What the Critics Have Said

“If this were the only Romeo and Juliet I ever saw, I’d die happy.”
(Jenny Gilbert, The Independent)

“Hampson’s Romeo and Juliet is a vivid, imaginative account of Prokoviev’s score.”
(Jan Parry, The Observer)

“Hampson unwraps it with finesse- filling the stage with bold strokes of colour and pizzazz one minute, delicate romance the next.”
(Kelly Apter, The Scotsman)

“Grand style, lyricism and dramatic energy were the defining elements of a new production of the tragic love story, Romeo and Juliet, performed by the Royal New Zealand Ballet. Set loosely amid the glamour and excesses of 1960s Italian dolce vita, English choreographer Christopher Hampson’s work was specially commissioned for the company’s 50th anniversary.
Although modern in look, it kept within a traditional ballet structure, following Prokoviev’s rich score. Hampton has reworked the original Shakespeare, creating new scenes, and while this was visually appealing and added multi-layered pace, it undermined the romantic tension between the lovers.
Tracy Grant’s clever designs captured Hampton’s vision. The minimalist set levered across the stage, changing from dark colonnaded street to grand stair-cased interior, to Juliet’s simple white bedroom or Friar Laurence’s chapel. In contrast, her stunning costumes, mostly combinations of grey, red, black and white, were in flamboyant and eclectic styles.
Hampton’s choreography had an aerial quality, full of turns, leaps, pirouettes, extended arabesques. He is a traditionalist, but on occasions introduced new movements to great effect. …….. he made full use of the music, capturing the grand pageantry of the ball scene; the delicacy of Juliet’s theme.
In duets, Romeo lifted Juliet in soft arcs and lyrical floating lines. The ballet was Juliet’s story, and Turner’s dancing (2003 production) was beautiful and technically flawless. Her transformation from innocent adolescent to woman in love and defiant daughter was convincing. Disappointingly, Hampton’s characterization of Romeo was under-developed, and although Wagner danced and supported Turner well, his passion for Juliet lacked choreographic intensity.
Mercutio, brilliantly danced by Ji Hoon Yeom, was both dynamic and comic and almost stole the show. His electric sequences, with feet a whir of acute angles, contrasted with the brooding intensity of his protagonist, Tybalt (Graham Fletcher). But Fletcher could also move, slicing the air with grand jetes that soared across the stage. The fights were masterful – knives flashing bodies rolling- full of dramatic tension.
The dancers were required to act, and they did this well. Lady Capulet resembled something out of The Sopranos, strutting about in miniskirt and stilettos. However her grief on Tybalt’s slaying was a bit excessive.
This impressive, major work fitted the company like a glove. A showcase for its considerable talent, the ballet was a glamorous celebration of its anniversary."
(Francesca Horsley, New Zealand Listener, 12 July 2003)

A COMPANY DANCER

Alessia Lugoboni

Alessia Lugoboni was born in Verona, Italy. She studied briefly at the New Zealand School of Dance in 2001 on a scholarship, and from 2002-03, she trained at the English National Ballet School. On graduation, Alessia joined the cast of Das Phantom der Oper in Stuttgart. Alessia joined the Royal New Zealand Ballet in 2004. She speaks Italian, English, German and French. Performance highlights include Si Supieras, Milagros a blood-thirsty vampire in Dracula, the sweet but feisty, delightfully charming Clara in The Nutcracker, and a Bridesmaid in The Wedding. Last year, Alessia created a “comic riot” with her rendition of one of the stepsister’s in Cinderella.

Alessia Lugoboni

• Clip nine - How I came to the RNZB
• Clip ten - The parts I play in Romeo and Juliet
• Clip eleven - What I like about the ballet
• Clip twelve - Being in the ballet world
• Clip thirteen - Why I like being in the RNZB
• Clip fourteen - My favourite ballets
• Clip fifteen - The skills required to be a professional dancer today

FOCUS QUESTIONS:

• What skills must a dancer have today in order to have a successful career in a ballet company?
• What insights does Alessia Lugoboni give into the world of international ballet?