No smoke and mirrors in Russian ballet
This performance from the Imperial Russian Ballet isn’t lacking in power.
Though the meaning of the word may vary between acts, it is there sitting comfortably alongside drama and theatricality.
A Festival of Russian Ballet opens with Don Quixote, a story about a man a travelling the roads of Spain searching for glory and grand adventure.
The set, the props and the costumes all provide a sense of grandeur, however, the show is not lacking in humour and hijinks.
In Act One, witty moments mingle with gentle ones.
Incomparable, almost incomprehensible, amounts of fluidity and poise, tell the relationship between Kitri and Basilio.
Power is present in the practise.
Whether its losing count of lead Lina Seveliova’s spins, or watching in wonder at the infallible lifts, as mere spectators, the dancers are nothing short of inspiring.
It’s hard not to think some form of trickery must be involved in the lifts - the way Seveliova glides through the air looks effortless beyond human belief.
But there is no smoke and mirrors.
The Imperial Russian ballet Company is as good as what I’ve been told.
After a 20-minute intermission, the sound of rain fills the theatre. A lone figure is announced when lightning crashes.
As the eyes adjust, ballerina bodies appear on the floor. The dancers, cloaked in black, awaken one by one.
Bolero is a striking and dramatic ballet. It’s hypnotic journey climaxes after a crescendo of moving pieces. It was a ‘‘wow’’ moment among many of the night.
The shortest of the three acts, Bolero left a fantastical impression.
After a shorter break, the company returns to the stage with highlights from the world’s most beloved ballets.
These include graceful excerpts from Giselle, Swan Lake and Le Corsaire, as well as the humorous opener Dance of the Horses.
Finishing the show in a flourish, and leaving the audience in fits, was the expertly choreographed Can Can.