In the UK we have become accustomed to the 1960 version by Frederick Ashton with its quirky Osbert Lancaster sets, which used mainly the Hérold score of the 1820s and 30s. The music which Pepita and Ivanov chose for their 1885 St Petersburg staging was that by Hertel, originally created for the 1864 Taglioni production in Berlin.
This story of the farm-girl Lise who hoodwinks her widowed mother Simone and her potential suitor to marry Colas, the boy she really loves, has a pretty distinguished parentage. Ironically, this pastoral idyll all first reached the footlights a mere fortnight before the fall of the Bastille; it was the creation of Dauberval and used a medley of contemporary popular songs and dances. It reached London in 1791.
The version which the Russian State Ballet of Siberia is currently touring across the UK adds choreography by Alexander Gorsky and Mark Peretokin to that of Dauberval; the score is that of the now little-known Hertel. So it has pedigree, with proper weight given to the mime narrative elements of the story (Dauberval was one of the pioneers of the ballet d’action). The mixture of choreographic styles – late 18th, early 20th and 21st centuries – though not entirely seamless.
As always, the corps de ballet makes the most of its chances, as does Dmitry Diachkov as Colas, whirling across the stage in a sequence of virtuosic displays while always remaining in character. His Lise is Elena Svinko, a dancer who does not seem to be his natural partner, and whose wrist and hand movements are not as elegant as they should be, though her pointe work is impeccable. She also missed that sense of innocent mischieviousness which should bring Lise alive.
Almost walking away with the whole show is Alexey Balva as Simone. British audiences, brought up with the pantomime dame tradition, tend to take this sort of travestie character to its heart, and the final scene’s clog-dance proved it. Denis Pogorely as dim-witted Alain and Maxim Dashidondokov as his well-to-do father complete the line-up of principals.
Balva and Diachkov apart, it is difficult to escape the feeling that the joins in choreographic styles are altogether too visible. The kermesse-like buccolic dance at the end of the first act has great liveliness, but this Rousseauesque tale of simple country life remains just a little two-dimensional. Yes, the characters are all types rather than flesh-and-blood people, but I couldn’t help but be reminded that the genesis for the story was an engraving – La reprimande.
Three and a half star rating.
La fille mal gardée can also be seen at the Regent Theatre, Ipswich on 23 February. The Russian State Ballet of Siberia tour continues with Swan Lake at the Theatre Royal, Norwich on 28 January, at the Cliffs Pavilion, Southend on 29 January and 26 February and at the Regent Theatre, Ipswich between 23 and 25 February.