Alexei Ratmansky:
"Coq d*or"
The Royal Danish Ballet
September 15, 2012
To recover another lost Ballet Russe masterpiece and get it reinvented by probably the most suited choreographer in the world. To get it done by probably the most suited company in the world with probably the best character dancer in his final production. To reinvent the fabulous designs by an international and dedicated designer and get it done by one of the strongest workshops available. This would be something and the expectations were justifiably high. Even though all involved performed to the max. the miracle did not come through. Why not? Simply because the core material, the DNA, of the artwork is void of what we see as the core Ballet Russe magic. This is not a fable of human lust and destiny. The Coq d'or is not another firebird but a simple piece of mechanism, not unlike the false bird in H.C. Andersen’s: "The Nightingale". And this story was conceived by Pushkin as a political tale on the dangers of absolutism. Not the easiest subject to build a ballet on.
As it is, Ratmansky and his former colleagues of RDB create an interesting and pleasing ballet
with a strong star performance by Gudrun Bojesen, who almost singlehanded managed to create the Ballet Russe eroticism and magic, but they cannot make the material reach all the way. It is as good as it possibly can be and that alone makes it a good production on international level, which should tour. However it does not take you where you really want to go, virtuously or emotionally.
An Absolute Dilemma
My history teacher once said that the only fault in the Danish absolutism manifest from the 17th
century was that it did not included a solution if the absolute king was not fit to govern. An omission which became reality when the King Christian the 7th went barking mad. Coincidently this was also food for a ballet,”Caroline Mathilde" by Flemming Flindt, and also a major starring role for Thomas
Lund, who has his final major role as the incompetent Czar in "Coq d´or" before taking up the job of head of the Royal Danish Ballet School.
For the 19th century Russian intelligentsia, the absolutism - and the Russian absolutism was extreme -
was an unremovable thorn in the flesh. The heavy censure forbid any discussion, so critique could only be voiced in formats like fairy tales such as "Coq d´or", which Pushkin wrote in 1834 inspired by a novella by an American writer Washington Irwing. In 1907 Rimskij-Korsakov wrote an opera on the subject, which got immediately banned and first made it to the stage two years later. In 1914 Diagilev premiered an opera/ballet with choreography by Fokine and scenery by Natalia Goncharova. In 1937 Fokine made a ballet version, with the golden cockerel as a dancing role. Save for a few attempts over the years, Ratmansky's version is the first major attempt to make the cockerel come back to life.
Ratmansky has, during his illustrious career, showed a great talent for reinventing Russian ballets. His re-productions of "The Bright Stream" and "Flames of Paris" have brought new life to almost forgotten works and he is probably the only one who could recreate "Coq d'or". His solution is a fairly short two act ballet, carried by characters rather than virtuoso dancing and trying to force the Ballet Russe connection. The scenery and costumes by Richard Hudson is based on the Gonshova legacy.
Stock characters
Ratmansky and RDB deliver on the characters, but it does become abundantly clear that as characters the material is slim and a lot therefore becomes routine stuff. Of course Lis Jeppesen can be the crying nanny and Poul Erik Hesselkilde the old general. This is milk run stuff. Thomas Lund, unfortunately covered in thick layers of quilts, wigs, beards and crowns, is as funny as he can be within the material, but the material is not deep enough for him to go anywhere near the edge.
Regarding the famed role as the golden cockerel. It is smaller and less significant than expected. Ratmansky has cast small dancers in this role, Lena Maria Grüber and for second cast Shelby Ellsbre (seen on the intro event) maybe to force the impression that we see real-size poultry. But although both dancers are very skilled, neither comes naturally to any kind of diabolic, nor erotic expressions. It is not their fault, it is a casting decision, but I do wonder whether two dancers who earlier have made a very strong impression in "The Cage", Alexandra Lo Sardo or J'aime Crandall, may not have been more interesting choices. The production is void of supporting roles. Principal Ulrik Birkkjær
and soloist Gregory Dean do well as the two naive sons of the Czar, but they are dead by the beginning of the second act. An oriental trio hardly emerges. That leaves only a small and grotesque fools' ensemble and two pheasants girls as semi roles as well as the diabolical astrologist who controls the cockerel.
Enter La Bojesen
Finally in second act we see a major part developed, choreographed, fleshed out and utterly beautifully rendered with the full Ballet Russe package by our prima ballerina, Gudrun Bojesen, as the alluring rival queen that the czar pursues. Bojesen dominates the act with her elegant and sensual dancing, subtle acting and a cunning, almost humorous turn as a Ballet Russe Ballerina. Her languid movement pattern is absolutely enchanting and she conquers the audiences as well as the naive czar.
Bojesen has over the last years built a portfolio of breathtaking performances, covering the whole specter from romantic, tragic, classical and erotic ballerinaship. Her next role will be Nikita in "La Bayadere" and one can hardly wait. Hopefully we will also finally see her in "The Sleeping Beauty" that Christopher Weeldon created on her, but where injury prevented her performances.
Not quite the Miracle
Ratmansky has managed to create a pleasing work that has a strong element of humor and uses
some of the key charms of RDB. Unfortunately he does not really cater for the strong dancing abilities of the corps. There are elements like a strong movement pattern for the army, but it is over before it began. Arlene Croce once wrote that every Bolshoi ballet master could be called progressive, simply by the fact that they substituted mime with dancing. Ratmansky does not fall into that easy pattern. He really wants the mime and character dancing to take its place. Unfortunately the ballet subject, important as the subject, misuse of power is, it does not really render itself well to a ballet. That we get as good as we get is to Ratmansky and his dancers credit.
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