Dancers go full throt­tle

Western Suburbs Weekly - - Weekly Life - TANYA MACNAUGHTON

A LEATHER jacket and mo­tor­bike would usu­ally look out of place in a WA Bal­let pro­duc­tion, but this month the company is in­ject­ing ’50s flair into its re­make of LaFille­mal­gardee

(Theway­warddaugh­ter).

Wem­b­ley soloist Sarah Hep­burn said the show was prov­ing a fun ex­pe­ri­ence for ev­ery­one, ei­ther danc­ing or watch­ing.

“There’s so much go­ing on, the cos­tumes are amaz­ing and it’s hard not to smile when you watch it,” the 2007 WAAPA grad­u­ate said.

“There’s a lot of act­ing and when you see us puff­ing on stage, we’re re­ally out of breath be­cause it’s full on with no real stop.

“The mu­sic just keeps go­ing and there’s no slow act­ing sec­tions like you get in the clas­si­cal bal­lets.”

Chore­ographed by Marc Ribaud, La Fille mal gardee fol­lows the story of love-struck cou­ple Lise (Hep­burn) and Co­las (Sergey Pevnev) in ru­ral France.

Lise’s mother has al­ready ar­ranged for her daugh­ter to marry Alain, the son of a rich wine mer­chant, and it is up to Lise to wrig­gle her way out of the be­trothal and back to the arms of her beau.

“Marc ex­plained to us right from the be­gin­ning that he set it in the ’50s be­cause, in France in par­tic­u­lar, that was when women started to fight for their rights,” Hep­burn said.

“He felt this was the best time, rather than in the 1800s when women weren’t out­spo­ken, be­cause she is de­fy­ing her mother by say­ing no to this ar­ranged mar­riage.”

Hep­burn said Ribaud’s chore­og­ra­phy had a sim­i­lar style to Youri Vamos (the two have worked closely to­gether), who chore­ographed the company’s ’ 50s- style pro­duc­tion of RomeoandJuliet in 2009.

“Peo­ple loved that bal­let so I’m hop­ing they have that same kind of re­ac­tion. It’s easy to follow and very clear, so you don’t have to know what bal­let mime is to watch it,” she said.

Hep­burn joined WA Bal­let in 2008, re­al­is­ing her life­long am­bi­tion to dance pro­fes­sion­ally.

“My mum did try talk me out of it for a while,” she said.

“There’s not many jobs in the ca­reer and she tried to push me some­where else, telling me there was plenty of great teach­ing jobs.

“And my re­ply was al­ways ‘yes, but I want to be a bal­let dancer’. She was just try­ing to stop me from get­ting hurt and thank­fully it all worked out.”

Pic­ture: Mar­cus Whisson d425250

Sergey Pevnev and

Sarah Hep­burn

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