Opulent and incredibly spectacular this version by Australia’s Stanton Welch was created for his Houston Ballet ( where Welch is artistic director) in 2010 .It is a reworking of Petipa’s 1877 version at the height of fascination with all things Oriental. It is about love , revenge , jealousy and politics with a very silly ,extremely complicated plot so redolent of Russian 19th century ballet. It is very kitschy and hammily acted at times but all is redeemed by the superlative dancing .The Australian Ballet are just getting better and better. Welch’s very demanding , athletic choreography includes several very high , difficult ‘Bolshoi’ lifts in the pas de deux .And the famous test piece the ‘Kingdom of Shades’ scene was superb. In Welch’s production scenes flow swiftly and the mime is clear. Welch has edited the complex plot, boosted the male roles and fine tuned the pace creating an almost Bollywood fantasy.
The Kingdom of the Shades scene in Act 3 was breathtaking,with the mesmerizing , repetitive diagonal entrance of the ghostly Shades all in white magnificent- a glorious example of links to ‘Giselle ‘ ( past) and ‘Swan Lake’ ( very soon to come) . The well drilled corps moved and breathed as one. Juliet Burnett , Ako Kondo and Miwako Kubota shone as three of the leading Shades. The pas de deux for Solor and Nikia were splendid , retaining some of the original Petipa choreography patterns ,lines and rigid formality were required especially for example in the huge ensemble.Peter Farmer’s front curtain designs were
marvellous ,his set designs sensational ( although I get the feeling they are a bit cramped on the Sutherland stage ) . Costume designs are striking too , mostly richly oppulent , lavishly textured and full of colour . Minkus’ lyrical, tuneful score was excellently played under the enthusiastic baton of guest conductor Phillip Ellis.
The work requires a huge cast , not just marvellous technicians but also great character actors as well . Cameron Hunter as Calum the fakir with his wild matted hair and slithery simian like movements was tremendous. Some versions have a ‘ Bronze’ or ‘Gold’ idol , in this version we have Agni the fire god ( Chengwu Guo) who has a very spectacular , dramatic , showy solo and Garuda the dream god ( Cristiano Matino) in grey blue. Both were extremely impressive .
Our sweet ,tragic heroine Nikia was exquisitely danced by Madeline Eastoe in a ravishing performance of fluid line , full of graceful delicacy and vulnerability –magnificent .
As malevolently , maliciously sweetly evil Gamzatti in pink ( perhaps a villianous cousin of Sugar in Matthew Bourne’s ‘Nutcrcacker’ ?) Lana Jones was terrific.
Solor, our warrior hero whose saving the village from the tiger change his life was tremendously danced by Daniel Gaudiello .Fiery and impassioned , you can see the Nureyev influence and the links to the later’ Le Corsair’ in his solos especially in Act 3.Estoe , Gaudiello and Jones handle the
demanding , difficult choreography with great pizzazz.
Andrew Killian was tall and imposing , very regal and channelling his inner Yul Brynner as the High Brahmin in love with Nikia.
During the wedding scenes there are various set display pieces for the scantily clad guards in leather, Gamzatti’s sisters and the groomsmen that have intricate interweaving patterns and lines of choreography and showy jumps.
Welch’s production showcases thrilling bravura technique and is a great display piece for the Australian Ballet .
Running time 2 hours 45 ( approx) includes 2 intervals
The Australian Ballet’s ‘ La Bayadere ‘ runs at the Joan Sutherland Auditorium Sydney Opera House Nov 6 -22
CAST I SAW
Nikiya Madeliene Eastoe
Solor Daniel Gaudiello
Gamzatti Lana Jones
Rajah Rudy Hawkes
High Brahmin Andrew Killian
Kalum the fakir Cameron hunter
Agni the fire god Chengwu Guo
Garuda the dream god Cristiano Martino