Dance
Anastasia (Royal Opera House)
Timeless torment
Giannandrea Poesio
0 thcr 20th-century works continue to reflect the cultural and aesthetic trends of the time they were created. But MacMil- lan's ballets stand out for their adaptability to the ever-changing canons of theatre dance. This is because of their timeless stylistic freshness and the remarkable modernity of their dramatic content. These qualities derive mainly from the perfect combination of theatrical tension and expressive movement. This combination is a key element of MacMillan's choreogra- phy to be found in works such as Romeo and Juliet (1965), Manon (1974), Mayerling (1978) and the recently restaged The Invita- tion (1960).
The three-act Anastasia (1971), revived last week by the Royal Ballet, is no excep- tion. The work does not need to be put into context in order to be understood or appre- ciated. Nor does one need to be fully aware of the historical background. The drama of the heroine, imprisoned in her own tor- mented world both as a member of the Russian imperial family and as a patient in a German asylum, develops beyond the boundaries of mere narrative and becomes universally accessible.
The Grand Duchess Anastasia in the first two acts and Anna Anderson, who claims to be Anastasia in the third, are clear metaphorical images. The choreogra- pher uses them to introduce issues such as isolation and segregation — common themes within contemporary culture. Clari- ty and immediacy, however, are not the only factors that contribute to the success of the ballet. The powerful dramatic con- struction is also a decisive component.
Each act presents a different, self-con- tained situation and the entire work seems to lack Aristotelian unity. But the three sections complement each other in a dra- matic crescendo that leads to a final coup de theatre, an eruption of uncontrolled, strong emotions. Anastasia becomes Anna Anderson, haunted by the ghosts of charac- ters and events we have encountered before — a theatrical expedient that reoc- curs in the last act of the subsequent Manon. Whether these shadows are part of her real past or simply nightmarish fan- tasies of a troubled mind is up to the audi- ence to decide; the relationship between the two heroines, portrayed by the same dancer, remains intentionally unclear.
As in his other narrative ballets, MacMil- lan has devised a choreographic layout that manages to convey the complex palette of psychological shadings, conferring on each character and on each situation a great deal of dramatic depth. The impending drama is thus evident from the beginning of the bal- let, masterfully introduced by juxtaposing military-style movements to sections that are purely ballet. The contrast prompts an uneasy atmosphere that undermines what would appear as a tender and intimate por- trait of the Russian imperial family.
Similarly in Act Two, the ballroom scene is constructed as a conventional 19th-cen- tury divertissement, where the well-regulat- ed choral dancing frames virtuoso duets such as the well-known `Kschessinska pas de deux' after the name of the Tsar's erst- while mistress, a celebrated ballerina — as well as a series of more psychological solos, trios and quartets. The quotation from the classical tradition makes the members of the old regime look like fictional characters of a fairy-tale ballet dancing on the brink of their tragic fall.
The new Royal Ballet production is beautiful and successful. The sets and cos- tumes, by Bob Crowley, reflect perfectly the nuances of the plot and the music masterfully conducted by Barry Words- worth — conjuring up sumptuous and effective theatrical images that are neither too literal nor too oppressive. I only object to the fire on top of the Winter Palace at the end of Act Two, a gratuitous effect that recalls similar touches used in some West End musicals.
On the opening night, the company danced impeccably. Viviana Durante is tai- lor-made for Macmillan. Her rendering of the double role of Anastasia and Anna Anderson is flawless, particularly in the demanding third act, where pure expres- sionistic acting and complex choreography go hand in hand. Among the others, Miyako Yoshida deserves a special men- tion for her wicked, yet seductive Kschessinska; the male contingent, led by Adam Cooper, Stuart Cassidy, William Trevitt, Tetsuya Kumakawa and Bruce Sansom, was exceptional too. The work is a perfect vehicle for the entire company, for the wealth of characters allows many artists to come to the fore.
Anastasia is also a central work within MacMillan's choreographic creations, and as such it should be carefully preserved and passed on to future generations. It can be safely affirmed, in fact, that with this 1971 ballet the choreographer broke new ground in terms of dance drama, establishing a set of innovative formulae (which can be found in most of his subsequent works) that changed radically the notion of contempo- rary ballet. In retrospect, therefore, the ballet provides clues for further and better understanding of MacMillan's style. Long live Anastasia.
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