When Nikolaj Hübbe directed”La Sylphide” in 2003, it was a revelation and the primary example on how to present Bournonville in a clear and classical manner. Now eleven years later, Hübbe will present a new radical version that questions everything and changes the traditional look of Bournonville’s master piece.
Over the last seasons Nikolaj Hübbe has presented a number of new productions of Bournonville’s classics. Ib Andersen directed a stylish, historically correct in every detail, version, Anne Marie Vessel presented a traditional “ La Conservatoire”, Gudrun Bojesen tried to put drama and flamenco into” La Ventana” and Thomas Lund and Nikolaj Hübbe co-created two abstract works based on Bournonville’s school.
And then there were his own big scale experimental productions of “Napoli” in a Fellini-inspired setting and “A Folk’s Tale” teleported 40 year to co-inside with a Danish political crisis.
It looks like his new production of “La Sylphide” will go even further into making a more contemporary Bournonville.
Trooping Non Colors
Nikolaj Hübbe has teamed up with the Danish designer Bente Løkke Møller, who is known for clean lines and a very controlled colour pallet. Previously she has designed the sets for Corpus “ “247 Years in Tricot”, but otherwise she is mainly known for her work with the Swedish director Staffan Valdemar Holm.
“I have seen some of Bente’s design over the years, and her uncompromising style seemed to be a good match for my ideas on “La Sylphide,” says Nikolaj Hübbe.
When he directed “La Sylphide” in 2003, it was set in a décor, created for Frank Andersen’s own production in Stockholm. It was a faithful but also somewhat bland design, which also included more tartans, bagpipes and uniforms than usual:
“ In certain scenes it got a too heavy dose of the Edinburgh tattoo, so I was looking for a less busy look. Seeing Bente’s work I knew I had found the right designer for where I wanted to take “La Sylphide”
It must be remembered that the décor and style for “La Sylphide” have changed very little since Bournonville’s time , but with this production, we will finally get a décor, that radically change the look and maybe also the impact of the classic.
At the intro performance Bente Løkke Møller stated that the painted cardboard forest is out and will be replaced by a much simplified look. The kilts will stay, but will be in black and gray colors as will the whole casts save the sylphs.
Nikolaj Hübbe has received some criticism for taken the religious content out of” Napoli”. It may therefore come as a surprise for some that his gameplay for “La Sylphide” is inspired by religious Presbyterians and the Danish religious movements Indre Mission, which preaches a more stern variation than the popular light “Grundvignism”, preferred by most Danish church goers:
“ There is a Danish novel, “The Fishermens”by Hans Kirk that portray a group of stern religious fishermen. It rang a bell for me regarding the Scottish closed community in “La Sylphide”. The Danish – Scottish film “Breaking the Ways“ was also instrumental in my idea for the new production.”
A New and rather different Madge
Since 1979 and until recently Sorella Englund has been more than the defining Madge for RDB. Her take on the role was so deep and so ground breaking, that it, in all honesty ,made it very difficult for other dance-actors to reach her level.
Her strong femininity in the interpretation, practically closed any thought of casting a male dancer in the role, which up till 1979 had happened frequently. It was simply not considered. Well not until now.
In the new production Sebastian Haynes, early in his second year, Nikolaj Hübbe himself and character specialist Maria Bernholdt will share the part. All three of them will be playing the role as a man.
And Madge will no longer be the poor wandering cousin.
“I am focusing on Madge as the outsider, and not as the poor relative. We never really know why Madge is so antagonistic in her relationship with James, although there have been many theories and game plans for the role. I am therefore changing Madge into a man, and a man from James past,” Hübbe explains.
Nikolaj Hübbe is not only changing the gender and the sexuality of the character. He is moving Madge to a new social class and even to a new historical period. The poor witch is coming back as a wealthy 1890ties Dandy.
When suggested that Madge’s new costumes has a strong Oscar Wilde connotation, Nikolaj Hübbe agrees and when asked why he moves the clock forward by some 50 odd years he says:
“By moving the times somewhat forward, we reach the period where people really start asking the difficult questions. It was a period of great inventions and research. Scientists and artists were breaking new ground. Moving my characters to this existing period open up so many possibilities”.
Under Wraps
Nikolaj Hübbe stays secret about most of this new production, and it is at present unclear how the radical changes will affect the performance. Will the Sylph continue to be the main character? etc. It looks like we will have to wait until the first night, October 25, to see if the bold strategy adds new value to “La Sylphide” or she was better left alone in her 1830 universe.
Photo by Henrik Steenberg. Copyright(c) Royal Danish Ballet
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