La Bayadère: The Temple Dancer is one of the most challenging ballets for dancers to take on, and at the same time its a work that increasingly draws criticism for cultural appropriation and being outdated to modern values.
This production, a collaboration between the West Australian Ballet, the Queensland Ballet and the Royal Winnipeg Ballet was last staged in Perth in 2019. It got rave reviews, but the company has faced criticism for restaging the work.
This standard of the production is exemplary, the WA Ballet continues to be a company that is filled with talented performers at the top of their game. This is not an easy work to perform.
The original version of La Bayadère premiered in 1877 in St. Petersburg. It was choreographed by the great Marius Petipa.
The ballet tells the story of love, betrayal, and redemption set in India, although those it’s easy to imagine those creating it had never been that part of the world.
The original plot the ballet of revolves around the love triangle between the temple dancer Nikiya, the warrior Solor, and the Rajah’s daughter, Gamzatti. The temple dancers are called bayadères.
Nikiya and Solor are deeply in love, but their relationship is threatened by Gamzatti, who is also in love with Solor and determined to marry him.
The ballet is divided into three acts. The first act introduces the characters and sets the stage for the love triangle. The second act takes place in the opulent palace of the Rajah, where Gamzatti and Solor’s engagement ceremony is held.
The third act, known as the Kingdom of the Shades, is the most famous part of the ballet. It features a mesmerising sequence where a long line of ghostly, white-clad dancers, representing the shades of dead bayadères, descend a ramp in perfect unison.
Despite its initial success, La Bayadère fell out of favor after Petipa’s death in 1910 and was rarely performed until the mid-20th century.
It was revived in the 20th century by ballet companies around the world, notably it was the final work Rudolph Nureyev staged before his death in 1992.
It became common for companies to stage the highlight of the work The Kingdom of Shades excerpt, rather than the full ballet.
This version, created by choreographer Greg Horseman, rearranges the story, setting in in 1855 was the armies of armies of Cooch Behar and the British East India Company end their hostilities.
The love triangle remains but Gamzatti is now Edith, daughter of the British Governor-General. The arranged marriage between Edith and Solar is part of the peace making process.
Unlike many of the other regularly performed work in ballet company’s repertoires La Bayadère is incredibly sensual and filled with passion.
On opening night Chihiro Nomura delivered a majestic performance as Nikiya, Mayume Noguromi presented her take on Edith, filled with jealously and deception, and Gakuro Matsui leaped and spun as the lovelorn Solor.
What really makes this show though is the wonderful sets from Gary Harris. They are filled with bold vibrant colours and one of the highlights is a giant moon.
The choreography is a showcase for what dancers, with their many years of training, can do. It’s impressive.
The Kingdom of the Shades act, the moment when the ballerinas descend in gentle unison left me transfixed. It’s slow, methodical, trance-like and beautiful.
The ballet’s Guest Artistic Director David McAllister is also getting in on the action, appearing as the Indian King, while the company’s long serving rehearsal director Craig Lord-Sole took on the role of the British Governor.
A great night at the theatre, ballet or movies should always be one that generates conversation afterwards.
With La Bayadère conversations about dancers skills. romantic storytelling, and restaging lost works can be conferred. There’s also a place for chats about the company’s great history in colourblind casting, and if cultural stereotypes or misrepresentation as been avoided.
Leading up to this production the US-based Universal Society of Hinduism peppered media outlets, funding bodies and sponsors with concerns about the work labelling it culturally insensitive.
They campaign globally for the work to never be performed, any production that is announced it in their sights. They say it is a “deeply problematic ballet, just a blatant belittling of a rich civilisation and exhibited 19th-century orientalist attitudes.” Rajan Zed, President of the Universal Society of Hinduism however is looking from afar.
Looking across the standard works performed by ballet and opera companies, there’s few works that would not have some element that does not live up to today’s standards.
Cinderella’s certainly experiencing some slavery, and there’s no end of questionable depictions of mental health or gaining consent. A lot of quarrels in ballets and opera seem to result in violent outcomes too.
It’s a conversation that has many facets and no simple solutions. One things undeniable though, the dancers are amazing.
Get tickets at The West Australian Ballet. Season plays until 20 April.
