Music by Franz Lehar – Scenario by Robert Helpmann –
Choreographed by Ronald Hynd
Music arranged and orchestrated by John Lanchbery
Set and Costumes designed by Desmond Heeley –
Lightning designed by Francis Croese
The Australian Ballet – Canberra Theatre 25 -30th
May.
Reviewed by Bill Stephens
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| Lana Jones and artists of the Australian Ballet |
When Robert Helpmann conceived this version of “The
Merry Widow” for The Australian Ballet in 1975, he created the jewel in the
crown of the Company’s repertoire, an enduring and popular work which has
become a modern classic.
The company toured “The Merry Widow” through the
United States in 1976, with Margot Fonteyn as guest artist in the role of Hanna,
and though the ballet has been revived several times by the company since then,
this particular revival is part of Artistic Director, David McAllister’s 2018
program celebrating works created for the company. Indeed McAllister himself
first danced in this ballet in 1985, and will perform the role of Njegus in
Canberra during this season.
Set in Paris during the Belle Époque, with gorgeous
Art Nouveau settings and costumes by Desmond Heeley, and a lush score devised
by John Lanchbery from Franz Lehar’s music for the operetta of the same name, “The
Merry Widow” depicts the conniving’s of members of the Pontevedrian Embassy to
marry off its wealthiest citizen, Hanna Glawari, to a compatriot in an effort
to save the country from bankruptcy. The revelation that the intended match,
the dashing Count Danilo, once broke Hanna’s heart puts the cat among the
pigeons and joyful mayhem ensues in a succession of delightful plot twists.
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| Lana Jones as The Merry Widow |
In a thrilling star performance, Lana Jones
transcended technique to create an elegant, glamorous Hanna Glawari, dancing
with impeccable phrasing, and imbuing her acting with just the right touch of
wry humour to captivate her audience and her dashing Danilo, Adam Bull,
wonderfully funny in his attempts to resist his inevitable seduction.
Real-life husband and wife, Ako Kondo and Chengwu Guo,
delighted as the young wife and her suitor who are constantly thwarted in their
efforts to engage in an adulterous affair. It was a particular joy to see
eighty-three-year-old, Colin Peasley, still stealing belly-laughs, or being
heart-breakingly poignant as the cuckolded Baron Mirko Zeta in the role he
created in the original production in 1975.
The obvious care with which this production has been
remounted was evident in the precision
of the dancing of the many spectacular ensemble dances, and the relish with
which the many cameo roles were interpreted among which Franco Leo (Njegus), Brett
Simon (Kromow) Brodie James(Pritschitsch), Marcus Morelli (Pontevedrian Dancer)
and Luke Marchant (Maître d’) were stand-outs.
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| Lana Jones and male ensemble |
Adding icing to this delicious concoction was the
performance of John Lanchbery’ intoxicating score which has rarely sounded
better than as performed on this occasion by Orchestra Victoria under the
exuberant baton of Simon Thew.
She may be in her forties, but at her 427th performance, The Merry Widow is carrying her age well.
This review first published in the digital edition of CITY NEWS on 26th May 2018
