosts or fears. The mood is eerie with the whispers and echoes of Owen Belton's soundtrack. Pite has a way with readable visual ideas. What might amount to a line written down – black v white, individual v group – becomes expansive in movement, sensitively alive. (She has said the dark figures represent the unknowns of the universe and consciousness, but it works whether you know that or not.) She has a talent for composition and structure, and for considering the audience's journey. The transcendent voices of composer Eric Whitacre open the piece and they return at its end in a choral catharsis, to make a satisfying whole. This mastery of composition is something that's missing in Johan Inger's piece Passing (and, to be fair, in a lot of choreography). The Swede is much less well known in the UK than Pite. ENB danced his Carmen last year, but this is a lighter piece, certainly at the outset. It feels human in scale, with guitar-picking music and folksy movement, playing out snippets of life's landmarks and seasons, its circles, rituals and relationships, with light, colour and humour; the dance itself is pleasingly wry in tone. But somewhere around the halfway point, it becomes overstretched. A mournful a cappella song outstays its welcome, things get nebulous. The company end up circling the stage in their underwear in a huge shower of confetti – it's beautiful to look at, but missing the profundity it's no doubt aiming for. The thick drone of the soundtrack doesn't help. Bring back that choir! At Sadler's Wells, London, until 21 May. Then touring until 11 June
The Guardian
21-05-2025
- Entertainment
- The Guardian
Hamburg Ballet dancers accuse artistic director of creating ‘toxic environment'
Ballet dancers at a top German company have reportedly written an excoriating critique of their new artistic director, accusing him of creating a 'toxic work environment.' More than half of the 63 dancers making up the troupe have complained of untenable working conditions under Hamburg Ballet's artistic director, Demis Volpi, who joined the company last September, taking over from the US choreographer John Neumeier. Neumeier, who retired last year at the age of 86 after 51 years in the role, is credited with having taken the German company from relative obscurity to a position of world renown in the dance world. But the mood at the company is now restive, according to a letter written last month to Hamburg's minister of culture, Carsten Brosda, and seen by reputable German media. Five of its 11 first soloists, considered the stars of the ensemble, have announced their resignation, and are due to leave the company at the end of the current season. Both collectively and individually, they have complained of Volpi's lack of leadership and artistic expertise, and the 'deep mistrust that [he] has towards his employees'. 'The current leadership is creating increasing internal problems and a toxic working environment through poor communication, a lack of transparency and an often dismissive attitude,' the letter reads. The criticisms have been echoed by dancers from the company Ballett am Rhein in Düsseldorf, where Volpi was at the helm for four years. They say they were moved by their counterparts in Hamburg to open up about their own similar experiences with him. In a letter also addressed to Brosda, 17 Rhein dancers wrote: 'During his time with us, we found that Mr Volpi created a work environment characterised by inconsistent communication, a lack of transparency, and an atmosphere of fear and uncertainty. 'Constructive feedback was often met with negative consequences, which made open exchange difficult and undermined trust.' The dancers warn in the letter: 'It is only a matter of time until not only John Neumeier's legacy will be lost, but also the high standard and the international reputation that the company enjoys.' Hamburg's first soloist, Alexandr Trusch, who came to the company aged 12, after moving to Hamburg from Ukraine, said he was 'abandoning everything' by leaving after 23 years because he could not tolerate the existing situation. 'I'm giving up everything, my career, my work, because I can't support such behaviour and such a low level of artistry which is in danger of destroying everything,' he told broadcaster NDR, saying he did not have a new post in place. He accused Volpi of being someone who 'is very good at selling his visions, but the quality he delivers is abysmal'. The other soloists to have announced their departure are Madoka Sugai, Jacopo Bellussi, Christopher Evans and Alessandro Frola. Sugai, 30, from Atsugi City, Japan, confirmed in an interview with Die Zeit that her departure was related to Volpi's style of leadership. Evans, 30, from Loveland, Colorado, who was the first soloist to announce his resignation, told the newspaper: 'I don't feel like Volpi understands us or has any idea how much work we put in and how much passion we put into our work.' Volpi, 39, who is German-Argentinian, denied the accusations in an interview last week with the Hamburger Abendblatt. More recently, he told the Rheinische Post: 'Intensive discussions are possible and are taking place right now.' He told Die Zeit he would like to respond to the dancers' letter, but said they had yet to send it to him. 'I don't have the letter,' he said, adding that he was 'willing to work on things', but for that to happen 'the criticism must be brought to my attention'. A coach 'who specialises in processes of change' in the field of the performing arts has been appointed at the ballet, Volpi said, whose job would be to mediate between the parties. Volpi was approached by the Guardian for comment through the Hamburg Ballet. Requests for information to the company have been directed to Brosda. In a written statement, Brosda said: 'We take the accusations very seriously and are carrying out lots of discussions behind the scenes. The management and the company must now quickly find solutions together to prevent further damage to everyone.' Meanwhile, the company is continuing to rehearse for the first ballet production choreographed by Volpi for Hamburg in July, an adaptation of the Hermann Hesse novel Demian, a coming of age tale which investigates the themes of identity and morality. Dance critics are expected to be paying far more attention than usual.
