Passion ignites in ballet
Two very different representations of love make up the Royal New Zealand Ballet’s latest performance.
The company’s latest offering comes in the form of two pieces; The dancers, set to Bizet’s musical scores.
An homage to the late French dancer and choreographer’s contribution to the ballet world, the two pieces, both passionate yet complete opposites in their tone, are brought to life superbly by the company.
The performance opened with L’Arlesienne, a story set in the summer of Provence. Frederi is set to marry Vivette, but then becomes infatuated with another girl.
Interestingly, we the audience, never see this mysterious other girl.
Such imagination and expression to convey this invisible element was found in Shaun James Kelly, who delivered a compelling and transfixed performance.
In every moment, you believed the woman – the girl from Arles – was somewhere offstage or waving to him from the dress circle, as Kelly’s expression and energy never wavering.
L’Arlesienne battled with a slow start, its pace not quite capturing your immediate attention or favour, but picked up once Frederi’s obsession became apparent, carrying the audience through the piece until he met a fatal end.
Departing from the classic tragic love story, a new energy and direction was found in the company’s rendition of Carmen.
When Don Jose, sent to arrest Carmen for fighting with another woman, falls in love with her, and the two spend the night together.
Despite this, Carmen leaves him for another man, the Toreador.
The performance ended with Carmen and Don Jose, facing one another in the arena, and Don Jose stabs Carmen to death.
Passionate, electric, sensual, the chemistry between guest artist Natalya Kusch as Carmen and Joseph Skelton and Don Jose was sizzling.
Unlike L’Arlesienne where the additional dancers on stage were less crucial to the story, the bandit men and cigarette girls in Carmen added a fun secondary plot point, the dancers throwing themselves into their characters and bring the fun to life on the stage.
As expected, the dancing was sublime, though there was a lot of emphasis on choreography with feet, which I fear may have been lost on any audience members who could not see the dancers’ feet on the stage.
While the company is no stranger to lavish and detailed sets, Antoni Clave’s set for Carmen was edgy and eyecatching, its gypsy carnival with Spanish influence providing vibrant backdrop for the equally as vibrant dancers to play off.
The company’s season of Carmen with L’Arlesienne caters to the most diverse of ballet lovers.
A triumphant duo of shows of ballet at its best, with standout performances from the principal characters.