May, 2005 - Nr. 5
Ballet - A First Experience
by John Young
As a person who enjoys the arts and thought of himself as
being well rounded, it occurred to me that I was missing something.
I have been to both the AGO and the ROM and experienced great pleasure in doing so. I listen to opera whenever possible and have recently been to the Hummingbird Theatre for Il Trovatore and the North York Opera for La Boheme. Certainly while growing up my father insisted on playing the Nutcracker Suite and Swan Lake around Christmas time. But I had never experienced the wonder of a live ballet.
Saturday April the 16th, 2005 will go down as a special day for me, because I went to the Betty Oliphant Theatre on Jarvis Street just south of Maitland to see "Farewell My Concubine" performed by Xing Dance Theatre’s production company.
I arrived at the theatre just before the curtain was due to go up, not sure what to expect. Before I looked at the program I sneaked a peek at the audience. There was a wonderful diversity. This audience was truly an example of Canadian multiculturalism and ran the gamut of ages from the very young to the young at heart. There was a definite hum of excitement. Everyone just knew something exciting was about to happen.
I looked into the program to inform myself of what I was going to experience. The production "Farewell My Concubine" was inspired by the legendary Chinese opera star Mei Lanfang. The artist’s reputation extended beyond his ancient country’s border due to his ability to portray historical female roles combined with his stylish singing.
"Farewell My Concubine" the ballet is based on the relationship and the creation of four Peking Opera characters he was best known for: Yu Ji the loyal concubine in "Farewell My Concubine", Jiao Yin Yong the betrayed widowed daughter in "Beauty Defies Tyranny", Yang Yuhuan the "Drunken Concubine", and Mu Guiying, the "Warrior Maiden". These characters were chosen as a foundation for the ballet, not only for their beauty, but also because each represents a different element in the life of the artist, Mei Lanfang.
The simplicity of the set design sets the tone perfectly for this production. Here in this ballet the dancers communicate the story without unnecessary props and backdrops. The set and lighting are highly creative and guide where the story is going.
In act one we are introduced to the main character Mei Lanfang, danced by Xing, and his four maidens. We see that freedom and discipline can go hand in hand to develop the creative process.
In Act two Xing’s acting ability really shines. It is based during a time of war and adversity when Mei’s principles lead him to refuse to perform. He gives up his extravagant lifestyle and contemplates taking his own life. His facial expressions, his mannerisms and his dancing really communicate strongly. This is a special moment in the production.
In the third Act we see several moments in Mei’s life. We see the Peking Opera in all of its splendor, opulence and extravagance. We see the artist in his decline as he gets old and ill and he is comforted by his four creations. And then in the Epilogue we see the future of the Peking Opera and it is beautiful and promising and alive and well in this ballet in Toronto.
The thing that truly impressed me was the performance of the lead dancer Xing Bang Fu, who played the part of Mei Lanfang. I thought the position of Artistic Director was a full time job. And of course the choreographer position is also extremely demanding. Xing Bang Fu amazingly combines all three.
Xing Bang Fu was born in China and trained in the Bejing Opera, Chinese folk dances and the martial arts. He combines Oriental and Western Dance styles in perfect harmony. He is able to focus the dancers emotional energy into precise, controlled movements. In a world that promotes the virtues of youth Xing’s experience and training are there for us all to see. Calling upon his experience and training Xing communicated in such a way that the audience felt along with him. We are fortunate to witness a man of such exceptional talent.
His prize pupil Davidson Jaconello danced the part of the Spirit. This very young man can already enthrall audiences. I had heard that he had his appendix out only a few days prior to this production, yet he danced the performance of his life. There is a nearly ten minute time span where he and Xing dance a duet. At the end of this sequence the audience was truly enthused.
This was a great chance to experience an art form at the grassroots level. This production is in affiliation with Xing’s ballet school, so the enthusiasm of young people shines through. The dancing is simply outstanding from the supporting cast to the principle dancers to the lead dancer himself. But then of course this production has Xing’s style and spirit all over it.
I had no idea that ballet, an art form without words, can communicate so well.
