The Royal Ballet tells a tale of love and loss
Lovers are scorned, friends betrayed, and duels end in fatality in the Royal Ballet’s Onegin. Much more than just a tragic love story, the ballet’s intricate choreography and mature, nuanced performances from the company provide a foundation of depth upon which the melodrama can unfold. Just make sure to read the programme notes, so you can keep up with what’s actually happening, writes Melina Block.
Reece Clarke is an excellent Eugene Onegin; the commanding, infuriatingly arrogant, titular role. He performs with slick, powerful control over his movements, the stage, and the other characters – who he treats more like playthings than people. His nonchalant charisma enthrals the delicate Tatiana, danced beautifully by Marianela Nuñez. Her transformation from the naive, lovestruck girl in Act 1 to the poised, confident woman by the end, is testament to her range and talent.
Onegin’s hold over the young woman in the first two acts is painfully obvious, as he practically chucks her around whilst she scuttles around him. Nuñez and Clarke communicate this power imbalance perfectly – so well that you want to get on stage and drag Tatiana away from Onegin, freeing her from his callous disrespect. Even knowing what the fate of their relationship is, their final pas de deux is filled with such tension and chemistry that the stakes still feel high, and the final rejection is all the more bittersweet for it.
Olga and Lensky, performed by Akane Takada and William Bracewell respectively, also provide moments of genuine tragedy and heartbreak. It is hard not to pity Lensky, as he runs after the fickle Olga, who has been – quite literally – swept up and around by Onegin. I would argue that it is this betrayal and its fatal outcome which most pulls at the heartstrings, especially when considering the earlier innocence and sweetness of Olga and Lensky’s relationship.
Bracewell’s sorrowful, angst-ridden performance in his final solo is realised to its full potential with the help of moody, midnight-blue lighting. His beloved Olga’s reaction to his death, as she seems to crumble apart on stage, is expertly executed by Takada, who embodies the pain of loss with unflinching commitment.
Whilst a summary of the plot will be necessary to fully comprehend the story of Onegin, especially considering the tendency for Olga and Tatiana’s costuming to be strikingly similar, the ballet’s exploration of grief, friendship, betrayal, and passion is enchanting. Visually stunning and emotionally devastating, the Royal Ballet’s Onegin is a prime example of why people continue to gravitate towards dance as a medium for storytelling and performance.
Royal Opera House, Covent Garden, London WC2E 9DD until 12th June. Tickets: £8 – £165.
Booking: https://www.rbo.org.uk/
