Nina Baratova

I am fortunate and honored to say that I was the original Juliet in Ron Cunningham's premiere production of Romeo and Juliet in 1992. There are not too many ballerinas who can say they had a role created on them, and especially one of such depth and richness as that of Shakespeare's tragic heroine. I was 20 years old at the time, and did not fully comprehend the magnitude of what was happening in the studio. I was just doing what I was most passionate about, dancing. Now, as I reflect on that time, nearly twenty years ago, I realize how truly awesome it was being Ron's muse, creating those steps that today's Juliets will dance, exploring for the first time Ron's vision of this ballet, and discovering the Juliet within me.
It is a thrill for me to come back nearly two decades later and dance the role of Lady Capulet, Juliet's mother. Someone once told me that ballerinas are born after 30. I now realize what they meant, the point when instinct is replaced by life experience. As I listen to the corrections Carinne gives the Juliets, I recall hearing the same thing but having it carry a very different meaning when I danced the role. With a bit more life experience under my belt, and two children of my own, I understand more accutely the entire progression of Juliet's character, from an innocent and naiive child, to a passionate, sometimes desperate, but always strong woman capable of the ultimate sacrifice for love. The unfortunate irony of ballet is that once the soul fully blossoms, the body begins to wither. This is why character roles were created....To me, Lady Capulet is very much like Juliet; she is, after all, her flesh and blood. They share the same hot-blooded passion, the same desire for love. The difference between mother and daughter is that Juliet was not willing to conform to the duties and social expectations of her time. Where Juliet's spirit was free, Lady Capulet's was bound by duty. There are elements of each character within me, as within us all, and it is such a rewarding experience to come back, full circle, after so many years, and be the mature version of Juliet, the mature version of myself.
Nina

Between Worlds - Carinne Binda, Artistic Director

We had our final in-studio run of Romeo and Juliet yesterday and we move into the theater tomorrow.  I feel between worlds today with both a sense of sadness, yet tremendous excitement. I cannot begin to express how wonderful the hours in the studio have been these past 5 glorious weeks. Rehearsing dancers is an amazing job that I am passionate about. It is very much about creating an incredible tapestry where all the pieces must come together at just the right moment. Watching this ballet evolve from January 4th to a completed work ready to be performed, is always a journey of discovery.  We work with very dedicated dancers, so it is never about inspiring them to work hard, it is about providing them with all the information so they can be bold, free and excel beyond their own expectations. We set high expectations and expect greatness. In the studio we seek perfection. Everyday, I have experienced joy as I see a dancer open up new levels of emotional truth, while at the same time, perfecting the steps they will dance. 

Several individuals asked me during our final three in-studio runs if I allow myself to cry at the many harrowingly dramatic scenes in R&J.  Actually, one of the hardest aspects of my job is to remain emotionally neutral in rehearsal, because my job is not yet done. Ron and I still have to be sure every look and every move rings true to the story. We must be extremely critical editors and not allow ourselves to get lost in the dramatic and beautiful dancing in front of us. But next week, yes, I will cry many times in every performance.  As you have read in previous entries to this blog, we have three exquisite Juliets and two casts of very passionate Romeos, Mercutios, Tybalts and Benvolios. There is a richness in interpretation and detail in each artist and I highly recommend you consider seeing this impressive tapestry of dance, music, love and death more than once. 

Yes, I am sad that the studio phase I so love has come to an end. Today, I have reread weeks of  notes that I had written as the dancers rehearsed and threw out hundreds of pieces of scrap paper on which those notes were written. The rehearsal phase is over. Tomorrow I will feel all the excitement the dancers experience as they step onto the stage to begin that phase.

Theater week is one of extraordinary intensity. Between Monday when we move into the theater and Thursday's opening performance, there will be moments of chaos, many OMG's, and much hard work. The spacing of every dance sequence always feels different in the theater. Instead of dancers looking at a mirror in front of them, they now look out into a black void with extremely bright lights focused on them. The artists begin rehearsing on stage at 4pm Monday and by Tuesday evening we are already doing a dress rehearsal with full costumes, makeup, lighting, and scenery.  Our Juliets must learn how to run down a flight of stairs from their balcony with no railing while hopefully not looking at their feet. Theater week always speeds by.  Suddenly it's opening night, and in a blink of an eye, the ephemeral performances have come to an end.  

A few days after our final performance of R&J, the entire process begins anew with the first rehearsals of Icons & Innovators.

- Carinne

An extraordinary experience...

It’s a bittersweet sentiment knowing in less than a week we’ll be opening this production. I’m so excited to present this to an audience, to show people what we get to experience day to day. I think Romeo and Juliet is such an incredible ballet because so much can be shared by both audience and dancer.  Audience members can be certain that while they cry or fight the lump in their throat from their views, most of us will be in the wings doing the same. I don’t know if that can be said for every ballet. I think the most remarkable sight I’ve seen in awhile was a young audience member watching one of our run-throughs this week. I glanced over at the girl, no more than ten years old, during the final scene and to my surprise she was sobbing. Her mother comforted her with an “I know sweetheart” as the young girl glanced at her both shocked and heart-broken. It was so fulfilling to see someone so young with such a reaction. Chloe Horne and Stefan Calka, the dancers portraying the star-crossed lovers, received the first standing ovation that day.

