Balanchine's Brilliant Don Quixote
George Balanchine's famous words way back in 1965 as his vision of Don Quixote first hit the stage were, "...everything a man does he does for his ideal woman. You live only one life and you believe in something and I believe in a little thing like that." For the uninitiated, this sums up the classic tale, and Balanchine's Don Quixote, quite well.
The story of the the Man of La Mancha has been told and re-told, and constantly re-interpreted in ballet and theatre performances over the past 400 years since it was originally written by Cervantes. Prolific and innovative choreographer, George Balanchine, took on the task of creating a ballet performance of Quixote more than 40 years ago, which ran in New York from 1965-1978.
Balanchine, who passed away in 1983, entrusted his original Dulcinea, Suzanne Farrell, with the Quixotic performance in his will. Farrell has picked up torch and staged a masterful show with the National Ballet of Canada, which is now playing at the Four Seasons for the Performing Arts throughout the week.
This being my first ballet experience, I can't say I knew quite what to expect beyond the obligatory pointe shoes and ballerinas. I'm glad it was though, since I was delighted with what played out at the Four Seasons Centre that night.
While the choreography in this performance was simply amazing (more on that later), what stole the show in my eyes were the narrative elements that meticulously crafted a classic story. Very seldom did either the narrative or choreography seem forced, a problem that many performances featuring both musical and dance seem to encounter. In fact, they complemented each other very well and enhanced the overall flow of the show.
The prologue sets the scene and introduces our protagonist, Alonso Quixano the Good performed by Hazaros Surmeyan for the evening's performance. An old man with a few cards short of a deck, Quixano begins to visualize a world of chivalry, adventure, and romance. He turns the pages in the wonderfully decorated and over-exaggerated books of chivalry that made up the set of the study, and creates his fantasy character, Don Quixote de la Mancha.
Dulcinea, Quixano's servant girl-turned queen and lady by Quixote, played by Heather Ogden for the night, was absolutely stunning. Her solo and group dances captivated the crowd with her grace, and brought about thunderous applause and cheers of "Bravo!" throughout the production.
The costume and set design were impressive, especially those seen the first through the second acts. In the second act, set in the palace, dimly lit chandeliers hang above a glamorous ballroom, as dancers in elaborate and almost gothic black and gold gowns gracefully dance around (and mockingly, with) an out of place and confused Quixote. The real dark feeling of the ballet came across strongly in the many characters and their costumes that Quixote characterized as evil, threatening his Dulcinea or the good of the world.
All in all, the show was amazing, and opened my eyes to the world of ballet. Suzanne Farrell's revitalization of Balanchine's work was touching and beautiful, as was the dance performed, particularly by leading lady, Heather Ogden. If you haven't yet experienced any ballet, or the Four Seasons Centre, this is a great opportunity to see both for yourself.
Balanchine's Don Quixote plays nightly at 7:30 this week from June 20th to the 23rd (Wednesday to Saturday). Matinees at 2pm on the 21st and 24th (Thursday and Sunday) at the Four Seasons Centre for the Performing Arts (145 Queen Street West). Tickets available through the National Ballet of Canada.
Comments (4)
* I would like to preface this partial review by stating I’m a big fan of Suzanne Farrell the dancer and person and that she faced an impossible task trying to revive a Don Q and make it palatable for a modern day audience. This ballet is beyond dated. To top it off, the musical score is so inferior, not even the greatest choreographer of all time could make it work.
If Suzanne Farrell invites critic Michael Goldbarth over to watch her home movies of Don Q, he will have to respectfully decline the invitation. Fret not; I suffer not from any Don Q delusions of reality. I’m fully aware the probability of the above invite arriving in my inbox would best be described in the skinny world of ballet as ‘fat chance!’ Especially if Miss Farrell should read my review! Warning: As always, reader discretion is strongly advised.
