Top Dancers Tonia Looker and MacLean Hopper in A Midsummer Night’s Dream. Above Tonia Looker and Harry Skinner.
If you ever wish to see the Royal New Zealand Ballet when everyone has reached beyond what you knew was their peak, then A Midsummer Nightâs Dream presents that very opportunity: a ballet where the quality is jaw-droppingly magnificent, where choreographer, designer, lighting designer, and musical director have surpassed themselves, and where the dancers have revelled in bringing a production to life.
In tonight’s (August 20) world premiĂ¨re, Tracy Grant Lordâs designs are the first thing you notice, a galactic image of the night sky projected on to the curtain before the action is revealed, then a set that can only be described as her best work reviewed by Lucire to date. Set in a fairy dell in the wood, Lordâs imagination takes us into a world of cabanas and fungi, with electric blue shades offsetting the dark, night sky. It is the Royal New Zealand Balletâs largest set, complete with bridges, multiple staircases, even a pole from which Puck slides down. Lord notes that her design âincludes particular structural, decorative and technical elements that exist only for this production, and have all been developed and manufactured in the company workshops.â This is a unique interpretation, a master-class in ballet set design, all the more impressive when one considers that Lord had a budget to work to. She envelopes us with her world even before the dancers take their first step.
Kendall Smithâs lighting design comes into its own with Lordâs set, keeping the cabanasâ interiors dark when unused and lighting them subtly when dancers appear. His moon, in Act II, appears as a round, fluorescent ring, emerging from behind the mesh. With Lord employing a single set for the entire ballet, Smithâs lighting gave the production a sense of variety and change throughout. We noted earlier that Smith employed 4,000 LEDs and 2,000 m of fibreoptic cable, and we can certainly say they were put to excellent use. Smith, whose rĂŠsumĂŠ includes lighting for Andrea Boccelli and Luciano Pavarotti, and some of the most respected companies in the US, was flown out with the support of the US Embassy, giving another world-class aspect to A Midsummer Nightâs Dream.
Lord also stretched her imagination with the costumes, giving the initial illusion that the fairies were petite; it was only when Oberon and Titania appeared that you began realizing their true scale. Oberonâs and Puckâs costumes had a more cinematic, modern bent than seen in other interpretations of A Midsummer Nightâs Dream, with the former having a plunging neckline and a science-fiction feel to it. The fairiesâ wings and headgear had metallic detailing, again taking us beyond the typical dell and going past the usual, traditional elements that earlier productions tend to rely on.
Rising star Liam Scarlett did not disappoint, either, with choreography that expresses a witty yet respectful take on the Shakespeare play. Whether it was transforming Bottom into a donkey, and his subsequent comical pas de deux with Titania, having Puck swing down Ă la the cinematic Tarzan to commence his antics in the second act, or the strongly romantic pas de deux between Oberon and Titania, Scarlettâs interpretation brought the Mendelssohn score to life, matching movement masterfully to music.
The music, too, saw RNZB musical director Nigel Gaynor go further than he typically has. Mendelssohnâs score was insufficient for a full-length ballet. Gaynor and Scarlett collaborated, choosing additional Mendelssohn pieces to give the characters greater depth and the story more completeness. Various opuses have been added along with incidental music, and Mendelssohn fans will recognize them and marvel at just how well they have been incorporated, not least how fittingly the choreography has been applied. Itâs this characterization which marks out Scarlettâs work. The interactions between the charactersâOberon and Puck, Titania and Bottom, Hermia and Lysander, Helena and Demetrius, and the comical pursuit by both Lysander and Demetrius toward Helenaâgives the RNZBâs production exceptional entertainment value. Like its The Nutcracker of 2010, the dance techniques are rich enough for the adult ballet-goer to appreciate, while the structure and comical elements give children plenty to enjoy.
Adding incidental music from Mendelssohn is not newâBalanchine did the same in his versionâbut the level of dedication is apparent.
And all this before commenting on the dancing itself, which was exquisite.
MacLean Hopper had the commanding nature of Oberon on opening night. Tonia Lookerâs Titania had a beauty and elegance that never diminished even when dancing with a donkey, thanks to her control. However, Kohei Iwamoto arguably stole the show as Puck, with an irreverence that the audience loved. Harry Skinnerâs Bottom may have had a relatively minor role but his transformation, complete with tail, ensured he was remembered. Lori Gilchrist (Hermia), Joseph Skelton (Lysander), Abigail Boyle (Helena) and Demetrius (Paul Mathews) contrasted each otherâs emotions through simple movements; when both men are entranced by Helena, Boyleâs movements conveyed her shock at the energetic pursuitâaccompanied by an equally energetic rejection of Hermia. Scarlett was never too clever for his own good: he kept to the story and the score, and delivered through the characters in subtle ways, a sign of a choreographer who works in close collaboration with his dancers.
It was a privilege to see A Midsummer Nightâs Dream in Wellington as a world premiĂ¨re; after its New Zealand tour (which runs till September 20), it will next be performed by the Queensland Ballet, with whom the RNZB co-produced, in 2016.
The Vodafone season of A Midsummer Nightâs Dream runs through August 23 in Wellington; Christchurch sees the ballet from August 27 to 29; it opens in Auckland on September 2, running to September 6. It reaches Rotorua for a single performance on September 10, Palmerston North on September 16, and Napier on September 19 and 20. Full details can be found at www.rnzb.org.nz.âJack Yan, Publisher
Top Promotional image for A Midsummer Night’s Dream. Above Forget retro: the sketch for Oberon’s costume.