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This was not a full length ballet but rather a compilation of extracts intended as a tribute to the great Russian ballet impresario Diaghilev and comprising of some of the Ballet Russe's most famous works.
Les Sylphides (the sylphs) - This was the prelude from the popular romantically styled collection of short mood ballets of that name (not to be confused with La Sylphide).
The Red Shoes - A shoemaker has produced a pair of wonderful red ballet shoes. A young ballerina sees them and must have them, but having put them on they dance her to death.
Le Spectre de la Rose (the spectrum of the rose) - Set in a school gymnasium this a pas de deux for two girls. The younger girl is cleaning up rubbish left from the school fete. She finds a flower, a beautiful rose. An older girl returns to the gym looking for the flower which had fallen from her hair and finds the younger girl clutching it. A brief infatuation
begins.
The Dying Swan - The dying swan solo from Swan Lake, probably the most recognisable scene from any ballet and one of the most loved.
L'apres-midi d'un Faune (the afternoon of the fawn) - An adolescent
boy in pajamas wanders into his elder sisters bedroom. When his sister enters with her friends he hides behind the bed but is quickly discovered. All the girls tease him except one who is able to see the young man emerging from the gawky awkwardness of the boy.
L Sacre du Printemps (the rites of spring) - A represention of a pagan write in which a young girl is sacrificed by dancing herself to death.
The Wakefield Royal Opera is not the best theatre in which to view ballet as the limitations of the venue itself prevent the dancers from performing at their best. One invariably gets the impression that the dancers are holding back for fear of ending up amongst the audience. In spite of that we were still treated to a night of beautiful dance ranging in style from the pure classical to the modern. In Les Syphides we were treated to a grand ensemble of classical ballet beautifully performed in flowing white tutu's under blue light - magical! The Red Shoes was more classical ballet, this time on a smaller scale ultimately focusing on the solo of the ballerina. Le Spectre de la Rose was more modern in style and has to count as one of the highlights of the evening. Both dancers performed in bare feet with the older girl sometimes taking a male role in lifting and supporting her partner. The Dying Swan took us back to pure classical ballet at its best. L'apres-midi d'un Faune returned to a semi-modern style and gave us the best boy/girl pas de deux of the evening, the second highlight. Finally Le Sacre du Printemps was powerful modern dance involving the full ensemble. The last time I saw Ballet Ireland (performing Alice) I came away more than a little disappointed. On that occasion the costumes were poor, the sets virtually non-existent, and whilst the dance was of a high standard the choreography left much to be desired. No such complaints on this occasion. The costumes were beautiful, the sets at least adequate, the dance of a high standard, and the choreography first rate (but then being taken from Diaghilev one would rather expect that it would be).
The featured dancer of the evening was the beautiful and talented Agnes Chlebowsky. She was superb in "The Red Shoes" and her "Dying Swan", whilst not by any means the best ever seen, was certainly accomplished. Rain Francis and Katie Lyons meanwhile deserve special mention for their interpretation of "La Spectre". Michael Berkin generally provided the male role in the pas de deux, that with Rachel Horn in "L'apres" being the most shining example, whilst Steven Brennan was wonderfully manic as the shoemaker. Last but not least, Amy Drew gave a good account leading the way in "Le Sacre". The remainder of the ensemble cast were generally strong in all areas and provided fine support.
Contains something for ballet lovers everywhere. I would love to see this on a larger stage where the dancers might have more freedom to express themselves.