ABT - La Fille mal gardee 5/26 Playing with ribbons, tugging on heartstrings

Ribbon Play enjoyed the height of its popularity in 19th century England when factory-made toys were mostly available only to the wealthy. Youngsters in the common classes played with toys made out of household items: clothespins became dolls, a broom or umbrella became a pony, a wooden box became a boat, dolls were made from cloth stuffed with sawdust. It was a time when the young had to use their imaginations to entertain themselves. There was something about the joy of playing with ribbons that endured for a long time — maybe it was the simple surprise of unfurling a core of satin and watching it float in the air like waves in the sea. The basic human response to ribbon play was joyous and carefree. Did we say basic human response?

Had Sir Frederick Ashton ever caught a glimpse of these two kids in their ribbon play, his La Fille mal gardee might have included more than just a pony, chickens and a rooster:

Ashton’s beautiful 1960 version of La Fille mal gardee (translated: the badly guarded daughter) will survive only if major ballet companies continue to perform it. ABT first performed it in 2002 and again in 2003 to rave reviews but allowed nearly a decade and a half to go by before presenting it again. But La Fille is back and in fairly fine form with much to love about it. Why the audiences have been tragically sparse and not filled with children is another testament to ABT’s inept marketing of its artistic product.

There simply isn’t another choreographer who has come within a mile of Ashton’s inventive abilities of incorporating props into classical ballet. Most choreographers use props as little more than stage decor. Ashton’s props always dance and always have important roles in furthering the ballet’s story. Ribbons, hay sickles, vegetables, butter churn — they all dance in La Fille.  His free imagination bubbles forth as does his sheer, sunny joy of creating art. These days most new ballets have the look of being deadline driven and factory molded.

On Thursday night, Stella Abrera and James Whiteside enjoyed phenomenal debuts as Lise and Colas. Marcelo Gomes as Widow Simone and Arron Scott as Alain in their second performances of those roles were already a variety of Ashtonian stage animal.

For her part, Stella brought a youthful, joyous, tender quality to Lise. Not too recalcitrant, never impertinent, and with sulking episodes that were never overdone or lasted too long, she showed us a festive Lise whose dancing rejoiced in her love for Colas. Her jumps in her Act I variation were effortless modest arcs with lifted torso that glided along the wind notes of the flute and landed softly – so characteristic of Royal Ballet dancers in this production. It takes tremendous skill to reduce the size and scope of a grand allegro step without making it look like the dancer is marking a big jump. The movement still must be sustained but it relies more on coordination than umph and effort. The breezy lyrical quality of her movement was as lovely as ever. The narrowness and soft curving trajectory of her lines were exquisitely revealed time and time again. Although the very first arabesque balance under the fan of ribbons overhead was a miss, her rotating balance in attitude self-supported by holding the apex center of the rotating ribbons over her head was brilliant. When Colas stepped up to Lise to prepare to lift her to a shoulder sit, he observed how secure her balance was and simply allowed her to continue rotating by herself for several extra counts of music before finally picking her up. Very pretty indeed.

We are not generally fans of James Whiteside’s dancing or his seedy self-promotion, but he did a superb job last night partnering Stella. He gave her every confidence and opportunity to dance her best, was totally "with her" in the story, and didn’t over-mug even when there was temptation to do so. At the end of the Act I PdD, his single arm "bum lift" of her over his head was epic, the only Colas to accomplish it in the three times that Haglund has seen it attempted this week. He then walked downstage several steps with the beaming Stella aloft before safely bringing her down to a lovely final pose. His own variations were also probably the best of the three Colases that Haglund saw, although none of the Colases were able to whiz around in the complex turn sequence that begins with backward paddle turns. (There are supposed to be four paddles, but nobody attempted more than three.) We think the problem was that each Colas was trying to beat the turns out of the music instead of seducing the revolutions with love. It usually works better when a dancer puts love into his/her turns instead of fighting for them.

