Scottish Ballet: The Snow Queen
Eden Court, Inverness
What better way to escape Brexit than a night out at the theatre enjoying a performance by Scotland’s flagship ballet company with their new production of The Snow Queen? An orchestral and theatrical delight.
Set to a compilation of music by Nikolai Rimsky- Korsakov, played by the Scottish Ballet Orchestra conducted by resident conductor Jean Claude Picard, this production warms the heart on a dreary cold night in January. From the sparkling design, and I mean sparkling, by Mathew Bourne’s favourite designer Les Brotherston, to the stylish choreography by Artistic Director Christopher Hampson this production is a feast of delights. Based on the stories by Hans Christian Anderson, the tale revolves around two sisters, The Snow Queen and The Summer Princess, and their involvement with two lovers Kai and Gerda. Think ‘Frozen’ and you will get the story. Along the way the audience encounter a circus in first act and a gypsy encampment in the second act, as well and entering the ice palace for the finale. What could be more delightful?
This new production is delighting audiences and for the first time in the company’s history in the highlands an extra show was put in to cope with the demand. An accolade to the appetite for first class dance north of the central belt. Other organisations take note!
As expected, the two principals, Constance Deverny as Gerda and Bethany Kingsley-Garner as the Snow Queen, deliver accomplished technical and dramatic performances with confidence. Less impressive was Alice Kawalek in the role of Lexi, as her facial expressions were sadly masked by a rather large hat. However, she shone in the finale as the Summer Princess. Barnaby Rook-Bishop displayed terrific elevation as Kai weaving his way deftly through the crowd ensemble on the smaller stage of Eden Court. The company excelled in the circus scene and Ring Master Jamiel Lawrence channelled his inner ‘Hugh Jackman’ as the ringmaster, despite losing his wig and recovering it with a quick exit and re-entry. The Clowns, danced by Constant Vigier and Aaron Venegas, displayed their acrobatic and comedic skills to the full and will no doubt be stolen by the next touring circus.
The audience adored the performance by Nicholas Shoesmith as the Strongman lifting his delightful ballerina, Kayla-Maree Tarantolo, with panache. In act two Jerome Barnes as the bandit leader with Mazelda, the fortune teller, almost stole the show. He demonstrated the strong elevation technique within the male dancers of the company. A delightful opening to the act was the virtuoso gypsy violin played on stage by Gillian Risi tackling Rimsky Korsakov’s iconic music, an extra element to the production. The quick change from portraying Bandits into snowflakes, snow wolves and Jack Frosts produced a slightly ragged performance for the corps after a busy two shows. The final pas de deux in the Ice Palace was beautiful and moving, bringing together a spectacular finale.
I suspect this anniversary production will be part of the repertoire for many years to come.
