In the foyer of the State Theatre I pass a lady in a beaded headpiece and pearls with the gentleman in a tux, a mum and a little girl in her best pink dress, and a bunch of noisy, laughing co-ed students in denim - such is the diverse audience appeal of a ballet which has become an English classic and a modern-day favourite.
La Fille mal gard�e (popularly translated as �The Girl runs wild�) was one of the first ballets that featured a story of �real� people rather than mythological or fairytale heroes, and its charm has not dissipated in the 215 years since it first appeared on stage. Sir Frederick Ashton made the work his own when he recreated the choreography in 1960, and the Australian Ballet�s current production commemorates the hundredth anniversary of his birth.
Osbert Lancaster�s warm autumnal stage design sets the mood for this engaging pastoral piece. Blithe young farm girl Lise has her heart set on the handsome Colas, but with her mother Widow Simone in cahoots with rich Thomas, a marriage is being arranged for her with the eccentric and amiable Alain and his favourite red umbrella!
Colin Peasley was the definite crowd-pleaser in the coveted character role of the widow despite the performance lacking a little lustre opening night, as did the early appearance of Matthew Lawrence as Colas though his work in the second and third acts secured him much audience appreciation. My heart was won by the delightful Lucinda Dunn in the role of Lise, who was so beautifully expressive in her performance, from her light-hearted playfulness to her touching and funny visions of her future life with Colas. Her turn in the pretend maypole was the prettiest thing I have seen in a long time! Equally enchanting were the antics of Matthew Donnelly � his appearances as the gangly and lovable Alain were a constant highlight.
Ashton�s witty and lyrical choreography includes hearty country dances with wheat sheaves and sticks, and enough ribbon dancing to put rhythmic gymnasts to shame (although the maypole itself was a creaky old thing, I'm afraid!) Widow Simone�s clog dance in Act II may well be the most famous feature of the ballet, but when it came to the outrageous troupe of dancing chickens with their high kicks and feather-fluffing, I was as captivated as my wide-eyed little friend in pink from the foyer who was sitting in the row behind me!
The Good: Besides the chickens?! � some lovely performances in a well-loved classic
The Bad: Possible nerves which resulted in a subdued first act on opening night
The Vibe: A colourful and light-hearted evening at the ballet for both the purists and the uninitiated
� director: Sir Frederick Ashton
� genre: Ballet
� location: State Theatre, Melbourne Arts Centre
� season ends: 6 September, (10-29 November at Sydney Opera House)