Hérold's 'La Fille Mal Gardée' is a ballet treasure and one of my personal favourites in ballet. The music is beautiful and characterful, the choreography elegant and witty and the ballet itself is immensely charming and joyously entertaining.
The only drawback to this production from 2008 is the video directing, which for my tastes has too much excessive cutting, close ups and zooms when more subtlety and intimacy would have been more welcome. Otherwise, this is a wonderful production in every other way, so much so that even the video directing despite being heavily flawed couldn't cheapen it significantly, and is very nearly the equal of the 1981 production with Lesley Collier (Royal Ballet) and the 1986 one with Valentina Kozlova (Cologne). It perfectly matches the immense charm and joyous entertainment of the ballet itself and is chock full of warmth, sparkle and grace.
Visually, 'La Fille Mal Gardée' looks fantastic, the costumes are simple but elegant, the sets have a real rustic but colourful charm, the lighting is never too bright or dark matching the light-hearted but romantic tone of the ballet's story beautifully and the production values as a whole are brilliantly colourful throughout.
Choreographically, 'La Fille Mal Gardée' couldn't be more perfect. Then again this is Frederick Ashton we're talking about, and here his choreography sees him at his most whimsical and wittiest (which is a huge compliment seeing as when it came to whimsy and wit Ashton was king when it came to ballet choreographers). There are some genuinely funny moments, especially from the widow Simone, and a lot of charm. When it comes to the choreography, the justifiably famous and hilarious Clog Dance, the first act climactic Storm scene, the Maypole dance and the gorgeous Pas De Deuxs (the leaps, lifts and pirouettes are simply mesmerising) stand out in the best possible way.
'La Fille Mal Gardée' is just as outstanding musically. The score is played with so much sprightly energy and ravishing tones and textures by the orchestra, and is also alertly and sympathetically conducted. The music is allowed to breathe and the dancers able to be as precise as possible with the moves while also acting the roles, but the momentum of the drama and comedy never sags, which is important in a ballet like 'La Fille Mal Gardée'.
Marianela Nunez is appropriately wayward as well as effortlessly charming, certainly not cold and she doesn't over-think (have seen that sometimes with ballerinas, Nunez doesn't have to worry about trying to get the steps and balance right as she dances like the role is in her blood), and doesn't put a foot wrong when it comes to the dancing and technique. Carlos Acosta is a graceful and athletic, as well as powerful while never acting the role too heavily, partner, and the chemistry with Nunez is ballet magic.
William Tuckett is a comic delight as the widow Simone, managing to achieve the difficult and not make pantomime and farce overdone or tired, he is tremendously funny. The dancer for Alain manages to remain true to the lovable simpleton/village idiot that he is, one feels empathy for the character too.
Overall, wonderful production apart from the video directing. 9/10 Bethany Cox
The only drawback to this production from 2008 is the video directing, which for my tastes has too much excessive cutting, close ups and zooms when more subtlety and intimacy would have been more welcome. Otherwise, this is a wonderful production in every other way, so much so that even the video directing despite being heavily flawed couldn't cheapen it significantly, and is very nearly the equal of the 1981 production with Lesley Collier (Royal Ballet) and the 1986 one with Valentina Kozlova (Cologne). It perfectly matches the immense charm and joyous entertainment of the ballet itself and is chock full of warmth, sparkle and grace.
Visually, 'La Fille Mal Gardée' looks fantastic, the costumes are simple but elegant, the sets have a real rustic but colourful charm, the lighting is never too bright or dark matching the light-hearted but romantic tone of the ballet's story beautifully and the production values as a whole are brilliantly colourful throughout.
Choreographically, 'La Fille Mal Gardée' couldn't be more perfect. Then again this is Frederick Ashton we're talking about, and here his choreography sees him at his most whimsical and wittiest (which is a huge compliment seeing as when it came to whimsy and wit Ashton was king when it came to ballet choreographers). There are some genuinely funny moments, especially from the widow Simone, and a lot of charm. When it comes to the choreography, the justifiably famous and hilarious Clog Dance, the first act climactic Storm scene, the Maypole dance and the gorgeous Pas De Deuxs (the leaps, lifts and pirouettes are simply mesmerising) stand out in the best possible way.
'La Fille Mal Gardée' is just as outstanding musically. The score is played with so much sprightly energy and ravishing tones and textures by the orchestra, and is also alertly and sympathetically conducted. The music is allowed to breathe and the dancers able to be as precise as possible with the moves while also acting the roles, but the momentum of the drama and comedy never sags, which is important in a ballet like 'La Fille Mal Gardée'.
Marianela Nunez is appropriately wayward as well as effortlessly charming, certainly not cold and she doesn't over-think (have seen that sometimes with ballerinas, Nunez doesn't have to worry about trying to get the steps and balance right as she dances like the role is in her blood), and doesn't put a foot wrong when it comes to the dancing and technique. Carlos Acosta is a graceful and athletic, as well as powerful while never acting the role too heavily, partner, and the chemistry with Nunez is ballet magic.
William Tuckett is a comic delight as the widow Simone, managing to achieve the difficult and not make pantomime and farce overdone or tired, he is tremendously funny. The dancer for Alain manages to remain true to the lovable simpleton/village idiot that he is, one feels empathy for the character too.
Overall, wonderful production apart from the video directing. 9/10 Bethany Cox
