BWW Reviews: A Poignant Story Of Devotion And The Desire For THE RED DRESS Is Told Beautifully Through Dance

Wednesday 4th March 2015, State Theatre, Sydney

China Ningbo Performance & Arts Group's THE RED DRESS is a graceful expression of a love story through dance, drawing on the traditions of Southern Chinese culture.

As the traditional Chinese lock opens at the sounds of bells, the audience is allowed into through the large carved doors and is met with an empty red wedding bed, wardrobe and chest, a bride's trousseau. As this image fades, the dance of the Niverhong Wine, 'Daughter Wine' is explained via the monitors at both sides of the stage.

The story that unfolds through dance, music, and singing, follows the life of a Yue'er, from the burial of the "Daughter Wine" (Shaoxing) at her birth to her youth, forming a friendship and courtship with childhood playmate A'yong during the "Rolling Silkworms" Festival (Jiaxing) which leads to betrothal symbolized by receipt of a red cloth/belly band. The depiction of the seasonal offerings and customs of Southern China, along with the falls of snow and the preparation of Yue'er's embroidered wedding silks help indicate the passage of time as she waits with lifelong devotion and hope for A'yong to return from finding his fortune so she can finally wear the red wedding dress.

Tao Lei's costuming of the beautiful flowing silk Pienfu comprising of tunics and skirts or trousers accentuates the graceful movement of the dancers. The principal characters are identified by more ornate and different colored garments whilst the corps costumes vary between bright fabrics in more youthful pant and tops signifying playful youth, deeper tones for villagers, darker hues in heavier fabrics for elders, bold tones for young men and a pastel palette of light silks for young women. In contrast to image of traditional western ballet dance where dancers wear tight fitting leotards and outfits to show off the dancers' lithe bodies, these dancers are very conservatively covered, utilizing the flow of the fabric to add to the movement and expression.

The music, composed by Lan Tian, has a nice balance of traditional Chinese instruments and opera and what sounds to be western orchestral influence. The music supports the unfolding story with light playful music for the children playing during the Silkworm Rolling festival, a musical indication of chatter as the matchmakers and craftsmen prepare for the wedding, brushing percussion for the Tomb Sweeping day, rhythmic drumming in the "Descendants Bucket" of Ningbo dance and the moving music of the dream sequences where Yue'er imagines A'yong's return. The Chinese opera vocals enhance the mood without the need to understand the lyrics and the variety in the styles adds to the appeal to a wider audience.

The beautiful choreography expresses the emotions of joy from the childhood playing in the fields searching for the silkworms and the courtship to the devoted bride waiting her groom's return, the despair when his friend returns alone and the confusion and spiral into madness as Yue'er realizes her dream of marrying is looking more and more unlikely. Cheng Lin and Zeng Ming as Yue'er and A'yong bring the story to life with elegance. Their pax de deux captures the developing love and the continued commitment as Yue'er dreams of A'yong's return. The complex lifts appear effortless and the dancers are a good match. The corp support the story and fill out the impact of the traditions and ceremonies. The dance often includes prop elements like the lotus lanterns and the wedding sedan adding to the visual interest. Occasionally on group sequences, there are however slight timing issues evident as dancers are not completely in time.

Unlike the promotional images provided with the publicity, this staging is on a predominantly bare stage, utilizing minimal set dressing. This allows the dancers to be the focus of performance with the costuming and limited set to tell the story and allowing the viewer's imagination to fill in the rest of the scene.

This is a beautiful performance that has a broad appeal as whilst it is based on the South Chinese culture, is a love story that does not require an understanding of the traditions or language to enjoy the work. The storyline is summed up neatly in 4 paragraphs, one for each act, in the program which is also relayed on the monitors at the side of the stage which also provides a brief insight into each of the rituals and customs taking place.

Whilst the short Sydney engagement has concluded, THE RED DRESS can be seen at the Palais Theatre, St Kilda Victoria on Tuesday and Wednesday 10th and 11th March 2015.

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