‘Don Quixote’ (Alicia Alonso)
The Royal Danish Ballet
February 20 2008
The Royal Danish Ballet relies on the old warhorse “Don Quixote” to fill the quota for Russian ballet. The best thing about this production is Diana Cuni finally in a ballerina role, but otherwise this production of the Alicia Alonso version seems too small and too inferior really to challenge the company on all levels.
In 1983 celebrated Danish designer Jens-Jacob Woorsaa created the sets and costumes for the first Danish production of ‘Don Quixote’ by Juri Grigorovich, then Ballet Master of the Bolshoi. Yesterday the set and costumes framed its third production at the Royal Danish Ballet, having framed a production of the Nureyev version as well during Maina Gielguid’s reign as ballet master.
Neither of the previous productions became local smash hits. The style being too superficial and peculiar for Danish taste. Neither did the character parts seem big nor deep enough to really give room for the celebrated Danish characters dancers. What did work on both occasions was the dancing, In 1983 Arne Villumsen in particular supported by Annemarie Dybdal, Linda Hindberg and Heidi Ryom showed that the Danish stars could match the Russians in the hardest and most pumped up equilibrium with syle as well as gusto. In 1997, the Nureyev version sealed Gitte Lindstrøm and Mads Blangstrup as stars.
This
time around the company has chosen the Alonso version from the Cuban
repertoire. The premiere did not make a particular strong case for that
choice. Though hyped in the programme by Ballet Master Frank Andersen
as being more folklore and focusing more on the title character, the
Alonso version simply comes out as the poorer cousin to the Grigorovich
extravaganza. It is clearly created for a smaller, less competent
ensemble. There are fewer soloist roles. The versions for the corps are
less complicated and the works only uses 50% of the dancers needed for
the Grigorovich version. The Don Q is as infrequent on stage as in any
other ‘Don Quixote’, save Balanchine's. Salvador Fernandez who is
responsible for rehashing Woorsaas beautiful set and costumes are
killing both in the process. Dresses have gotten longer and more
Spanish lines. Semi-solists are dressed in uncoordinated colours and
the dryad act is changed from a crisp tutu-piece to a Barbie coloured
nightmare of long floppy dresses. The carefully coordinated palette of
colours and texture are sacrificed without gaining any artistic value.
It
may be stated that the company will tour this production regionally and
that may be the main reason for choosing a simpler and smaller version,
but the larger Grigorovich version was likewise toured. I am arguing
this case because I remain ambitious for the company. Are the Bolshoi
version scrapped because the company does not feel able to match it?
Does the company really see itself as more equal with the smaller Cuban
ballet? Is the company no longer seeing itself as a major international
company? Or is the Cuban version simply a cheaper production?
On the dancing side there is luckily something a lot to cheer about. It has been well known among the reviewers, the audience and the dancers that Diana Cuni is one of the best dancers in the company. Unfortunately the artistic management has been slow in recognising her extraordinary gifts. Small but covering a lot of ground, she is a classic soubrette dancer with great jumping abilities. As Kitri she gets to show all her abilities, and although she had to focus mainly on the technical feat, she more than demonstrated her claim for the part. She concluded by nailing 32 fouettes and more performances will give opportunities to develop the softer side and nuances. Cuni will share the part with Tina Højlund and Yao Wei. Last night Tina Højlund took second female lead as a sensual, strong and well-dancing Mercedes which bode well for her Kitri. Diana Cuni was partnered by Alesseio Carbone of the Paris Opera Ballet. It is of course not possible to write about the standard among the men based on a guest dancer, save that the mere fact that the premiere is danced by a guest make one consider the possibility that the male wing is a little too weak for this ballet. Mads Blangstrup, recently back from long injury is a fine Escada, but may need more time if Basil was on the menu. Thomas Lund and Andrew Bowman are cast for Basil and time will show how well they can handle the part.
In short ‘Don Quixote’ in this downscaled version is not the right challenge for the company right now. It lacks soloist roles for the younger dancers in need of challenges. A promising dancer like Alexander Stæger simply overdances his part in the corps. Christina Michanek (earlier Christina L. Olsen) is likewise wasted in the corps. Why is she not cast as the Dryad queen? The characters parts are unsubstantial and most importantly it lacks quality. Based on a literary subject this ‘Don Quixote’ is poor in the story telling department and except placing Diana Cuni where she should have been a long time ago. If the company wanted a Russian challenge why not try ‘Raymonda,’ ‘La Bayadere' and ‘Le Corsaire’? Why not be as bold as to produce Alexey Ratmanskys ‘The Bright Stream’ which is a wonderful mix of Russian and Bournonville?
It is difficult to see the reason for this revival, unless it is produced solely for being cheap and available? I certainly hope this is not the case.
Comments