Prancing across an empty stage trots a dancer. He flexes his hips, points his toes and, smiling beautifully, poses like a doll. But then things fall flat. Dancers start giggling, and someone shifts out of line into the wrong choreography formation. And you realise that you are not witnessing Swan Lake for the umpteenth time but watching Les Ballets Trockadero de Monte Carlo, the esteemed satirical ballet company which flips the world of classical ballet on its head.
The production is broken up into five ballet pieces, announced comically over loudspeaker. First came a delicate retelling of Swan Lake Act II, the performers gracefully prancing although often comedically haunted by Baron Von Rothbart (portrayed with hilarity by Robert Carter). Next was Don Quixote, with a sense of majesty and some well-welcomed errors in the choreography which beckoned a ripple of laughs from the audience. Throughout, the choreography was flawlessly delivered and well thought out.
Go for Barrocco offered a two-person ballet performance which was vibrantly camp and glorious. The pair’s movement was visually stunning, as were all the costumes, Andrea Fabbri and Peter Gwiazada performing their routine in a way which was simply awe-inspiring. Perhaps my favourite of all was the Dying Swan in which stellar performer Robert Carter reappeared without his devilish red suit but instead decked in a shimmering white gown. The final treat was Valpurgeyeva noch (“walpurgisnacht”), which subverted a linear, classical story.
Touring around the world, much of this show’s wonder comes from the concept and direction by Tory Dobrin, who ties together the masterpieces with ease. The lack of set clearly aids the touring nature of this production as it travels from Aberdeen to New York. What the creative team behind the production do so well is using this empty space. The dancers take pride in their movement, and little else.
What amazed me was the performers’ ability to maintain the essence of ballet in every move, whether sarcastic or just wrong. The moves are rooted in traditional dance — the performers treat it with delicate care, and always respect its treasured status.
However, sometimes the same delicacy is not taken with the fast-paced gags which recur throughout the production. With this kind of ‘everything goes wrong’ humour, it is difficult to vary the jokes delivered. Given this lack of scope, it is sometimes hard to enjoy every quip piled at you. There must be a little more variety in the humour in order to provoke a greater laughter from the audience.
Les Ballet Trockadero will turn anyone into a ballet aficionado. It applauds this ancient art form in a well-packaged and produced ‘goes wrong’ fashion.
Image by Vito Lorusso, courtesy of Capital Theatres.