The Australian Ballet in Les Presages. Photos - Jim McFarlane
Following on from The New Romantics earlier in the year, The Australian
Ballet continues to explore more abstract approaches to dance, this
time, with the symphonic ballet. Developed by Russian choreographer,
Léonide Massine, this style sees ballet designed to the scores of
symphony, where music takes on a starring role defining movement, shape
and structure. Destiny comprises two such works. The first, Les
Présages, is the original symphonic ballet choreographed by Massine to
Tchaikovsky’s Fifth Symphony. When first performed in Monte Carlo in
1933, audiences were divided with some impressed by the tremendous
potential of dance being used to enhance symphonic scores, while others
were aghast at the notion of symphonies being blasphemed in this
manner. It is really difficult to appreciate the significance of this
definitive period in ballet history when we now see ballet being
performed in such diverse and experimental interpretations. The
symphonic ballet also became the platform in which to push boundaries
of other art forms including paintings and sculptures. Symphonie
Fantastique, the second part of the bill in Destiny, is a work where
movement, video installation and costume beautifully culminate, keeping
in line with the ideologies of Léon Bakst, Christian Berard and Sergei
Diaghilev of the Ballets Russes, who longed to create “total theatre”
on stage.
Les Présages is faithful to Massine’s original production with designer
Toer van Schayk reconstructing the kaleidoscopic backdrop by French
surrealist painter, André Masson. Massine’s choreography of sharp,
angular movements depict symbolic gestures like salutes and the
wielding of guns or swords. The work, which is broken into four
movements, relates an abstract narrative about man’s struggle with his
destiny; the excitement and vitality of life as portrayed by Action(Lana Jones); the invigoration of love as evoked by Passion(Madeleine
Eastoe) and L’Homme(Timothy Harbour); the intervention of Destiny(Marc Cassidy); and the natural decline into war. Destiny is
interestingly depicted as a goblin-like figure complete with face paint
and a lurid green body suit portrayed as the collected temptations of
greed, lust and gluttony. The role almost takes on a pantomime quality
as Cassidy is required to dart about the stage weaving between Eastoe
and Harbour, arms frantically waving. There are strong performances
namely by Eastoe and Harbour in their tender and controlled pas de deux
as well as by Reiko Hombo, who coming from the corps de ballet, shines
in her solo as Frivolity. With her compact frame, she exudes energy and
innocence while maintaining lightness to her movement. Though the
company may have been loyal to Massine’s work, Les Présages somewhat
did not do justice to the dancers’ aptitudes with the males largely as
supporting backdrops. The strong militant theme, though prevalent
today, felt too archaic and jarred with a modern audience’s
sensibilities.
Symphonie Fantastique however lifted the bar with its fresh and
original approach with Polish choreographer, Krzysztof Pastor, pushing
Massine’s work to new heights. Set and costume design by Pastor’s
regular collaborator, Tatyana van Walsum, was mesmerising with tall
white panels projecting a series of film images to accompany each
section of the symphonic ballet. The loose narrative revolved around
the plight of an Artist(Adam Bull) and his unreciprocated obsession
with his muse or Idée Fix(Danielle Rowe). As she torments him with
rejection, the Artist gradually declines into depression and paranoia.
Convinced that she has spurned him, he poisons himself. The final act
sees the Artist in a hellish lair being ridiculed and mocked only to
end up lonely once again. The drama in this theatrical ballet is
powerfully enhanced by van Walsum’s stunning use of natural images of
clouds, raindrops and fields of golden wheat and vibrant red poppies.
The video segments are deliberately edited to work to the rhythm and
shifting moods of Hector Berlioz’s score. Music and the choreography
become intrinsically connected to the point you stop knowing which is
driving which. One striking connection is when the Artist in his
desperation turns to the surrounding women in an effort to find his
Idée Fix. The score’s quietness is accentuated by the dancer’s ethereal
stillness and the meditative images of raindrops slowly trickling down
on screen. With a slight touch on each of the women’s shoulders, the
Artist sets in motion each to buree one by one offstage. In their
flowing white dresses, the women are as fluid as the water itself. It’s
a sublime sight to behold and a real physicalisation of the music.
Bull too is to be commended for his stellar performance for which
demanded him to be on stage almost throughout Symphonie Fantastique.
With his height and broad shoulders, not to mention, graceful
disposition, Bull has the added advantage of being exceptionally
arresting on stage. Add this to his emotionally charged performance,
and you have the workings of a great soloist.
Destiny is part of the ongoing four-year project of the Ballets Russes
and its cultural impact on the development of ballet in Australia. This
collaborative project between The Australian Ballet, the National
Library of Australia and The University of Adelaide will culminate in
2009, the centenary of the founding of Sergei Diaghilev’s Ballets
Russes in Paris.
The Australian Ballet presents DESTINY
with Australian Opera and Ballet Orchestra
Venue: Sydney Opera House, Opera Theatre Dates: Mon – Sat, 7 – 26 November 2007 Bookings: 02 9250 7777 Visit:www.australianballet.com.au
