Review by Gemma Keliher
In what would have had to be a monumental effort, Brisbane has been lucky host to the international talent of the Shanghai Ballet. Presented by Queensland Ballet, Derek Deane OBE’s The Lady of the Camellias by Shanghai Ballet was a night of extravagance and successful showcase of a long-standing relationship between sister companies.
The Lady of the Camellias narrative is drawn from Alexandre Dumas fils 1848 novel, La Dame aux camélias. His own life provided inspiration for this tragic love story, which in turn spawned many adaptations and become the basis for Verdi's 1853 opera, La Traviata, with many parallels also found in the modern day hit Moulin Rouge!.
In this ballet, we begin with time and space blurring, with our protagonist Marguerite, a deathly ill French courtesan, witnessing her own funeral and lost lover. With help, she is soon thrust back into her role in society, and back to the beginning of her story where she first meets Armand. Their love affair begins, but with Marguerite’s decline in health they leave Paris for the countryside where further trouble lies for the lovers. Marguerite is persuaded by Armand’s father to end the relationship, which sets in motion a series of events of revenge, betrayal, and rejection, eventually leaving Marguerite to face death alone.
Something about the story feels as if we are viewing through a slightly distant lens, leaving the tragic demise less heartbreaking than other adaptations we’ve seen of this. Pacing may be the biggest culprit, with some moments being overstated, and other pivotal plot points feeling rushed and leaving the emotion confusing. The end of Act I falls into this, with plenty of time spent establishing life in the countryside, however the financial troubles faced by the couple occur in a busy blink and you miss it moment, leaving the following scene of Armand’s father convincing Marguerite to leave Armand emotionally confusing and less believable. Whatever the cause, it left me reaching for more emotional investment throughout Act II.
Adam Nee’s set design was magnificent, showcasing a luxe and opulent 19th century Paris. From a grand Parisian theatre which, in a metatheatre moment, transformed us into the ballet-within-a-ballet’s audience (a trope I personally love), an ornate mirror reflecting the ballroom from above, to the recurring floral imagery, each scene showed thoughtful storytelling through design and plenty of wow factor. Adding to this was Nee’s costumes, the attention to detail gave us cohesive designs with plenty of beautiful fabrics, elaborate embellishments, and of course, sparkle. Having travelled this production all the way to Brisbane, the scale was nothing short of impressive.
What would have lifted this further was a live orchestra performing Carl Davis’s score, as all performances are to an unnamed recorded orchestra. Somewhat understandably in a travelling company we were going to see a compromise, but after the extravagance of the staging and designs it feels a shame to miss the luxury of live music.
The dancers of the Shanghai Ballet were as delightful as expected. Qi Bingxue as Marguerite was a beautiful leading lady, offering us insight into her range as performer as we watched her weave from hopeful lover, to heartbroken and full of despair, to acceptance of her death. Marguerite is a multi-layered character, and Qi was able to capture the depth of her character well. As the tragic lover Armand, Wu Husheng was graceful and incredibly light on his feet, showcasing his experience. Fan Xiaofeng was a powerhouse as Prudence, showing grace and authority. Another standout was the energetic Zhao Meici as rising courtesan Olympe, a true rival for attention on the stage. Zhang Wenjun, Tu Hanbin, and Li Yang as Gaston, Baron, and Duke respectively were welcome regulars throughout the story, after their initial comedic interjection early into Act I that provided much need light to the dark. The rest of the company were strong, with all dancers showing focus and investment into the story, even as far as the waiters refilling champagne.
In welcoming the Shanghai Ballet to our Queensland stage, it reminds me of the beauty of ballet that extends beyond language. Unlimited by the boundaries of spoken word, the connection that dance and music bring to audiences is inherently special to be a part of. The Lady of the Camellias was an incredible opportunity to witness world class international artists without the cost of a plane ticket. Indeed, a notable part of Queensland Ballet’s history and surely a representation of their international standing.
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