CLAP AT THE END

LA FILLE MAL GARDEE · 24/04/2015 

FREDERICK ASHTON

I remember growing up watching this ballet on VHS from my mum's collection, with Lesley Collier as Lise, and Michael Coleman as Colas. I know the music off by heart, as well as the storyline, so it was such an experience being able to see it live at the Royal Opera House. It's one of Ashton's most popular and joyful ballets. There are many versions of La Fille Mal Gardee but Ashton's is one of the most well-known and it's a classic at the Royal Opera House.

Lesley Collier and Michael Coleman  

This ballet was first created and choreographed by the Ballet Master Jean Dauberval, he was inspired by Pierre-Antoine Baudouin's 1789 painting, "La réprimande/Une jeune fille querellée par sa mère". It was first performed on 1 July 1789, but the ballet has seen many versions and changes ever since, even in the score used for it. Ashton's version uses music by Ferdinand Hérold, as oposed to Hertel's music used in previous revivals, and he then commissioned John Lanchbery, the ROH's composer and conducter, to arrange the music for the purpose, he also composed the music for the famous clog dance. 

This ballet has been revived by many Ballet Masters before Ashton: Giuseppe Solomoni (1800); Jean-Pierre Aumer (1828), with Hérold's music; Paul Taglioni (November, 1864); Marius Petipa and Lev Ivanov (December, 1885); Alexander Gorsky ( December 1903); Bronislava Nijinska (1941), known as The Wayward Daughter; Ashton (January, 1960). I'm sure there are many other versions arranged by many other Masters around Europe though.

Muntagirov, Morera and Kay, image by Tristam Kenton

The Royal Opera House has staged Ashton's version for decades after he choreographed his revival and he introduced one of the most acclaimed pieces, the clog dance. It is an extremely funny little dance performed by Lise's mother and four other clog dancers. The music for this piece was commissioned by Ashton specially to suit this purpose. It brought me so many memories, it was my sister's an my favourite part of the ballet, and couldn't but smile all throughout. William Tuckett did a great job in portraying the character of the Wayward widow, a character that he kept on playing even after the ballet was over, he kept in character while he was bowing.

William Tuckett as the Wayward Widow, image by Nigel Norrington

It had been quite some time since I had last seen the amazingly talented Laura Morera dance, and it was such a delight to find her so brilliant and charming in the role of Lise. She didn't just dance to technical perfection but also performed the role that seemed to come so naturally to her. Vadim Muntagirov played the role of Colas, he is such a talented dancer, so sharp in his technique and so powerful in his jumps, russian dancers have that flair, don't they? But he spent a long while training in the UK, thus the neat feet. Nevertheless I thought they didn't quite pair up, Colas is meant to be a cheeky young man, and Muntagirov has cheekiness, however it seems to me like it's the cheekiness of a teenager rather than a full grown up man. This is probably my fault since I'm so used to see Michael Coleman as Colas, and I can't help comparing them. 

Muntagirov as Colas, image by Tristam Kenton

I must not forget to mention Paul Kays portrayal of the simple but cute Alain. It is a difficult part to play, since it's tricky to get all the unusual movements and positions Ashton developed for this character, as they had to look naturally clumsy. He achieved that level and on top of that his expression was that of a red-neck which I totally bought and laughed at. 

I was also surprised to find out that Dauberval's original scenario had remained intact, and the Royal Ballet had kept faithful to it, so the set was re-built taking in account the original designs. La Fille Mal Gardee must be a fun ballet to perform, the audience definitely enjoys it, you can hear them giggle and laugh all throughout the show and it gives a good chance for people who have never been to the ballet go for the first time and enjoy not only the virtuosity of the dancers but also their performances, there is a lot of acting and mimicking that makes it amusing for new comers and children.

It was a magical experience attending to the Royal Opera House with my mum and sister to see this ballet in particular, it meant a lot to me. We will now wait anxiously for the Royal Ballet to put up La Bayadere.