The restoration of Mr. B’s Don Q à la the Elusive Muse would make the Keno Bros of Antique Roadshow fame crinkle their foreheads in utter disbelief at this misguided marriage of music and movement. Mr. B’s Muse was as ‘elusive’ as ever not fulfilling this critic’s wish for her to surface at the Ballet Talk to chew the fat over the première of her Don Q on Canadian soil-If chewing the fat is possible in the ever so skinny world of ballet! Unbeknownst to the early birds in attendance at the Four Seasons Centre for the Performing Arts, a cruel fate of near death from boredom awaited us.
After National Post critic Michael Crabb treated us to a condensed tutorial for the historical significance of Don Q, one ballet dignitary after another paraded onto the podium to lecture one and all on the benefits of giving and giving and then giving some more to the National Ballet of Canada. All were dressed to the 9s and not one wrinkle could be spotted upon the foreheads of Beverley J. Oda (Minister of Canadian Heritage), Mavis Staines (Artistic Director of the National Ballet School), and Karen Kain (Queen Bee of the NBoC). Sadly all of the above unproven botox could not inject musical life into the choreography of Don Q.
I’m sure those who look forward to the Ballet Talk would appreciate it if the above preached the virtues of ballet funding on their own dime. Exclusive members of the upper crust of art society will applaud most heartily at the news there is no more capital gains tax on donations of securities and that the Conservatives expanded the National’s endowment piggy bank by $1.2 million loonies.
Excuse me whiles I pause for a loud prolonged yawn. This is one antique ballet that should be mothballed back into Miss Farrell’s (previously known as Roberta Sue Ficker) cobwebbed attic never to be viewed in public again unless her home barre is open, free, and flowing with the finest of libations. You will need to be in a pickled giddy condition to view Farrell’s memory of Mr. B’s choreography in concert with the music of Nicolas Nabokov as a happy marriage made in El ingenioso hidalgo Don Quixote de la Mancha heaven.
Be a good sport and humor this writer by performing a harmless experiment. I want you to suspend your beliefs for the laws of attraction and try to imagine a 23 year old Suzanne Farrell and 64 year old George Balanchine at the alter saying their vows. That is how well Farrell’s staging dances the music of Nabokov to life. Not even the legend of George Balanchine (previously known as Georgi Melitonovitch Balanchivadze); the ethereal beauty of Heather Ogden; the sumptuous costume designing of Holly Hynes; the wow inspiring scenic design of Zack Brown, along with the celestial lighting of Brad Fields can make this marriage work. All of the above would win a handsome alimony settlement if they sued Miss Elusive Muse for cruelty to restaging.
While we are on the topic of alimony, George Balanchine was fortunate to escape lawsuits by Tamara Geva, Alexandra Danilova, Vera Zorina, Maria Tallchief, and Tanaquil LeClercq-All former spouse ballerina muses for Mr. B. Suzanne Farrell chose to marry dancer Paul Mejia rather than become Mrs. B # 6-Not a smart career move. So sick was Mr. B. of this man who enjoyed the fruits of his careful nurturing—He paid him not to show up for work. Farrell made the mistake of giving Balanchine an ultimatum, and that was it. Balanchine banished them both from New York City Ballet. After some guesting which included stints for the NBoC, they had to move all the way to Brussels Belgium for steady employment. Many companies were understandably afraid Balanchine might prohibit them from dancing his ballets.
Most of his ballerinas went along with this peculiar arrangement of spouse-muse even though he was far too much in love with making ballet to have a real marriage. His soul mate would always be ballet. After a six year hiatus, Suzanne Farrell returned to continue her career at NYCB-A testimony to her maturity as an artist and human being. When George Balanchine passed away on April 30th in 1983, he bequeathed 2 ballets to his Dulcinea, Tzigane and Don Quixote.
To be continued when my Muse inspires me….
* BTW: Whiles perched from my Ring 3 seat; I noticed Michael Crabb and Executive Director Kevin Garland (a SHE) engaged in a very intense discussion during the intermission. I wish I could lip read!
Michael, thanks for the insight, it's definitely interesting to hear another perspective from someone who's a more seasoned ballet attendee.
There's a lot of history behind this show that I found fascinating to dig up, and if what you say is true, the relationship between Balanchine and Farrell is a lot more complicated than I was led to believe!
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