The Victorian State Ballet
At The Playhouse
Season Closed
Reviewed by Samara Purnell
The Victorian State Ballet has made a flying visit to Canberra (whether or not it was on the magic carpet), with a huge ensemble of dancers, to present Aladdin.
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| Elise Jacques as Princess Jasmine |
Choreographers Michelle Cassar de Sierra and Martin Sierra have taken some artistic liberties in this version, but the traditional characters and the loved, modern Disney ones are all here to be enjoyed, whether every detail of the storytelling and gestures are recognised by audience members or not.
Michael Scott-Kahans delighted as the spritely Aladdin, embodying the youthful balance of cheeky and charming, all the while tormenting his exasperated mother (Charlotte Jones, who enjoyed squeezing the juice out of the role). His solos were performed with flair and a sturdy confidence and his pas de deux displayed tender and engaged partnering with Elise Jacques’ Princess Jasmine. Without choreographic spectacle, their dances were elegant, sweet and assured. They really did make a perfect pairing.
Jacques is a lovely dancer - assured and expressive, as demonstrated in her dances in the bathing sequence and the engagement and wedding dances.
Daniel Sierra as the Genie cuts a striking figure on stage, with his long limbs. He has not developed complete stability in his dancing and partnering or ease of presentation in this role just yet.
Tristan Gross as Jafar the Sorcerer performed his dastardly role with cunning and solid dancing.
Much of this ballet is ensemble work (and a lot of carrying of vessels by the female dancers, including at one stage, across the desert). A line of guards with spears suddenly appeared in the opening scene, split-leaping across the stage, whetting the appetite to see more of the male ensemble, who performed with impressive flexibility and elevation.
The timing of the ensemble in the opening scenes was out of sync and some of the costumes in these scenes were distracting. The red skirts and white t-shirts looked less than impressive in fit and quality. Aladdin’s wedding costume was unfortunately humorous for the wrong reasons. However, intentional humour came from the Magic Carpet, after reversing onto the stage on all fours. This short appearance provided laughs and some endearing choreography.
Many other costumes were beautiful, from the bedlahs (bejewelled tops), to the company’s wedding ensembles and the robes of Jafar. And particularly inside the cave, where the blue and white lighting was magical, crystals glistened and the dancers appeared as gems, in beautiful, softly coloured tutus. This was also one of the choreographic highlights - the pas de deux dances of the sapphires, emeralds, rubies and diamonds. Maggie de Koning with her impressive flexibility and extensions stood out as the diamond. And former Canberran Grace Kefford performed a beguiling dance effortlessly.
The backdrop was subtly animated imagery and changed from the Bazaar, Aladdin’s modest home, Jasmine’s palace and a garden pool, for bathing. Prop candles on waist-high candle-holders appeared in many scenes, giving them a charming ambience. The recorded music throughout was thoroughly enjoyable, sweet and melodic.
The cast did not have much room on the Playhouse stage when 30+ dancers were on it, and they did a good job of creating the intimacy in the cave and the bustle of a wedding party.
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| Images by Enpointe Productions |
Aladdin felt accessible to a wide audience, especially dancers young enough to sit through the almost 2.5hr run time, as something to not only enjoy but aspire to. And for the seasoned ballet-goers, it was a fun and easy couple of hours to enjoy the colour and spectacle of the production and get lost in the fantasy of Aladdin and his escapades.