Arron Scott’s portrayal of Alain is one for the ages. He was dead-on target with the tragically Petrushka-like stupidity and was utterly charming and lovable. He very nearly stole the show riding his red umbrella "pony" and is today very much a reason to buy a ticket even if you don’t care for this ballet. His character's naiveté was encased in brilliant dancing, brilliant prop use, and brilliant acting.

Marcelo Gomes as Widow Simone, a character who Ashton based on pantomime artist and clog dancing champion Dan Leno (pictured right), might have over-played it a bit more than we recall Kirk Peterson did during ABT’s first run of the ballet, but it was pure gold. His rapport with his wayward daughter was the smartest, most spontaneous-looking give & take among the casts that Haglund has seen. Marcelo's clog dancing with the girls was replete with shuffles, taps, and heel-claps, and looked for all the world like Mama steppin’ out.

Patrick Frenette’s high-stepping swagger as the Cockerel was outstanding as were his silly Hens (Lauren Bonfiglio, Breanne Granlund, Erica Lall, and Jin Zhang). Thomas Forster as Thomas, Alain’s rich father who had been trying to set his son up with Lise, was perfectly pompous.

The corps de ballet made dancing in close quarters with farmer sickles look like the most natural thing. All were spirited, seemed to be especially enjoying dancing on stage with this principal cast, and were in good form.

The Pump Bump Award, an Alexander McQueen straw stiletto, goes to Stella Abrera and Arron Scott for their brilliant dancing and characterizations in La Fille mal gardee:

 

Comments

[Ellen Mason]

I was also there last night, the only Fille I could see this season. What a charming, delightful confection for a hot summer night, but what a tragedy that 35% of the Dress Circle was unsold and empty.

Arron Scott was amazing. He's a star in the making. He's also the only Mercutio I've ever seen who excercized restraint in his death scene and didn't go OTT. I hope to see more of him in the future.

Gomes: what can one say? I thought he was perfect.

I thought Whiteside was better last night than I've seen him before. Maybe Stella brings out the best in him.

Thanks for your great review.

Ellen

[anna]

I was there too a lot of empty seats (why? It's a perfect ballet to take kids to!)
Abrera and Whiteside partner up well. Gomes was perfect. Aaron Scott did nearly steal the show. Overall it was a great performance.

[Haglund]

Over at NYCB, they are running Midsummer Night's Dream this week and packing them into the theater. What is ABT's excuse?

[Angelica Smith]

Haglund, you have outdone yourself in this review with the video of the elephant playing with the ribbon! Where do you come up with this stuff? Brilliant, totally brilliant.

I was at the Met last night also, and for me your review captures the performance in pitch perfect style. I enjoyed the ballet much more last night than I did at the Wednesday matinee. Maybe because it was exciting to see Stella dance so exquisitely in her first leading role as a principal dancer. Maybe it was that in addition to Whiteside's partnering giving Stella complete security in her dancing, his acting gave her someone to "play off," so to speak. They were really engaged in a mutual endeavor, which was wonderful to see. In addition, Stella's port de bras are incomparable. I first discovered her 10 years ago dancing Lilac Fairy, and it was her port de bras that captured me then and held me these long and fraught 10 years. Finally she is getting her due.

Arron is an extraordinary dancer--everything he does is brilliant--and I do hope he will rise further in the company, which already has several shorter male principals.

Thank you for this wonderful review of last night's performance.

[Haglund]

Thanks much for the comment, Angelica. After seeing how well last night went, I'm going to catch the last performance on Monday night. I'm sure that everyone will be even better, and that Marcelo's final Widow Simone might be one of those performances not to miss.

[Jennifer]

I plan to see this cast on Monday as well. I am pleasantly surprised with the positive comments about Whiteside's acting. IMO, that has been a real weakness of his in the past.

[melponeme_k]

I saw last night's performance as well and I thought it was wonderful. Stella Abrera danced beautifully and I thought Whiteside did very well. I did like Scott the most. The only questionable element to the production was that Corps (dancing very well) with some exceptions were all shorter than Abrera. That led to Abrera having to life up the ribbons while trying to hold her attitude balance. It seems all the tall girls were assigned to Boyleston's performance.

