The Last Emperor

I  should have added this a little while ago .It was AWESOME  

THE LAST EMPEROR

LIAONING CHINESE BALLET

STATE THEATRE SYDNEY

July 2011

More than 5 stars

This would have to be one of the major ballet highlights of the year. Mesmerizing, opulent and showcasing superb male dancing in particular this is an unexpected revelation.

Artistic director and choreographer Ivan Cavallari brings us the Liaoning Ballet in the extra ordinary life of the Last Emperor of China, Pu Yi. Readers might be familiar with the movie biography of the Emperor .

This is a traditionally structured narrative ballet telling Pu Yi’s story from revered Emperor at the age of three to his quietly becoming a relatively anonymous Chinese citizen. There are somewhat cinematic flashbacks and a cyclical feel to the whole thing.

As in many plays/operas/films/ballets there is a ‘Young’ Pu Yi ( Lv Meng  )and an adult Pu Yi (amazingly danced by Xiao Yuanyuan or Ren Zhong - I am not sure who we saw sorry no indication was given ). We see Pu Yi’s downfall ,the tumultuous politics involved and his unhappy private life. There is a ‘ballet within a ballet’ , only in this case it is a segment of Peking Opera with the amazing costumes,makeup etc and dazzling ‘firespears’ .

The pre recorded music ( with a heavy emphasis on Tchaikovsky and also including traditional Chinese music) works excellently as an atmpsheric aural background.

You can see the Matthew Bourne choreographic influence especually for example in the ballroom sene in Act2 . Overall, Ivan Cavallari's work is brillilant . At times there are some very difficult lifts in the pas de deux and generally it is quite demanding and acrobatic .

It is interesting how he contrasts Pu Yi's love for his concubine Wen Xiu ( Li Xin or Yu Chunanya )-  there is a glorious extended intense  pas de deux to open Act2 - with his very cold formal behaviour towards his wife , Empress Wan Rong ( Xing Dongtling or Wang Yun or possibly Liu Shang). The choreography between them is very stiff and angular , Pu Yi  hardly ever actually looking at her .There is also a floating , dreamlike pas de deux for Pu Yi and his nursemaid ( Song Shuang) in Act 1.

Violence ,shock and horror exlpode in the war scenes ( some wonderful military like martial arts by the massed male corps )and also there are a couple of magnificent male pas de deux - one in Act 1 for Pu Yi and his English teacher, and one in Act 2 for Pu Yi and his friend the Chief of the Guards.

We are at times dazzled by the breathtaking, oppulent costumes (especially in Act 1 with the early court scenes) but also the elegant evening wear (and delicious lingerie! ) in Act 2. This is contrasted with the dull Mao style suits and army wear worn in other sections of the work.

Mention must also be made of the visually dramatic use of huge bolts of cloth in Act 2 ( and not forgetting strobe lighting and dry ice )

As in similiar works right at the end we see all three Pu Yis as he seeks to understand his life. In some ways this is a lavish propoganda peice, but with such spectacle and ravishing dancing who cares ?

Running time – approx. 2 hours including interval