Choreography: Marius Petipa, Jean Coralli, Jules Perrot.
Production: Maina Gielgud.
Music: Adolphe Adam
Set and Costume design: Peter Farmer.
Lighting Design: William Akers reproduced by Francis Croese
The
Australian Ballet.
The Canberra Symphony Orchestra
Canberra
Theatre 21st to 25th May 2015.The Canberra Symphony Orchestra
Reviewed by
Bill Stephens
The
Australian Ballet had only been established 3 years when it was chosen to open
the Canberra Theatre in 1965. Fifty years on, it has made a welcome return to
the Canberra Theatre with Maina Gielgud’s much admired production of the ballet
classic “ Giselle” to participate in the Canberra Theatre Centre’s 50th Anniversary Celebrations.
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| The Australian Ballet's "Giselle" |
The role of
“Giselle” is the Everest all ballerinas aspire to conquer at some stage in
their career. Although it demands exceptional technique, purity of line and
physical strength, the role of the young peasant girl who falls in love with a
nobleman, then loses her mind and dies when she discovers that he is already
engaged, offers limitless possibilities for individual interpretation, and like
“Hamlet” for an actor, can be career defining for a dancer.
Five
ballerinas will dance the role during The Australian Ballet’s season in
Canberra, including Madeleine Eastoe, who will give her Canberra farewell
performance before retiring from dancing. The honour of the opening night
performance was given to former Canberra dancer, Lana Jones.
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| Lana Jones |
One of the
company’s most experienced ballerinas, Jones is especially admired for her
steely, athletic technique and bravura style. Her Giselle is therefore
something of a revelation. Initially happy and uninhibited when dancing with
her friends; sweet and tentative when shyly responding to the advances of the
handsome young nobleman, Albrecht; reckless and frightening as she slips into
madness, her portrayal is affectingly realised.
But it is
the second act, when she returns as a ghostly wili, commanded by the Queen of
the Wilis, to entice the grieving Albrecht to dance until he dies, that Jones’ performance
becomes truly magical. Superbly partnered by Adam Bull, she appeared totally
ethereal and weightless, barely touching the stage, as she gently danced with
Albrecht, coaxing him to dance with her until dawn when the wilis would lose
their power to destroy him.
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| Lana Jones and Adam Bull |
Tall and handsome,
Adam Bull was perfectly teamed with Jones, and his thoughtful, multi-faceted
portrayal of Albrecht was convincing and beautifully danced.
Despite her diminutive
stature, Ako Kondo was an impressive Queen of the Wilis, dancing brilliantly
and imperiously commanding the stage, and a similarly strong performance from
Andrew Killian, as the jealous forester, Hilarion, surprised with his ability
to garner sympathy for his character.
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| Ako Kondo as Queen of the Willis Photo: Jeff Busby |
Particularly
satisfying at this performance was the accuracy and attention to detail evident
in the ensemble dances. The characterisations among the first act peasant
ensemble were enthusiastic, intelligent and supportive adding strength and
believability to the story, especially during the “mad” scene. In the beautiful second act, the dancing of
the wilis was breathtakingly precise and serene, adding immeasurably to the
success of a superb performance which drew an ecstatic response from the packed
auditorium.
This review first published in the digital edition of CITY NEWS on 22 May 2015
