Petit works charged with passion, drama

Reviewer Penny Neilson finds the Royal New Zealand Ballet's first performances of the year outstanding.

Natalya Kusch as Carmen and Joseph Skelton as Don Jose. Photo: Stephen A'Court
Natalya Kusch as Carmen and Joseph Skelton as Don Jose. Photo: Stephen A'Court

Carmen with L’Arlesienne
Regent Theatre
Saturday, February 25

The first performances for the 2017 programme from the Royal New Zealand Ballet were the two landmark ballets by Roland Petit, Carmen and L'Arlesienne.

These works had never been performed in New Zealand before and both were highly charged, technically demanding and packed full of drama and passion.

The season opened with L'Arlesienne (the girl from Arles). It is the tale of a betrothed Provencal couple, Frederi and Vivette, portrayed by Shaun James Kelly and Madeleine Graham, who are torn apart by the invisible L'Arlesienne.

Graham played the part of the confused and bewildered bride-to-be beautifully, but the piece belonged to Kelly. He was light-footed, graceful and elegant and while his torment was being played out, he was expressive and his passion was clearly evident.

Carmen is a free-spirited girl working in a cigarette factory who is the object of Don Jose's obsession.

The partnership of guest artist Natalya Kusch and Joseph Skelton was stunning. Kusch had the perfect mix of flirty, sexy and seductive, but with a vulnerability that kept her from simply being a temptress.

Skelton's Don commanded the stage with his power and presence. The sensual and erotic bedroom pas de deux was a highlight; lust, desire, wanting - the intensity was palpable.

The entire cast in this piece was exceptional.

The cigarette girls were sassy and Antoni Clave's costuming was perfect: corsets, fans and frenzied hair.

The bandits led by Chief Bandit, Massimo Margaria, and his Bandit woman, Kirby Selchow, had a great chemistry and provided a little light relief in an otherwise extremely intense work.

Paul Mathews' Toreador provided that extra bit of flair, ultimately becoming Carmen's undoing, the crazed and jealous Don killing Carmen after realising she would never be his alone.

Raw passion and desire coupled with dangerous obsession (or infatuation?) ultimately leading to self-destruction tie these two ballets together.

An outstanding start to another year of unmissable dance.

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