The Lady of the Camellias - Performed by Shanghai Ballet

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Thu 05 Dec 2024 - Sun 08 Dec 2024

The Shanghai Ballet performed Lady of the Camellias last night at the Lyric Theatre QPAC to a packed audience, all dressed to the nines and eagerly anticipating the rescheduled performance. Originally slated for 2020, this production - an exclusive season offering from the Shanghai Ballet, a sister company of Queensland Ballet—was tragically cancelled due to the COVID-19 pandemic. Its triumphant return in 2024 marks a special occasion, not only celebrating the performing arts' return to normalcy after the epidemic but also strengthening the cultural ties between Brisbane and Shanghai.



The international theme continued with choreography created by British choreographer Derek Deane OBE and music by American composer Carl Davis. The story, based on the 1848 novel by French author Alexandre Dumas fils, follows Marguerite Gautier, the most beautiful and notorious courtesan in Paris, known as La Dame aux Camélias due to her entrance into society with her ever-present camellias. Set in 19th-century France, Marguerite meets Armand, a young and handsome aristocrat, and the two embark on a passionate love affair. However, as is often the case, their romance is doomed. The plot unfolds tragically, shaped by the whims of a cruel bourgeois society, culminating in Marguerite’s lonely death and the lingering ghosts of her painful life as a courtesan.



Given the plotline, only the most sensitive rendering through dance accompanied by music and staging would do justice to its rise and fall of fortunes and tragic denouement. Tonight’s performance was danced by the accomplished Shanghai Ballet principals Wu Husheng (as Armand Duval) and Qi Bingxue (as Marguerite Gautier) as the ill-fated couple. You know when you have a star performer when you can’t take your eyes off them. For me, that was Qi Bingxue who was stunning from start to finish. She floated with her light frame across the stage and masterfully conveyed the complexity of her flirtatious yet tragic role, drawing out the full range of expression demanded by both the choreography and the novel. Qi’s performance was a triumph of exquisite beauty, form and expression and embodied everything the character required, leaving an indelible impression.



Wu’s performance was accomplished, but, for me and others I spoke to, it lacked the emotional impact due to issues with costuming, lighting, and staging. This was also true for other male dancers and other elements of the performance. Unfortunately, a darkened black backdrop and muted lighting at the rear of the stage often obscured the dancers’ form and expression, particularly since the male dancers were dressed in black evening suits.



At times, it was difficult to see what was happening at the back of the stage, and during some scenes, the darkened lighting was exacerbated by overly harsh spotlights. On the other hand, there were some beautiful moments in terms of staging and sets. One particularly striking scene featured a backdrop of foliage with moving, dripping water, which was both visually stunning and emotionally expressive. This evoked the tears of Marguerite’s tragic life. Similarly, the final act was made triumphant by the image of a male angel with moving wings, calling Marguerite to a peaceful end. Other ballet highlights included the exquisite pas de deux between Qi’s character (a portrait of fragility in diaphanous attire) and Wu’s Armand (who, in this instance, was not in a suit). This was an example of couples’ dancing at its finest. Another standout moment was the performance of Ivan Gil Ortega, originally from Spain and renowned internationally, who portrayed Armand’s father.



A decade after retiring from performance, Ortega brought both maturity and depth to this malevolent role, showcasing his profound understanding of character. Ortega commented “Once you’ve had experience in your own life, it’s easier to come out with the interpretation. I don’t really think about the steps. It’s more about being in that moment. That’s what I really enjoy. If I can touch at least one person in the audience with what I’m doing then I’ve arrived at my goal.” Both Otega as a mature dancer and Deane, a choreographer, have been hands-on readying the company and overseeing the final preparations in Brisbane. Gil-Ortega quipped: “I get them ready and then Derek puts his magic ballet dust on top of them.”

Magic ballet dust is what we have come to expect of Queensland Ballet and, after their tour of Brisbane, hopefully, some of this is what the Shanghai Ballet will have imbued from their time here with us.

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