- showtimes
- Programs
- @fter Midnite
- Artists for Alzheimer's
- Ballet in Cinema
- Big Screen Classics
- Box Office Babies
- Cinema in 70mm
- Coolidge Award
- Coolidge Destinations
- Coolidge Shorts
- Deaf and Hard of Hearing
- Goethe German Film
- Kids' Shows
- NT Live
- Off the Couch
- OnStage @ the Coolidge
- Opera in Cinema
- Science on Screen
- Senior Matinees
- Stage & Screen
- Talk Cinema
- The Sounds of Silents
- @fter Midnite
- Membership
- About
- About Us
- History and Mission
- Board of Directors
- Staff Members
- Press
- Support Us
- Purchase Gift Card
- Directions and Parking
- Contact Us
- About Us
- Rentals
close
Moviehouse One, our grand downstairs theatre, seats 440 people. The theatre features state-of-the-art film projection as well as a large stage ideal for panel discussions, Q&A's, and live performances.
Moviehouse Two used to be the balcony when the Coolidge was a one-theatre house. It is now a medium-size, 217-seat theatre featuring state-of-the-art film projection and audio, as well as a small stage ideal for director q&a's, small performances and group discussions.
The GoldScreen seats 14 in our plush deluxe seats and features high-definition digital projection
The Video Screening Room seats 45 and features high-definition digital projection.
Romeo & Juliet
Sunday, April 15
3hr 10mins
With Romeo and Juliet, Kenneth MacMillan’s first full-length work for London's Royal Ballet, both he and the Company struck artistic gold.
The timeless story, best known from Shakespeare, matched to the fine score by Prokofiev provided the starting point for what has become a 20th-century ballet classic: an international calling card for the choreographer and a signature work of The Royal Ballet. Starring Lauren Cuthbertson and Federico Bonnelli.
Recorded live on March 22, 2012.
Synopsis
At the beginning of the ballet MacMillan’s crowd scenes teem with life and color. It’s a pleasure to be able to follow the characters created by members of the corps de ballet as they portray the townspeople, market traders and servants of the rival Montagues and Capulets. However, once Romeo and Juliet meet, everything else on stage can only be scenery for their story. Three great pas de deux: the meeting in the ballroom, the balcony scene and the morning after the wedding, eloquently convey the narrative: adolescent shyness and fascination; the headlong rush of love declared, and the grief of parting. The final scene in the tomb, a pas de deux with a lifeless partner, is devastating.
The Royal Ballet has performed Romeo & Juliet well over 400 times, yet each performance is subtly different. Every pairing in the title roles brings fresh nuances to the young lovers’ characters, while the wealth of supporting roles, from the exuberant trio of harlots in the town square to the murderous rage of Tybalt, offers scope for dancers throughout the Company. Nicholas Georgiadis’s earthy Renaissance designs, with some of the original details recently restored, are the perfect backdrop.
Composer
Sergey Prokofiev
Choreography
Kenneth MacMillan