Le Diable à Quatre, a ballet in four acts with a libretto by Vernoy de Saint-Georges and choreography by Jules Perrot, was first performed at the Théâtre de l’Opéra, Paris, on 24 April 1845. The music, composed by Adolphe Adam, has a vibrant charm that bursts through the scenes. I saw a performance in London a few weeks ago, and while the choreography wasn’t original, it still held the power to delight and move me.
From the very beginning, with the swirling patterns of the four women as the "diable à quatre" – the devilish quartet – take centre stage, we know we're in for something special. They were enchanting, each embodying a different kind of allure, their movements captivating with every flick of a wrist and extension of a leg. Each pirouette told a story of deceit and daring, perfectly mirroring the playfulness that underpins the tale of two lovers who navigate a whirlwind of disguises, pranks and trickery to finally reunite.
The central character, the devilish Zoré, was an excellent dancer and had great stage presence. As the leader of the quartet, Zoré was both terrifying and compelling. As her character moves from scheming to seductive and then to pure malice in the course of the story, she carries us along on the journey through pure, visceral movement.
I must say I felt very sorry for the two leads in the love story. While they have excellent dancers playing them and a convincing passion for each other, they were very much at the mercy of the "diable à quatre" They did their best to carry their love story throughout the trials set before them, but the focus and beauty of the show did tend to centre around Zoré and her seductive troupe.
A Ballet of Deception This is a ballet of deception. With a name like Le Diable à Quatre, it is no surprise, and the ballet plays up to its namesake, giving us the quartet of tempting spirits and playing on their ability to manipulate and enthral. The play uses deception not only for comedic effect but also to give insight into the heart of its characters, as the two leads become involved with their manipulation.
Adam's score, as light and effervescent as a Champagne cork popping, serves as the perfect vehicle to depict this tale of love, seduction and deception. It's full of delightful surprises: playful, lively, mischievous, even darkly romantic. One particular piece that stuck with me was the waltz. A masterpiece in itself, it encapsulated the ballet’s seductive power in every measure, evoking a sense of wonder and awe with every swirling motif, beautifully underscored by the graceful lines and compelling expressions of the dancers. The final moments of the dance had the whole audience captivated with an intoxicating melody.
I was mesmerised. Every note and gesture carried the narrative further. The dances created a tangible reality in which characters were able to reveal their hearts, their cunning and, for the male characters at least, their yearning for love. The beauty of Adam’s work shone through, as the melodies danced through the hall. It gave a tangible reality to Zoré’s influence and provided a poignant backdrop to the final love scene. One was filled with warmth, the other with bittersweet heartache.
The Choreography
The choreography, whilst enjoyable, didn't seem as inventive as Adam's score. The scenes in the first act did appear to move quickly and fluidly, mirroring the speed of the storyline as we followed our lead characters from scene to scene. While the dancing is elegant, some movements could have used more inventive development in order to create more moments of emotional engagement between the characters. The "diable à quatre" dancers gave a fine show of ballet in their performances, showing off elegance and impressive control as they moved as one through their routine, with clear focus on expressing and drawing out the deception and seductive power inherent in Zoré’s actions and personality. However, I was expecting more movement for this iconic character. Perhaps more opportunities for dynamic, flowing routines. There were few moments in the show that saw Zoré move away from her four-women troupe. This made for good use of the four, but did detract slightly from Zoré's overall power in the show, and from my own sense of her influence and presence in the storyline.
The Ensemble and Dancers
I should point out the strength of the entire ballet company as well as those who took on lead roles. There was real enthusiasm from everyone involved in the production, from the corps de ballet to those portraying more minor roles. The whole company pulled together to make the choreography cohesive and appealing.
Final Thoughts
This ballet, despite some less original and rather generic choreography, truly has everything – a wickedly engaging storyline with charming wit, a delightful and passionate score, and superb dancers who embody every character with confidence. The company provided great synergy on stage, all drawing attention to the story as a whole, while the ensemble danced flawlessly and, more importantly, created that "grand stage" spectacle we've come to expect from such productions. The whole show has a feeling of romantic whimsy and charm which permeates throughout. A real must-see for all lovers of classical ballet!
Here is a quick breakdown of some of the best aspects of the performance:
- The devilish charm of "Le Diable à Quatre" - I enjoyed the intrigue created by the “devilish quartet”, as well as their dynamic, beautiful performances as one unit.
- Zoré was simply excellent in her performance. She embodies everything mischievous and dangerous. I am eager to see more from this dancer and anticipate future performances by her.
- Adam's score is wonderfully light and dynamic, it's truly captivating. It deserves credit as a highlight of the ballet itself and an unforgettable composition.
- The whole ensemble did a superb job at delivering the charm, whimsy and seduction of the whole play - Their dance and their collective synergy made the entire production more impactful.
The ballet also has a few weak points:
- Some choreography fell into predictability, with less invention and flair. More dynamism and innovative sequences would add more dimension to the production and character development, particularly Zoré's story.
- The two lead roles seemed almost subordinate to the quartet. This is not a bad thing for the performance overall but perhaps, the balance should be adjusted just a little in order to strengthen the lovers' story.
While I've focused on the weaknesses, do not let this put you off this delightful and captivating production. I still give Le Diable à Quatre, its brilliant dancers and fantastic score two thumbs up. You won’t want to miss seeing it!