She is Back!

John Neumeier:

“Lady of the Camellias”

Royal Danish Ballet

September 14 2014

 

Three seasons ago, John Neumeier’s “Lady of the Camellias” joined the RDB repertoire and became a smash hit, but the production could only run in borrowed costumes and décor and 13 performances. Luckily the Annie & Otto Johs. Detlef’s Foundation stepped in and with a donation of 50 mil. DKK. DKK secured not only this production but four more new ballets for RDB, including a new “La Sylphide”, “Jewells” and two new creations, where one will be by Neumeier.

Could the magic from last time be recreated? Was the ballet really as good as fondly remembered? The answer is a resounding yes. “Lady of the Camellias” as danced by RDB is a glorious production, and show why the RDB ensemble is king of the world in dramatic ballet.

The donation makes it possible the keep the production for this and further generations. Neumeier entry production in RDB. “Romeo & Juliet ”with designs by Jürgen Rose , who also  designed  John Cranko’s  “Onegin”, another house favorite,  has been performed regularly since December 1974. “The Lady of the Camellias” could be in for as long a run.

Earlier this week we saw one of Neumeier’s more recent works “Death in Venice” and I also saw his “The Little Mermaid” a few months back in Hamburg. Well-crafted modern styled ballets, but nowhere near the flow and qualities of his older, more Cranko inspired productions. We do not know yet what Neumeier has in mind for his next RDB creation, but I know what I want.

The Perfect Fit

“Lady of the Camellias” has been danced by several international companies, including ABT without bringing the house down. The reason why it functions so well in Copenhagen is because it utilizes the key elements of the RDB qualities. It is not only a fit for the dramatic tradition, but is also feed of the unbroken link to mid-19^th century culture and style, embedded in the company by Bournonville. This company has 1840’s Paris in the genes. What would be cliché in other companies become truth when handled by the RDB ensemble and stars.

And it is a collective success created as much by the corps and the soloist as by the stars. Interesting things happens. For instance is J’aime Crandall a much better Manon in “Lady of the Camellias” than she was in McMillan’s: “Manon” earlier this season. It may be  easier for her as this production do not include the juvenile “Manon” , but the difference is more than notable. Another helping factor may be that in this production her De Grieux is Gregory Dean, who is a sublime partner who presents her well. Crandall has always fared better with a cavalier than with a fellow technical wizard.

There are three full casts and thereby practically all present principals and upcoming stars of the RDB are involved. The first casts are identical with the 2012 casts with minor changes. The third cast in build on a very young for very talented duo, Ida Praetorius and Andreas Kaas.

For the first performance Susanne Grinder & Alban Lendorf took on the leads as Marguerite and Armand.  Since last run, Alban Lendorf has cemented his career at home and abroad mainly in all virtuoso parts available. He is the dominant figure of the performance. Although a taxing role, Armand is not a virtuoso show off role. Instead it needs the skills of the dramatic dancer, and Lendorf is a strong an actor as he is a virtuoso. It is also a role with a lot of standing still in big capes. Lendorf is even better than last time. He has not lost his youthfulness, but this a more grounded performance. He draws the audience attention by living the drama.

The Lady Vanishes

In last season “La Bayadére” Susanne Grinder managed to overcome the timidity on stage which has hold her back from making as big an impression as I believe her capable of. She has some very strong and touching scenes as Marguerite, especially towards the end of the ballet, but she still disappears into the background in many of the ensemble scenes. The reason may be that in her interpretation – or what she has been directed to do – she is almost on death’s door from the beginning of the ballet. It makes the journey too short and too sad. Last time out her fellow Marguerite, Gudrun Bojesen made the curve between life and death bigger and I hope that Grinder will find the inner strength to really own the ballet. It is the only thing that stands between a good and a great performance.

Around the starring couple there are more than solid supporting performances by Amy Watson as devious friend Prudence, Jonathan Chmelensky as Gaston and Nikolaj Hübbe as Armand’s father. Alexander Stæger is new as Marguerite’s besotted suitor and Caroline Baldwin is a sweeter and less cunning new girl on the game, Olympia. In last season’s “Manon”, Baldwin was cast as Lescaut’s mistress, a surprise casting for a girl with a wholesome appeal. Somehow Olympia is a better fit.    

“Lady of the Camellias” will take its place as a company classic and is a production which embraces and enhanced the company trademark qualities.  It is a production with equal appeal for consignors and broader audiences. May it live long in Copenhagen.    

Photos of Susanne Grinder & Alban Lendorf by Costin Radu (Copyright(c) The Royal Danish Ballet.