According to some, Onegin is the ultimate expression of John Cranko’s choreographic and theatrical genius.
According to some, Onegin is the ultimate expression of John Cranko’s choreographic and theatrical genius. I disagree, for I think that other works are a much better testament to his unique creativity. But I like Onegin because it is one of those works in which choreography and acting go seamlessly hand in hand, thus creating a tension that makes one overlook and forgive much of the poor choreography — of which there is a good handful. That, though, is only when things work as they should. When they do not, the outcome can be dreary, like the performance I saw on the opening night of the new Royal Ballet season.
The company looked tired, unrehearsed and never much involved in the ongoing drama; not to mention the number of small and annoying accidents that marred the first two acts.
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