02/23/2025
A review of Sergei's Royal Ballet debut
Three Debuts in a Royal "La Bayadere"
Royal Opera House, Covent Garden
28 January, 2009
by Judith Cruickshank
Following a seemingly interminable run of 'The Nutcracker', the Royal Ballet embarked on Natalia Makarova's production of 'La Bayadère' with a seriously diminished roster of principals. Both Alina Cojocaru and Sarah Lamb are on the sick list with seemingly long-term injuries, Federico Bonelli has now joined them. David Makhatelli is also injured and Marianela Nuňez has cancelled her scheduled performances as Gamzatti and Nikiya. This resulted in continuous changes from the original cast list and saw the Royal Opera House debut of the Hamburg Ballet's Silvia Azzoni who was drafted in to dance Nikya to Ivan Putrov's Solor, which she did to considerable acclaim from the fans.
Probably the most awaited performance though was on 28 January when a trio of young hopefuls debuted in the leading roles; Yuhui Choe as Nikiya, Hikaru Kobayashi as Gamzatti and Sergei Polunin as Solor. Choe is listed as a first soloist while Kobayashi and Polunin are soloists; Kobayashi since 2006 while Polunin was promoted this year after his first season with the company.
Polunin is evidently regarded as the Royal Ballet's Great Hope – not necessarily an enviable position as many of his predecessors could probably testify. But there is no doubt that this is a very talented young man. He is Ukrainian by birth and trained in Kiev up to the age of 13 when he was invited to join the Royal Ballet School where he studied for four years. But the luxurious stretch of his soaring jump and the breadth of his movement are entirely Russian.
More striking still is the conviction that he brings to his playing of the role of Solor, so that when on his first entrance he gestures towards the stuffed animal being carried past you almost believe it's a real tiger rather than Pooh Bear's friend, the bouncing Tigger.
Solor is a pretty big challenge for your first-ever leading role, but I would say the two female leads present an even greater hurdle for a debutante – I don't count the Sugar Plum Fairy as in the Royal Ballet's productions the role consists of some kindly gestures and a classical pas de deux. Once upon a time promising dancers had the opportunity of taking a first leading role in a one act work, but the paucity of triple bills and the theoretical abundance of principals rule that out.
I found Choe less impressive than her partner it is more a tribute to Polunin's charisma than to any fault on her part. She is a pretty dancer, with a crystalline technique and especially beautiful feet. She gave the impression of having been carefully coached and it is to be hoped that she won't have to wait too long for further performances and the opportunity to bring something more individual to the part.