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A selection of ballet shorts and extracts from full length ballets mostly featuring and/or inspired by music by Tchaikovsky.
ACT I
The action begins with a new work entitled Druschba for five female and two male dancers. This is followed by Jewels, an extract from Sleeping Beauty representing wedding gifts for Aurora and Prince Charming - performed by four female dancers, dancing as a foursome and two individual pairs. Next we have Serenade, a joyful waltz set to music from Eugene Onegin for one female and two male dancers. That is followed by Fairies, danced by a female foursome. Then comes Lullabies, a reworking of the Sleeping beauty story. Two boys enter an abandoned factory where they find and awaken a group of workers frozen in time. Next is Tchaikovsky Pas de Deux, a classical pas de deux set to music by Tchaikovsky. Finale to the first act is Land of Snow, an extract from The Nutcracker where Clara and her Prince are transported to the land of snow and ice - pas de deux and corps de ballet.
ACT II
The second act opens with School for Lovers, three male and three female dancers in a composition based on the opera 'Cosi fan Tutte' and set to music by Mozart. That is followed by Romeo and Juliet Fantasy, a classical pas de deux representing the final stages of the classic tragedy. Finally, the evening ends with Swan Lake Act Four, the entire last Act of Swan Lake involving the corps de ballet.
Generally speaking, I much prefer a proper full length classical ballet to this kind of ensemble work, but on this occasion the various elements were so well chosen (and performed), that the whole gelled extremely well for a wonderful evenings entertainment. Moreover, having seen Ballet Ireland perform on previous occasions, this was easily the best offering I have seen from them to date.
The was little in the way of scenery throughout the evening. Most of the peices were performed on an essentially blank stage with little in the way of props. Only the closing piece, 'Swan Lake Act Four', had a painted backdrop, although 'Land of Snow' did use a projection of snow flakes on the back drop. The costumes (which have been one of my criticisms of Ballet Ireland on previous viewings) on this occasion were first rate throughout, from the short diaphonous marbled dresses in 'Druschba', the classical tutu's in 'Jewel' and 'Swan Lake', to the period dresses in 'School for Lovers' they could not be faulted.
The evening brought a number of high points. 'Druschba' was an excellent opener, the combination of five female and two male dancers providing some unusual arrangements, for instance two mirrored male/female pairings and three synchronised females. 'Lullabies' was also an unusual piece, opening without music as the two boys enter the factory. The female dancers are arranged in pairs, one seated sewing some kind of garment, the other standing behind assisting. The high spot of the evening was the humourous 'School for Lovers' in which the basic story of Cosi fan Tutte was encapsulated in a mere twenty minutes or so of dance. The two male lovers begin the action in their military jackets, replacing these with colourful waistcoats, turbans and false moustaches for the deception sequence. The maid meanwhile dons capes and hats for her impersonations of the doctor and priest. The action is supported by changing cue cards on an easel at the corner of the stage but these were hardly necessary to explain the story. The extract from Swan Lake, one of my favourite pieces, was a perfect ending to the evening.
Paula Archangelo was the first featured dancer, giving us a beguiling performance in 'Serenade', a partly pantomimed piece seeing her searching for her two male companions who keep disappearing. Amy Thake and Soren Niewelt provided a beautiful and enchanting classical pas de deux in 'Tchaikovsky Pas de Deux'. Soren is a majestic dancer who gave us some impressive leaps but strangely struggled to complete his spins. He also featured in the two other major romantic pas de deux of the evening 'Romeo and Juliet Fantasy' and 'Swan Lake Act Four'. In the former his Juliet was the beautiful and elegant Rebeca Ferreira, whilst in the latter his Odette was Agnes Chlebowsky. Agnes is an accomplished dancer, but her tall stature created for me a hint of incongruity towering over Soren whenever she rose on point. My undoubted star of the night was Flavia Samper who was featured either side of the interval. First she gave us Clara to Michael Berkin's Prince in the extract from Nutcracker. Her small stature was ideally suited to this role, and was accentuated by her partners height, especially when he lifted her at full extension. But whilst her performance in Nutcracker was excellent, it was her maid in 'School for Lovers' that was the real show stealer. She is an energetic, graceful and wonderfully expressive dancer, her facial expressions and affectations in this comic role were particularly charming and made this by far the best individual performance on the night. Two other dancers who caught my eye on the night were Rain Francis and Alison Spink, both of whom shone in the four hander 'Jewels'.
Easily the best offering I have seen from Ballet Ireland to date. Unmissable entertainment.