BWW Reviews: Eifman's RODIN is an Instant Classic

4 Out Of 5 Stars

I am usually not a fan of the Ballet. It's not that I don't appreciate the art form, I just happen to find other forms of theatre more enjoyable. Clearly, I had just been seeing the wrong type of Ballet.

RODIN, the impeccable, modern ballet closed last night at the Sony Centre for the Performing Arts, and will next be playing in Recklinghausen, Germany.

Boris Eifman's new ballet, RODIN, is dedicated to the life and creative work of the great sculptor Auguste Rodin and his apprentice, lover and muse, Camille Claudel.

The story of their passionate relationship is full of drama. For 15 years Rodin and Claudel had been one sensual and creative body. But their breakup dealt a deathblow to Camille's mental health and marked the beginning of her destruction. Almost forgotten, isolated from the outside world, vegetating in misery, Claudel went out of her mind. She was convinced of a deliberate conspiracy against her, with Rodin the main perpetrator. She spent 30 years in a mental asylum, where she died in 1943, forgotten and left by everyone.

The concept for this production is extremely original, with Eifman as the artistic head. The styles of dance are not limited to only classical ballet, with flares of Can-Can, Tango, Hip Hop, and Lyrical dancing appearing throughout different routines. The choreography by Eifman is exhilarating, without being flashy or over the top, and he masterfully combines multiple styles of dance in this ballet-fusion.

I believe that this modern ballet fusion is here to stay. Based on the general reaction of the crowd, it was a hit among the older patrons and the younger ones. Traditionalists will want to avoid this type of show and take in Marinsky next time it rolls through town.

Unlike many of the ballets I have seen, the concept here is perfectly presented through dance. Without reading my program, I was able to properly follow the chain of events as Camille and Rodin descended into madness. In fact, having read the plot would have taken away my own ability to interpret the dancing, taking away from my enjoyment.

The production features music by M. Ravel, C. Saint-Saens, and J. Massenet. Production credits include scenic design by Zinoviy Margolin, costume design by Olga Shaishmelashvili, and a lighting design by Boris Eifman and Gleb Filshtinsky.

The production values are simple, and effective. The combination of a black scrim, two staircases, and a few rotating props make a workable slab of stone for Eifman to sculpt his masterpiece. Eifman even takes on the reigns of lighting design, and does so more effectively here than in any other show I have seen. The score features some obscure orchestral music along with many traditional favourites, reinterpreted for a new life in this production.

The skill set required of these dancers is unfathomable. While ballet is a good foundation to learn other styles of dance, the performers featured in RODIN could dance you the phone book, backwards. The technical ability of the soloists and ensemble members will impress and astound even the most particular dance aficionados. Each person on stage moves with a strong sense of purpose and does so gracefully, not showing that any effort is exerted. Special mention must be made to Lyubov Andreyeva, whos performance was both haunting and liberating in the role of Rodin's muse and lover, Camille. The rotating cast also features soloists Maria Abashova, Svetlana Bednenko, Yulia Manjeles, Natalia Povorznyuk, Anastasia Sitnikova, Nina Zmievets, Dimitry Fisher, Oleg Gabyshev, Yury Kovalev, Oleg Markov, Nikolai Radziush, Alexey Turko, and Sergey Volobuiev.

I recommend this show for lovers of all styles of dance, as everyone will appreciate the grace and beauty of this modern, now instant classic. Once cannot leave this show without having had the experience of a lifetime.

RODIN had its world premier in St. Petursburg, Russia on November 22, 2011. For more information, visit the Eifman Ballet Website.

To post a comment, you must register and login.