Let’s have a Lynn Seymour interlude
If you want to take a break and watch a glorious dancer you’ve probably never heard of, take a look at a 1979 clip of Lynn Seymour performing the bedroom scene from Macmillan’s “Romeo and Juliet” with David Wall’s Romeo, to Prokofiev’s brooding music.
The Canadian-born Seymour was an oddity as a dancer. Although famous as a principal with the Royal Ballet, she was known for her dramatic flair and an intensity and abandon that was at variance with the ordinarily restrained British style. She also appeared bigger than the usual ballerina, although it can be hard to tell with dancers, who tend to look much taller on stage than off (I discuss this phenomenon here).
Whatever her height, Seymour had a solidity that was also unusual for a ballet dancer, a weighted groundedness that made it difficult for her to look lighter than air. She also famously struggled with her actual weight, a situation made more difficult by the fact that she was injury-prone, and had three children by the time she was in her mid-30s.
But none of this mattered when she danced. Here you see her as the fourteen-year-old Juliet, although she’s forty at the time this film was made. Juliet is a role usually more suited to diminuitive dancers who can more easily look young; Seymour is clearly a woman.
Why do I say her size and age didn’t matter? Well, take a look. There probably has never been a more fluid and supple dancer, one so musical and deeply immersed in her roles. Not a single moment here comes off as a pose; Seymour’s movements are one seamless, sensual flow.
And Romeo? Oh, he’s there, too.
Even though I’m a dance fan, I think the ballet “Romeo and Juliet” suffers in comparison to Shakespeare’s work (I’ve written about the latter here). After all, Shakespeare was a genius of extreme rarity, and even very talented choreographers can’t quite match that. What’s more, words can tell a story of complexity that simply cannot be conveyed in movement—which can only deal with simple plots, although it can evoke deep and complex feelings. The dancers must convey their yearning without a single word, but I think they do a pretty good job.
Here’s a clip of another outstanding dancer, Alessandra Ferri, in the same role not too long after. She is very young here, probably in her late teens, and that and her petite size help her to convey the youthfulness that Seymour lacks (Ferri’s Romeo Wayne Eagling, on the other hand, seems a bit old for his part). Like Seymour, Ferri is remarkably lyrical and smooth, a great actress, and her technique is superb; better in fact than Seymour’s. But despite all of this I am always aware that Ferri is dancing and posing, albeit beautifully. For me, Seymour transcends all of that and enters a very different realm. You may have a different response.
They seem very good at this. I have no idea what you are talking about, but it’s obviously an art that takes tremendous discipline and dedication.
Very interesting. While an ardent music collector, I admit to knowing little if anything about ballet. I tend to respond to dance on an emotional level rather than in reaction to technique–although, I realize masterful technique can create an emotional response. I agree with your take on these performances. I much prefer Seymour to Ferri, although Ferri’s age and petite body are probably better suited to the role. This makes me think of several things. I’ve always felt that “women’s” gymnastics lacks mature emotion as most of the participants are little more than children. Of course, they are physically limber and adept, but I think I would prefer less physicality, and appreciate more of the grace that comes with age. As I have gotten older(now 53), I find that I discover nuances in musical pieces that I didn’t appreciate when I was younger. I love jazz. I used to be highly enamored of fast young players who filled every second with flurries of notes, exhibiting phenomenal technique. While I still enjoy some of that, I find I have grown to love the quiet between notes, and the nuance of limited notes in the hands of a master. There are definite similarities with the videos you posted. Both show inarguably talented dancers, but the subtleties and depth of expression in Seymour’s performance strike me as superior.
Who is the choreographer, Neo?
Was this the Frederick Ashton version?
And are you familiar with Anthony Tudor’s work?
Beverly: Yes, the Ashton version. He choreographed it on Seymour, but then Nureyev and Fonteyn got hot and they were the first cast, and Seymour was an alternate.
Yes, I’m very familiar with Tudor’s work. Some of my dance teachers were students of his, as well.
[Correction from neo-neocon: I meant the Macmillan version, as I said in the original post.]
My daughter’s teacher has commented before that Margot Fonteyn’s (arguably the standard for ballerinas) technique was far from perfect but that she had that “it” factor, musicality, magnetism and magic, such that you just couldn’t take your eyes off.
As with Fonteyn so with Seymour, if you’ve got “it” you’ve got it. Better technique and the perfect ballet body doesn’t always compensate for enate artistic genious.
Thanks for the interlude.
By the way my daughter also is battling “body stereotyping” as she is pushing 5’8.
Other than that she has that willowy, ballerina body, but people are telling us she’s too tall
Adagny: Gloria Govrin. Ballet dancer, New York City Ballet. Five foot ten inches.
I much prefer Ferri. Seymour is cumbersome, weighty and clumsy. She no more portrays the youthful immaturity and naivety than my granny! I have never liked her as as a dancer since a teenager and I used to not watch a televised ballet rather than endure her. I wanted to see if I still felt like that. I do. I can’t think of any other dancer male or female I have such a strong negative response to. Also I studied English literature and yet prefer the ballet, which is one of my favourites, to the play and it informed my understanding and enhanced my enjoyment of it. It is a wonderful piece of theatrical drama and art and dance.
I have been lucky to see Lynn Seymour dance in 1976-77 in Covent Garden in this other MacMillan ballets. Choreographer for this ballet was Kenneth MacMillan (not Ashton) and he originally created this role for Lynn Seymour. Ms. Seymour is Juliet’s passion made palpable and carnate. She is not Juliet imagined, ethereal and ideal, but Juliet in the flesh, soft, pliable, round and warm. Ms. Seymour as Juliet epitomizes dancing “with abandon”, ballet technique (both triumph and deficiency) becomes superfluous to pure passion and emotion. Ms. Seymour captures the passionate woman awakened in an adolescent Juliet. Just as some prefer the Mona Lisa to the fleshy Renoir beauties, one can prefer Fonteyn’s Juliet (or others) to Seymour’s Juliet, but Seymour’s Juliet is not a failed attempt to portray youthful immaturity or naivete. Ms. Seymour is not focused on either Juliet’s immaturity or naivete, she is focused on the passion. Most ballerinas dance Juliet, and several dance her beautifully, however, Lynn Seymour is Juliet, the woman.
I am pleased Ellen commented on the “reality” of Seymour’s portrayal. It was unfortunate that she and Christopher Gable who worked with McMillan on creating the ballet were usurped by Fonteyn and Nureyev because their names were more universally recognized for the introduction of the ballet to the ballet world. I was fortunate enough to see Seymour and Gable perform Romeo and Juliet in Vancouver when the Royal Ballet was on tour and she was given this spot because Vancouver is where she was brought up before she emigrated to England to join the Sadlers Wells school prior to being accepted into the Royal. Does anyone have an update on Seymour’s involvement with ballet these days? I saw her do a character role for Bourne’s Swan Lake in California and she stole the show with her camp take off on the Queen (EII). It was wonderful and I’ll never be able to go to traditional performance of Swan Lake again after seeing this production. I would love to find recent information on Seymour. I’m still a fan.
I’m an old friend and colleague of Lynn’s but have lost track of her and where she is today.
If anyone knows, please feel free to let me know; I’d so love to find her and reconnect.
Mark Baird
Former Joffrey Ballet dancer, Ballet Master with Northern Ballet Theatre