Russian National Ballet Theatre: Swan Lake - Gold Coast Arts Centre, 6 October -
It used to be that the word ‘Russian’ together with ‘ballet’ automatically conjured images of the Kirov or Bolshoi; gloriously expansive movement, huge pyrotechnic jumps and technical brilliance. However, since the dissolution of the Soviet Republic allowing freer access to the West for more of Russia’s lesser known companies this is now not necessarily so. Unfortunately the Russian National Ballet Theatre is a case in point.
According to program notes Director Evgeny Amasov founded the company, around fifty strong, in 2001, although only about thirty dancers appeared in this performance. It is unclear whether the company has a permanent home, but I suspect it may be more a touring troupe, dividing up its ranks as it suits.
For this Australian tour (there is to be another in 2013), Swan Lake and Sleeping Beauty are being performed, with both ballets condensed to offer the bare bones of the story, while keeping key elements of the choreography. Therefore, while keeping much of the Ivanov and Petipa construct, Swan Lake is here in two acts of two scenes each. It also has an ending of redemption, a triumph of good over evil, following the Soviet tradition.
Unfortunately there was neither a cast list, nor a list of the company dancers in the programme. Only four principals were featured, and I had to approach the staff selling the programmes to ask which of these was dancing this performance.
Oleysa Gapienko is convincing as Odette, with beautifully expressive arms and the extended line one expects of the Russians. However, she is less credible as Odile, where very heavy eye make-up contributes to a formulaic interpretation of the seductress.
Besov Audrey’s Siegfried is less impressive. Although he has a princely physique, solid technique and good elevation, tension across the back of the shoulders and downcast eyes in all his variations, particularly in the first scene, gives him a forlorn rather than princely demeanour; even when declaring his love for Odile he looks tormented.
The choreography is possibly structured to fit small stages, certainly the case here, as I was struck immediately in the opening scene by the beautiful port de bras and epaulement of the eight couples (as courtiers), used to ‘fill’ the music. Overall, in both the first and third scenes, however, the choreography is rather simple, repetitious and from a limited vocabulary.
The Russian custom since a 1951 Kirov production, to have a court jester throughout, is retained, which quickly becomes irritating. The dancer has good enough elevation, although his pirouettes in seconde have an under-stretched supporting leg, but his character’s flamboyant commentary on the action, in all but the last scene, pulls the focus away from the main drama and much of the dance. His mock horror, directed to the audience, almost makes a parody of Siegfried’s deception by Odile.
The corps de ballet, with nowhere to hide in the white scenes, is technically very lumpy. Under-stretched supporting feet on the swans’ entrance, caused a front row dancer to noticeably trip; likewise in the pas de quatre one hapless ‘cygnet’ nearly finished on her bottom instead of her knees. The lead swans were also not always in time with each other.
However, despite the technical shortcomings and lack of emotional depth, this Swan Lake is visually appealling, on what must be a tight budget. Costuming is effective, and tidy apart from a few pairs of shoes that looked well worn. The lake scenes are suitably atmospheric with only a simple backcloth, effective lighting and of course, smoke.
It was a full house, which warmly received the performance. It would be encouraging therefore, to hope that those in the audience who normally never go to the ballet, might now venture past the phenomenon that is Russian ballet and also patronise our local, first-class dance talent.
