La Fille the ballet that rocks
With its summery colours, southern-France setting and 1950s-inspired choreography and design, this production of La Fille mal gardee is exuberant.
La Fille is one of the oldest ballets. The first version, by French choreographer Jean Dauberval, was performed in 1789 and there have been numerous interpretations since. This version, choreographed by France's Marc Ribaud in 2000 and directed by WA Ballet's Aurelien Scannella, feels fresh, nonetheless.
Ribaud's decision to set the work in the 1950s is the key to the work's success. The choreography has a touch of rockabilly - the many pas de deux blend classical and contemporary technique with jive and rock'n'roll steps.
And then there are the costumes. Melbourne-based designer Lexi De Silva has taken full advantage of the opportunity to delve into 1950s fashion. The costumes of the Friends are a stand-out, the girls in bright, frothy pastels embellished with bold splashes of red and emerald, and the boys in high-waisted dark denims or dungarees, paired with plaids and stripes. The female chorus members' dresses are also a delight - full-skirted dresses featuring bold florals in one act and cherry blossoms in another.
Ribaud's La Fille does not stray far from the original story. Lise, the only daughter of Widow Simone, falls for local farmer Colas. Simone, however, wants her daughter to marry Alain, the wealthy but eccentric son of a wine merchant. Colas and Lise are repeatedly thwarted in their desire to spend time together by the determined Simone. Eventually, Simone is persuaded and everyone lives happily ever after.
This is a summary - but even the detailed version of the plot is fairly thin on action and all the enticing colour and movement of the ballet cannot disguise the overly simplistic plot. In addition - perhaps as a result - many choreographic motifs and steps are repeated numerous times.
Fortunately there is plenty of humour to help spice things up. On Saturday night, Alessio Scognamiglio delighted as the umbrella-obsessed Alain. His balon (elevation) served to make his character's awkwardly-angled springs into the air all the more surprising.
Stealing the show was WAB's ballet master Craig Lord-Sole as Simone. Whether riding on the back of a powder-blue scooter, hip-bumping a tambourine or, best of all, tap dancing with the four male Friends, Lord-Sole's performance was classic cross- dressed comedy.
In the title role, Jayne Smeulders was delightful as Lise. She may be one of the company's veterans but she was utterly convincing as a young woman in love - her lithe, lean form sailing through the work.
Matthew Lehmann, as Colas, was every inch the gorgeous, sexy young man. In his jeans, white tee and leather jacket, he seemed to be channelling a mix of James Dean and Grease's Danny Zuko. Always a superb partner, Lehmann was exemplary in his solo work as well, soaring through numerous sauts de basque, tours en l'air and grand jetes en tournant.
While this ballet is stretched choreographically by the lack of story detail, the energy and colour of this production ensures that one leaves the theatre feeling uplifted. Under the baton of Myron Romanul, WA Symphony Orchestra's rendition of John Lanchbery's reworked score is the musical icing on the cake.
Ribaud's decision to set the work in the 1950s is the key to the work's success.