It also saddened me to see that many seats were empty. And I fear McKenzie and Board will disingenuously point to this as them needing guest artists. Not addressing the fact that they don't concentrate PR efforts at lauding their own dancers who aren't named Copeland or Boyleston. If they treat their own company as shoddy goods so will customers. Its a self perpetuating cycle.

[cindy grogan]

Hi Haglund -- thanks for the great review. We were there last night as well, and enjoyed Stella's lovely dancing. Also distressed that the house was not more filled. She barely got a curtain call. Can't help but feel she's been/is being "underserved" by mgmt and their marketing decisions. She deserves better, but whatever. Aaron Scott was outstanding. And while I'm not a huge fan of James, he did a masterful job with her (that bit in Act II, when he leans through the farmhouse door and lifts her up so easily....wow. I was reminded of a comment you made elsewhere about the men of ABT doing pushups....). And it was a hoot seeing Marcelo goof around -- hilarious.

[LLF]

This pastoral ballet was perfect for last night’s warm spring evening. I think everyone left the Met feeling just a little lighter than when they arrived. I loved seeing Stella Abrera in a role that brings out all the warmth and beauty of her dancing. I’m trying to see as many of her performances as I can from now on. I was less enamored of Whiteside’s performance than you were, Haglund; however, he is a fine technical dancer and his ability to bring off those lifts was quite an achievement. There were so many empty seats in the orchestra center last night that people on the sides had absolutely no trouble changing seats at the interval. I kept thinking how all of these wonderful dancers deserved better than that.

[B]

I remember seeing this production back in 2002 and 2003 and not caring for it all that much. I really wasn't expecting much this time around, but I wanted to see Stella so I went on Thursday evening... and I was surprised at how much I liked it! This is a very family friendly ballet. It's silly, yes, but not simply for children. People of all ages would enjoy this. I thought Stella was perfect in the role of Lise, and surprisingly, I was also quite impressed by James Whiteside. And Marcelo Gomes, always my favorite, nearly steals the show. I agree that the marketing department isn't doing their job. I also agree with Haglund that if you don't have other plans this weekend, get a ticket for Monday evening. This would be a perfect way to end the Memorial Day weekend—with some culture AND lightheartedness.

[Laurel]

One of those empty seats in the orchestra was mine. I've been sick with a hideous bug I caught in Italy early this month and have missed three weeks of performances, but am finally better now. Looking forward to the rest of the season. Thanks for the lovely review, Haglund.

[Haglund]

You're welcome, Laurel. Glad to hear that you'll be back in the Met saddle again soon.

[Georgiann]

Fabulous review of ABT, and love the elephant video too! Thanks Haglund for the experience of seeing this performance through your words. Love the comments as well.

Note to ABT: TOUR PLEASE! Back in the day you frequented Chicago with a long run, and perhaps several ballet programs. Fond memories, but few opportunities to see you now. Saw you in Kansas City in 2001, and 2005, but you haven't appeared there since then. These are cities that appreciate the arts! Last request: More Stella, please!

[Haglund]

Thanks, Georgiann.

True ABT has cut its national touring compared to what it did when I was a youngster. Chicago is an interesting case. There was a time when Chicago was known as a city that wouldn't support a classical ballet company. But the Joffrey has been winning over the city in recent years, particularly with its acquisition of more major full length story ballets.

Georgiann, maybe you should think about a trip to Chicago to see the Joffrey's new Nutcracker this year. While I have no specific knowledge of this, it seems that it might include a Ferris wheel since Christopher Wheeldon is basing his new production on old Chicago.

[Georgiann]

Thanks for your response, Haglund. I will plan on seeing the Joffrey's Nutcracker. I have always liked the Joffrey, and I plan my visits to Chicago around their ballets. Perhaps the Ferris wheel is a nod to Chicago's Columbian Exposition in 1892.