5 December 2024. Lyric Theatre, Queensland Performing Arts Centre, Brisbane
I have had the good fortune over the years of seeing two spectacular productions with choreography by Derek Deane—Strictly Gershwin in two presentations from Queensland Ballet, one in 2016 and the second in 2023; and an English National Ballet production of Deane’s Swan Lake in 2011. Both left me staggered and wanting more. I wish I could say the same about The Lady of the Camellias danced by Shanghai Ballet and presented in a Brisbane exclusive by Queensland Ballet.
On a positive note, the design of both costumes and sets from Adam Nee was exceptional—a real visual treat. There was one scene in Act I that took place in a theatre and the curtained backcloth was just stunning and made this particular aspect of the narrative not only obvious but breathtaking. Then there were the several backcloths showing slightly abstract floral designs (camellias?), which also attracted one’s attention. In addition, the dancing was outstanding from all the Shanghai dancers. It was a thrill to watch their lyricism, especially in the beautiful use of the arms and upper body, the elevation of both men and women, and the perfection in the execution of the choreography. Unfortunately, however, even though the physicality was there, I didn’t always feel a strong emotional involvement between the dancers in what is a very emotional story.
With one or two exceptions, in particular a lovely pas de deux between the two main characters, Marguerite and Armand, while on holidays beachside, I found Deane’s choreography on this occasion somewhat unimaginative—it reminded me of the 1950s or 60s. Such a shame given that we have been used to seeing some quite outstanding contemporary ballet here recently from choreographers such as Christopher Wheeldon with Oscar for the Australian Ballet and, for Queensland Ballet, Coco Chanel, from Annabelle Lopez Ochoa. And this is not to mention recent work from Alice Topp, Loughlan Prior and others.
Then there is the storytelling aspect of The Lady of the Camellias. The Deane production looked at the society in which the story unfolded as well as the connections between the main characters. But there were times when it was not easy to tell who was who and what exactly the relationships between the various characters were as more and more people filled the stage. Perhaps, in order to be swept away by the Deane production, we are (or I am) too used to Frederick Ashton’s Marguerite and Armand, with the story stripped back to its basic elements, which thus more easily exposes a deep emotional content.
For me The Lady of the Camellias was something of a disappointment.
Michelle Potter, 7 December 2024
Featured image: Dancers of Shanghai Ballet in a scene from The Lady of the Camellias, 2024