Romeo and Juliet in a way helped me realize that ballet was what I wanted to do. As I write, a rehearsal for the balcony pas de deux is taking place; music that has fueled my passion since I was young. I remember seeing it for the first time, not knowing the ballet but I played the video repeatedly. Maybe a year later, I got a copy of the music for my birthday. I think many dancers here have written something similar; how special this ballet is or how it’s affected their career. The score, the story, the choreography is something special. I’m so honored to have been able to be in such a wonderful production, with such a wonderful cast. “The desire to share something special, an extraordinary experience, that’s what brings people together.”

Now - a full run-through with an audience already lining up.

See you in the theatre!

 

Meghan

Not Always so Serious

Even though most of the ballet is full of passion, drama, and tears; not everything is always so serious during these Romeo and Juliet rehearsals.  Like Alex said, there has been a bunch of falling, laughing, and good times throught the process of creating this wonderful ballet.  This type of comic relief wouldn't be possible without the care that we as dancers have for each other.  We're more like a big family here, everyone helps out.  For instance, here's a clip of Alex, a Juliet, stepping in to play the nurse for Amanda as she discovers why she is now suitable for marriage. Hope you enjoy!! =)

A few extra hours of sleep

First off I would like to say that as a guest dancer I was nervous to join this company in the middle of the season when the camaraderie between everybody was at its greatest, but I have never once felt excluded or judged in any way. The people here are some of the best that I have ever had the honor to share the studios with.

That being said, we are in full swing with rehearsals and full runs for R & J and the days only seem to be getting longer. I personally take class in the mornings thinking, "Maybe more cardio should be added to my workout because today is going to be a tough one." With all of this rehearsing and cleaning of each scene you would begin to think that people would become irritated and start to get annoyed with one another, but a perfect solution was put into place. WE GET TO START CLASS AT 11! I believe that I can safely speak for every dancer here when I say that there is no better feeling than changing your alarm clock to wake you up a couple hours later the next morning. We all show up to work knowing the days may be long, but not dreading them one bit. Thanks Ron and Carinne, we really appreciate it.

Two Sides of the Same Coin - Christopher Nachtrab

Trying to defend my honor as Tybalt, fighting Romeo

     

     It is hard to believe how quickly these past few weeks have flown by.  For the past four weeks I, along with my fellow Sac Ballet dancers, have emerged ourselves physically and emotionally into Shakespeare’s world of “Romeo & Juliet”.  We have spent our days listening to the ingenious and passionate musical compositions of Sergei Prokofiev, exhausted ourselves by tediously reviewing the details of our ballet technique that is so very necessary in such a production, and we have explored our emotional boundaries by allowing ourselves to recreate dramatic scenes dealing with love and death.

Trying to get a laugh, as Mercutio

     For many of the dancers, including myself, we have also been offered a further challenge (upon those already presented)… we would have to perform two character roles during the performance weekend.  While at first acknowledgment it my not seem as such a big deal to have two roles – the reality of this aspect soon presents itself.  I have been granted the privilege of representing both the characters of Mercutio, the best friend of Romeo and friend to all the Montagues, and that of Tybalt, the kinsman of the Capulet family.  In essence I will always be playing my own worst enemy during any given rehearsal and during performances.  Quite a challenge!! 

     During the first week of rehearsals I was told to strictly concentrate on just one of these characters, so as not to overload myself with too much choreography, or contradicting information.  Throughout the weeks however I slowly began to develop a split personality in the studio, having to call upon my humorous, light-hearted, yet slightly mad character for a certain rehearsal and then having to internalize myself for a moment and change my attitude to that of a fierce villain-like person, whose passion is only quenched by blood shed that fuels his ever-empty cup of honor.  I suppose that if this were not my job I may very well be considered insane.  However, I was still very unsure about how to keep a steady handle on these two characters - by making them both individual (for example, both Tybalt & Mercutio are each killed during the ballet - but their intent before their death and the way in which they each die have to be unique and true to their persons).

Acting with Mr. Cunningham during rehearsals

     In trying to deal with all of this constant switching I received a wonderful piece of advice from my artistic director Ron Cunningham, during a small break early in the rehearsal process.  He told me that he considered both Mercutio and Tybalt to be “two sides of the same coin” – a simple idea that has really helped me separate and control the character and choreography of these two very intense roles.  As two sides of the same coin, each man has the same value as the other and carries the same weight; they fight each other for a chance to be the victor and are simply two opposites. Neither one being more important than the other, nor neither one being necessarily right or wrong in their intent of action or loyalty to their friends/family – in each of their minds they are doing what is necessary and what is just.   These two characters are nothing alike, yet are one in the same.