Business of Fashion
08-05-2025
- Business
- Business of Fashion
Puma's Earnings Meet Estimates in Boost for CEO-less Brand
Puma SE reported a stable first quarter in a boost for the German sportswear company, which is currently operating without a chief executive officer. The sneaker brand's adjusted earnings came in at €76 million ($86 million) before interest and taxes, according to a statement Thursday. That's down from a year ago but slightly ahead of analyst estimates. Puma also maintained its 2025 earnings targets while acknowledging that the outlook ignores the potential impacts of President Donald Trump's tariffs because there's so much uncertainty. Shares rose as much as 7.8 percent in Frankfurt trading. The stock is down more than 40 percent so far this year. The steady performance amounts to a bright spot for the German brand, which in April parted ways with its former CEO Arne Freundt following a disagreement with the supervisory board over the company's strategy. Puma is now waiting for Adidas veteran Arthur Hoeld's arrival as boss in July. It's a challenging time to be without a leader, with the sneaker industry's exposure to Asia manufacturing putting it in the crosshairs of the US trade war. But Puma appears to be gaining some momentum with its retro Speedcat sneaker, which is key to the company's efforts to raise prices for its more fashionable footwear. The brand still plans to sell between four and six million pairs of the thin-soled Speedcat and related models like the Ballet shoes this year, chief financial officer Markus Neubrand said on a call with reporters. Demand has been particularly strong for those in Asia and North America, while it's been disappointing at some European retailers, he said. While Puma only gets about 20 percent of its sales in the US, the brand has nonetheless seen resilient demand in the country despite concerns about recession and inflation. 'Traffic was under pressure mostly in February, which was the worst month, and since then we've seen an improvement to the traffic development in the US,' Neubrand said. While many investors will welcome the company's decent start to the fiscal year, they'll probably want to see how exactly Hoeld will adjust the strategy before changing their opinion about Puma, Piral Dadhania, an analyst at RBC Capital Markets, said in a note. Puma performed slightly better than expected in the Europe, Middle East and Africa region while its performance suffered in North America and China, Dadhania noted. In March, Puma disappointed investors with a gloomy trading update based on trade tariffs, currency swings and escalating geopolitical tensions. It also said adjusted earnings before interest and taxes would probably fall this year to between €520 million and €600 million, while currency-adjusted sales would only grow in the low- to mid-single-digit range. The outlook raised doubts about whether Puma can achieve its target of an 8.5 percent EBIT margin by 2027, a goal it already pushed back by two years in January. The brand has struggled to build on the momentum it generated during the nearly decade-long tenure of Bjorn Gulden, who left to become Adidas's CEO in 2023. Freundt sought to deepen Puma's profile on higher-end sneakers and sports gear but never managed to roll out a product that captured the zeitgeist. While some analysts applauded the decision to bring in Hoeld as the new CEO, they cautioned that it will take months for Puma to change its strategy and even longer for Hoeld to bring new products to market. By Tim Loh Learn more: Puma Warns Tariffs, Geopolitical Tensions in 2025 Forecast The German sportswear brand expects currency-adjusted sales to grow in the low- to mid-single-digit range, it said in a statement.
