Choreographer: Frederick Ashton
Composer: Ferdinand Hérold (freely adapted & arranged by John Lanchbery)
Considered one of the most important works in modern ballet, La Fille mal gardée has a creatively varied past. Based on the 1765 painting La Réprimande by Pierre Antoine Baudouin, it was originally produced as a ballet in 1789 set to the music of five popular French airs. Since then, it has undergone multiple changes and had more than six different scores. This version, created by choreographer Frederick Aston, is based on Frederick Hérold’s 1828 score but significantly overhauled and added to by John Lanchbery and is now considered the ‘classic’ version of the ballet.
It’s easy to see why La Fille has inspired so many. The story is simple, and the narrative blends romance and comedy, making it an ideal platform for choreographers and dancers to showcase their talents. The eponymous wayward daughter (literally ‘poorly guarded girl’), Lise (Beatrice Parma), is in love with local farmhand Colas (Enrique Bejarano Vidal). Her mother, the Widow Simone (Rory Mackay), however, has other ideas and has arranged for her to marry Alain (Gus Payne), the somewhat dim-witted son of a local vineyard owner. As Lise and Colas try to grab as much time together as possible and Simone tries to keep them apart and foster some sort of engagement with Alain, a caper-led romantic comedy of misadventure ensues.
The tone is very much pantomime, and with Widow Simone played by a male performer, the panto-dame figure further reinforces these credentials. The comedy is pure slapstick with exaggerated movements and contrived scenarios, but this does not come at the cost of quality dancing. Quite the contrary, it provides a hotbed for inventive choreography and some wonderful technically structured and exuberant performances.
This production is a faithful interpretation of Ashton’s original, and it delivers with gleeful abandon. The core performers of Parma, Vidal, Mackay and Payne are a joy to watch, though Payne particularly delights as the foppish, put-upon, would-be suitor, Alain. Coupled with Mackay’s Widow Simone, they provide a note-perfect comic counterpoint to Parma and Vidal’s romantic escapades. The group performances, featuring the rest of the Birmingham Royal Ballet company, are, unfortunately, a bit hit and miss. They deliver the goods, so to speak, but never really hit the mark throughout. At points, it feels a bit lacklustre, and some of the routines are less than perfectly performed. Whilst a minor quibble, it does grate, especially when the leading performances are so good.
The rest of the production is a triumph. The Hérold/Lanchbery score, conducted by Paul Murphy, has a light and frothy pace about it that drives both the comedic and romantic equally. Osbert Lancaster’s set design is a particular masterstroke and, with hand-painted backdrops, feels like a Victorian comic book and reinforces the comic nature of the story.
Despite some minor ensemble inconsistencies, this production of La Fille mal gardée proves why it remains such an enduring favourite in the ballet repertoire. It strikes that delicate balance between technical excellence and pure entertainment, never letting its comedic elements overshadow the genuine artistry at its heart. The combination of Ashton’s timeless choreography, the vibrant Hérold/Lanchbery score, and particularly strong lead performances delivers a production that feels both classical and fresh. While perhaps not flawless, it captures the playful spirit and romantic charm that has kept audiences returning to this beloved work for over two centuries.
Reviewed on 25 October 2024
The Reviews Hub Score
Classic Charmingly Renewed
