Cleopatra Ballet, Lyceum, 22 March '11
Cleopatra is no ordinary ballet production.
It is a story ballet that was not intended as a perfect historical account, but which aims to capture through movement, visuals and music the life of a unique and iconic woman.
In this, the Northern Ballet Company has succeeded. Tonight at the well-attended Sheffield première of the show, Cleopatra transcends all tradition of conventional ballet. Pink tutus are replaced by flowy, see-through gowns, there is a lot of bare skin on show (including a glimpse at Mark Antony’s gorgeous bum when he changes costumes on-stage), and the orchestra incorporates tambourines and a harp.
Award-winning Martha Leebolt emanates strength, power and confidence - no one could have been better cast for the lead role. Almost permanently towering en pointe, the graceful Queen of the Nile is surrounded by men, but she’s in charge, always. She gets what she wants, be it men or power.
The progress of time is set by the music and the lighting, but the use of props takes centre-stage in this production.
The long white sheet that Cleopatra and Caesar roll around in during their first sexual encounter is a prime example of the effectiveness of props. At the end of the scene, they gather the sheet in Cleopatra’s arms and together gaze down at the bundle amorously – Caesarion is born.
Egypt is portrayed throughout in whites, golds and turquoises, glitter, sequins. Bodies undulate and hands gesticulate elegantly to tambourine, shakers and flutes.
The Roman Empire is red - manly helmet-clad armies invade the stage; every calculated move is accompanied by trumpets, timpani and the almighty gong.
All in all, this is a magnificent ballet, packed full of joy, lust, violence, torment, and suffering. In light of uprising of the Egyptian people, this production is an ode to their power and their history.
The only weakness, to a short extent, is the mise-en-scène: the ballet starts at the very end of Cleopatra’s life when she summons the God Wadjet, protector of the Pharaohs – but this is confusing and only made clear in the programme.
The subsequent scenes are merely flashes of her life and end where the ballet started, with Wadjet’s ultimate kiss before she can ascends to her place with the gods.
The cast of dancers, especially the women, really deserved a standing ovation. Too bad Sheffield didn’t give them one.
Emmanuelle Chazarin
