We were expecting a masterclass on MacMillan's Romeo & Juliet (and some of us were perhaps secretly hoping to get a preview of Ed Watson and Lauren Cuthbertson preparing for their debuts as R & J)...BUT.... instead we got a Masterclass on Mayerling with Alina Cojocaru and Martin Harvey. I was on cloud nine for the rest of the evening!

Alina and Martin were coached by Donald MacLeary with Paul Stobart at the piano. I have seen quite a few of these Masterclasses now but every other one has been coached by one of the Royal Ballet's Russian staff or guest ballet masters. Their approach is to stop the dancers after almost every phrase to provide coaching for instant repetition of the move. MacLeary was much more laid back which meant that the dancers were able to run through the two pdd completely before re-marking the steps with a commentary from Donald. Much of what he said was enhanced by rferences to a class given by Lynn Seymour earlier in the day.

The two pdd chosen were the first secret meeting between Rudolf and Mary in the Prince's apartments in Act II Scene 5 and the final pdd in Act III Scene 3 leading up to the point where Rudolf shoots Mary.

Martin Harvey is providing cover for Johan Kobborg in case he is unable to perform on Friday, 19 March. It seems as if it is still in the balance whether or not he will be recovered by then. So Martin is taking a 'crash course' in performing one of the most physically taxing roles in ballet! He has rehearsed it before as cover during the last run but this was only his second rehearsal with Alina - he said that he had watched tapes of her performance with Johan so that he could fit into Johan's interpretation of the role.

With several days to go, Martin looks well on top of the role on the evidence of these two crucial pdd and he clearly has the strength necessary to carry out the immense demands MacMillan's choreography requires of Rudolf. By the time he dances the first intensely passionate pdd with Mary, who sets the scene for this first private meeting by revealing that she has come to him in a coat which conceals a flimsy nightdress, he has already danced very physical pdd with six other women!

Alina was a delight. She somehow manages to be both very humble and attentive whilst retaining the essential dignity of the ballerina, even in these circumstances. I particularly loved the way that she gave due respect to the pianist by greeting him and escorting him to centre stage after the class, exactly as if it had been a performance. There was very little to comment upon in her performance and yet she remained utterly attentive to the coach and clearly soaked up everything he said. It was also clear that she was very confident with Martin as a partner.

Donald MacLeary's coaching often concentrated upon the dramatic interpretation with exhortations to Martin to 'get physical straight away' and to indicate more clearly the pain of his devastating headache in the first pdd. In the final pdd the emphasis was entirely on the pair's escalating madness. Given the complexity of the steps and lifts in both pdd, I was surprised how few technical corrections were required, particularly for Martin in view of the steep learning curve he is on, and how quickly gliches were modified in the second complete run-throughs. Martin said that he might get 4 out of 20 right in the second run of the first pdd but I think he managed to correct almost everything asked of him.

I am very keen to see Johan as Rudlof again following his towering performances from last year but it is SUCH a demanding role that i guess we should not be surprised if Martin has to stand in for him. On last night's evidence, that - in itself - will be something to look forward to.

Graham

There was an interesting discussion about dancers talking through their roles to themselves on stage - Alina saying that sometimes her thoughts inadvertently came out aloud! Perhaps ballet isn't as non-verbal as I had always thought.

This was a Friends' do and there were a few empty seats. I never understand how the ticketing for these sort of events works but it's worth remembering that tickets may become available late in the day.

Weren't I living and working 1300 kilometres far from ROH , those seats would never be empty!
Anyway, thanks a lot you for all your comments, that make me feel a little closer to London!!!
I’m counting the hours to the performance of the 19th... hoping to have Kobborg dancing with Alina.

Anna

I am impressed with Martin Harvey! I had noted to a friend a few months back that I think he is doing quite well and perhaps may be seeing a promotion in the near future? … and I believe his latest castings and ‘coverings’ are a testament to his ability. This being his second rehearsal with Alina, I was amazed. They responded to corrections quickly (remembered them!) and engaged in all the passionate moments as ‘rehearsal’ with an audience around to watch! The two seem to really be able to embody the characters and act… and again, for just their second rehearsal, had a fabulous amount of trust in each other.

I found MacLeary’s coaching refreshing as well – he would simply run back through the piece in his head and somehow remember everything he had thought as he watched… the communication between the three was also a delight – “at this point” with some random hand gestures and they all knew what the “point” was!

As noted, Alina was wonderful. I like her even more now than before! (if it was possible!) Very humble, very sweet, with a great presence for her small frame. Martin was hilarious in the best possible of ways – perhaps feeling a bit nervous/overwhelmed he graciously made light of the situation while giving his all… my favourite comment was when MacLeary told him that one part of his solo is ‘supposed to be piques… have you tried it like that?’ Martin’s expression became slightly distraught as he prepared to try the section again, and said ‘Yes I have… (then slightly looking at the audience)… and now I’m going to try in front of all of you…!’ And Sim, of course, he was lovely to watch! Perhaps my second after Jonathan Cope (I am, after all, a loyal fan!)

In any case… also endearing was how both of these dancers, while quite eager to dance and not seeming shy to try out all the acting/kissing/etc. full on, seemed to get a bit more shy when it came to their turns to answer questions… especially to hold the microphone!

While it would be a pity if Kobburg was not back in form for Mayerling, watching Martin tackle this role on stage is sure to be a treat!

As far as the comment of ballet being non-verbal… I think what Alina talked about was her emotions coming out… but I think sometimes also instructions or so also come out? Especially perhaps amongst the corp? I seem to remember a Ballet.co Mag interview with some corp dancers about how they had to give out instructions when someone had just a short time to learn a role.

Finally, the whole issue of empty seats… WHY OH WHY? For an event like this? I wonder if people who had tickets simply didn’t come? They definitely missed out!