After a while — arrows, quivers, neighing, swords, grunts — there's a beautiful bit of battle-scene choreography, in which the Boltons surround our heroes' army with their terrible shields and spears, perhaps the most menacing circle I've ever seen.
So thank goodness Tomasson, who choreographed this version of R&J, enlisted actor, teacher, and fight expert Martino Pistone to help develop the "fight-scene choreography" and, each time SF Ballet performs this ballet, to train the male dancers in handling those weapons.
With the exception of a make-out scene the choreography was generally praised among critics.
"Which scene's choreography surprised you the most?" I was put on the spot.
Matters aren't helped by a very inexpensive production design that amounts mostly to a few stoops that are pushed around the stage here and there in an effort to create some sort of change of scene or choreography that feels dreadfully dated.
One of the supreme scenes of choreography has become ossified.
Rehearsed in three weeks, teched in three days, the panto machine has a lot of cogs: scenes, routines, choreography plus all the bells and whistles, magic and dry ice.
Mr. Daldry and his prodigiously inventive team make sure that the conflict is carried through on every level, from Peter Darling's inspired scene-melding choreography, which gives a new spin to the idea of the integrated musical, to Ian MacNeil's fluidly moving sets and Rick Fisher's shadow-casting lighting.
Pegg flawlessly and confidently waltzes from scenes of roundabout quick wit to difficult scenes of difficult fight choreography to scenes of raw, fragile, emotional nudity.
A backpack choreography scene with LXD recalls Usher's 1997 video for "You Make Me Wanna".
