The Merry Widow

In 1975 The Merry Widow was the first full-length original ballet created for the Australian Ballet and has been much loved ever since. Devised by Sir Robert Helpmann, the ballet has a long and esteemed pedigree for the company and this production does not disappoint.  There is a whimsical nature to Widow (in spite of some thankfully outdated ideas about love and marriage) that leaves the audience feeling delighted and charmed as they leave the theatre.

Company Principal Leanne Stojmenov is captivating as the flirtatious Valencienne. Her lines are flawless and her technique perfection.  She easily communicates the level of vanity and obsession with wealth that the character is known for. In spite of these obvious character flaws, the audience become as blinded by Stojmenov’s beauty as the hapless Baron is by Valencienne. Kirsty Martin returns to the stage after some absence teaching to play Hanna once more.  She too has great technique and there is a beauty to her performance.  Whilst there really are no real flaws in Martin’s portrayal there are no moments of excitement either. She is a fine dancer but fails to exhilarate.

The stars of The Merry Widow are the men – and what stars they are.  Colin Peasley returns for his 43^rd year playing Baron Zeta and is hilarious, playing off Franco Leo’s Njegus. These two know how to play up the comedy of the farcical story and in Act II they almost steal the show when looking through the “keyhole” to spy on Valencienne and Camille.  But the show really belongs to Adam Bull and Andrew Killian who eclipse their partners in their respective pas de deuxs and enthrall the audience with a high jumping ‘fight’ in Act III.  Bull’s grace and strength are captivating.  He leaps onto the stage and staggers around with impeccable timing as the drunk Count. Bull is not only capable of exceptional dancing, but his acting in this narrative is entirely engaging. You believe he is drunk and carefree, lusty and duty bound, broken and acting out. When, in the final pas de deux, Danilo and Hanna are finally together you feel the passion between the two characters and believe that this is a love for the ages. Andrew Killian is spectacular as Camille, every step is pure perfection.  He has fantastic comic timing as he ‘ravishes’ Valencienne. When Bull and Killian come face to face in the Chez Maxine in Act III, their short battle is electrifying.   If this is what we are seeing from male dancers in Widow, I can’t wait for Spartacus.

The sets and costumes are, as always spectacular and you can understand the need for two intervals in this production. Feathers and fans, champagne and chandeliers, La Belle Epoque comes alive thanks to the fabulous costume and set deign by Desmond Heely. Ronald Hynd’s choreography is challenging and beautiful. The Corps have some moments that could be tighter, but because of the setting of these sequences we can play this off as a deliberate portrayal.  If you want a tremendously delightful and enchanting evening at the ballet, The Merry Widow is the show for you.

L.B. Bermingham

Photographer: Jeff Busby