Ballet Review: La Fille Mal Gardee Presents The Beauty of Young Love
The ballet has long been a symbol of elegance in the art world. It leaves audiences in awe with the precision and stamina involved in making your body a clean sculpture. Thus, The American Ballet Theatre does not disappoint with its newest, comedic production of La Fille Mal Gardée.
Comedic? A Comedic Ballet? Yup! La Fille Mal Gardée is absolutely hilarious. It is one of the funniest ballets I have seen, and is a wisp of fresh air to The Met Opera House, where it is playing till May 30. Set in the countryside, the lighthearted work is about a farmer’s widow known as Widow Simone and played uproariously by Marcelo Gomes. The widow is trying to marry her daughter Lise, sweetly played by Stella Abrera, to a wealthy land owner’s son Alain (Arron Scott). The problem is her daughter has fallen in love for a poor farmboy Colas (James Whiteside). The choreography, by Frederick Ashton, takes off in the forbidden couple’s avoidance of the meddling mother.
Ashton has done a wonderful job in creating choreography that exudes the childlike beauty of young love. From repetitive allegros to grande jetés that are so elegant you believe human beings can actually fly, Ashton wants you to feel the energy of young love. It is sentiment that can make yo do a thousand pirouettes, which can seem as such when the young couple dance in a romantic trance. Each move is done with a gentility that furthers the ambiance of the ballet: youthfulness. There is a fresh newness in both the bright lighting designs of Brad Fields and the fiery zest of the choreography, which the creates timeless joy of being young. Furthermore, James Whiteside is one of the cleanest dancers you will ever witness. His lines are points of sophistication, and will leave any fellow dancer emotionally moved/ slightly jealous. While Abrera is gorgeous. Her pirouettes and attitudes are so radiant that she easily embodies the glow of a young lady in love.This dynamic pair proves through adages that there is a set body language to love.
When people go to the ballet, they do not realize the amount of acting that goes into a role, which is as much as dance. To convey powerful emotions without words involves a great deal of spirit and imagination, which is exactly what Whiteside and Abrera exalt. Their dancing is a lesson on how physically expressive love can be. Every movement they create is a testament to the heart’s capacity to take-over the body, and drive you through sweet motions. Yet, La Fille Mal Gardée is also a testament to physical comedy.
As I mentioned, Marcelo Gomes is a comedic marvel. He is so grand with his movements that you become eager to see him again when he is not on stage. The Widow Simone is the heart of this ballet. Her clogging sequence is a show-stopper, in part, because the laughter she will bring out of you is too rich to stop. You, literally, cannot stop smiling when the Widow is on stage, and, towards the second act, the softness she shows to her child is heartwarming. Moreover, Arron Scott makes Alain a lovable dunce. From battus to assemblés, Alain’s choreography immediately sets him as a lovable goof. You feel slightly bad that he does not end up with anyone, but his little red umbrella, because he is just adorably lost. Corras was excellent in assuring that his character was not too farcical. Overall, that was the major feat of La Fille Mal Gardée: it was genuinely funny.
La Fille Mal Gardée is a hearty laugh and whimsical work. The score from Ferdinand Hérold plays like soft gusts of wind celebrating the youthful couple. His compositions elevate the kindness of the ballet’s message: Love Prevails. For tickets and more information Click Here!
Running Time: 2 hours with a 20 minute intermission
