La Bayadère

It’s been nine years since Queensland ballet-lovers have had the chance to see La Bayadère, when Paris Opera Ballet staged Rudolf Nureyev’s production of it at QPAC for the first International Series in 2009. A Russian classic from Marius Petipa’s reign at the Imperial Ballet during the late 1800’s, La Bayadère was not widely seen in the west until Natalie Makarova staged it for the American Ballet Theatre in 1980.

Queensland Ballet’s ballet master Greg Horsman has given the story of the Temple Dancer (Nikiya) and the Prince (Solor) a new coat of paint for this world premiere season, which is in partnership with West Australian Ballet and the Royal Winnipeg Ballet, Canada. He’s streamlined the excessively melodramatic story, excising the unrequited love of the High Brahmin for Nikiya, changed the name of Gamzetti’s character to Edith, and set it in India in 1855 during the rule of the British Raj. Other changes to the ballet have been wrought by conductor and arranger Nigel Gaynor who has added Indian instruments, including a sitar, to the instrumentation of the orchestra to give it a more authentic feel and writing some new music for the conclusion drawing upon Minkus’ themes.

The result is a fresh textured work which the young Queensland Ballet danced with supreme professionalism. Laura Hidalgo (Nikiya) and Victor Estevez (Solor) were a rapturous pair of lovers – she with her triple pirouettes on point, he with his grand jetes - both with their precision and attack eliciting strong emotional warmth whenever they were on stage together.

Titian-haired Lucy Green was a beautiful and bewitching Edith, the betrothed daughter of the Governor General. An English rose in an exotic garden, she not only captured the haughty air of privilege but also the venomous jealousy of a woman scorned.

New to the ranks of soloists, Kohei Iwamoto made an auspicious debut with the company in the role of Lead Temple Dancer. Dressed in what looked like bronze Speedos and with his body of rippling muscles painted the same colour, his appearance, though brief, was magnetic.

The corps de ballet in their short white tutus rose to the occasion with a majestic and melancholic version of the ‘Shades’ Grand pas fronted by the sublime work of soloists Teri Crilly, Mia Heathcote and Yanela Pinera.

Gary Harris’ set owed more to Disney than anything with its primary colours and hard-edged palm trees, but his costumes were especially resplendent in the military battle, the opium den and the wedding scene.

Gaynor’s new arrangements, played with bravura by the orchestra, paid homage to Minkus whilst adding a welcome touch of spice.

Jon Buswell’s excellent lighting plot really came into its own at the finale, when the lovers reunite in death before a brilliantly spectacular sunset.

Queensland Ballet are to be congratulated on this ‘new paint’ version of La Bayadère. It will please many.

Peter Pinne

Photographer: David Kelly