A dance of passion, risk and emotion
The projected opening image of The Piano: The Ballet is of a roiling sea off the coast of New Zealand. This prescient background encapsulates all the passion, violence and danger inherent in the work.
As the black and white image slowly divides, Ada and her daughter Flora arrive by boat, their possessions loaded around them – including her treasured piano. Like a river in flood, the story then sweeps us along until the astonishing climax, which is a dramatic tour de force.
All aspects of the show – choreography, performance, music, set, video projections and costume design – are in sync, making for an extraordinarily compelling evening at the theatre.
Based on Jane Campion’s iconic film The Piano, and originally conceived as a shorter work, the production has been reimagined and expanded for the Royal New Zealand Ballet.
Choreography is by Jiri Bubenicek. His twin brother Otto Bubenicek has created the stunning set and video design, as well as handled the music arrangement, composition and staging.
The production’s Ma¯ ori advisor is Moss Patterson and his wider wha¯ nau, who have done an exemplary job.
Elsa Pavanel delivers superb costume design, and the excellent lighting is by Jeremy Fern.
The team are to be congratulated not only for their recreation of an acclaimed New Zealand film, but for their honest and sensitive depiction of Tangata Whenua meeting early Pa¯ keha¯ settlers.
Choreographically, it is well done, if somewhat repetitive, particularly in the latter stages, when the spiralling movements – indicative of turbulent emotion – could be varied somewhat. But Bubenicek has let the characters develop at a necessary slow pace, which allows the tension to build and the story to be clear.
The music includes excerpts from Michael Nyman’s memorable film score, as well as many classical composers – such as Schnittke, Brahams, and Shostakovich. Traditional and contemporary Ma¯ ori music is also incorporated, including the playing of Taonga Puoro by James Webster, and arrangements by Paddy Free, Hirini Melbourne and Richard Nunns.
As Ada, Abigail Boyle is outstanding. This fine dancer/ actor gives a passionate and deeply felt characterisation that grounds the production.
She is well-matched by Alex Ferreira as Baines. His strong, muscular dancing grows in intensity as do the couple’s sweeping pas de deux, especially in act two.
Paul Matthews is convincing as Ada’s uptight husband, Alistair. But this excellent actor is kept on a tight leash until the penultimate enraged scenes of act two. A hint of his emotions should surely be allowed to surface earlier.
As Flora, Hazel Couper is delightful, and ably captures her quicksilver mood changes.
The children’s nativity play enchants and Bluebeard’s shadowplay greatly amuses, with Kirby Selchow particularly funny here.
Reverend Campbell is crisply and energetically danced by Shaun James Kelly, while Mayu Tanigaito (as Nessie) and Selchow (Aunt Morag) perform with great vivacity and humour.
The Corps de Ballet dance throughout with vigour and strong technique.