As a dancer, the allure of the Parisian stage, its whispered legends, the echoes of the greats, have always captivated me. To stand upon the very boards where Isadora Duncan, Nijinsky, and countless others graced the world with their movement, it is a dream every young dancer holds. So when I was presented with the opportunity to see the revival of Bar aux Folies-Bergère, set to the effervescent music of Emmanuel Chabrier, at the historic Folies-Bergère itself, I practically flew through the air, a perfect arabesque of excitement.
For the uninitiated, Bar aux Folies-Bergère isn't your traditional classical ballet. The original 1934 production was a vibrant, whimsical depiction of life at a Parisian cabaret, a symphony of saucy dance, and playful drama set to the charming melodies of Chabrier's score. In essence, it's a dance revue, a kaleidoscope of human emotions expressed through the vocabulary of movement.
This revival, thankfully, stayed true to the original spirit, presenting a playful romp through Parisian night life, each scene a whirlwind of energy and personality. From the opening "Can-Can" to the sultry "Tango," each dance number showcased the versatility and skill of the dancers. The "Can-Can," in particular, was electrifying; a riotous eruption of swirling skirts, kicking legs, and raucous laughter. It perfectly captured the carefree energy of the cabaret, drawing in the audience to a whirlwind of joyous spectacle.
The Dance:
- The corps de ballet, in their vibrant, glittering costumes, were a blur of motion, their synchronized movements a visual marvel. Every step, every leap, was a testament to their dedication and skill. The energy radiating from them was contagious, pulling the audience into the whirlwind of the cabaret scene.
- Beyond the corps de ballet, each dancer showcased individual prowess. Sylvie Legrand, a danseuse étoile known for her exquisite technique and nuanced interpretation, brought both an air of ethereal grace and a surprising sense of humour to her role as the cabaret's leading lady. Her dancing, like the flickering flames of a candle, was delicate, sensual, yet captivatingly bold. She carried her character's loneliness with quiet beauty and conveyed her eventual liberation with vibrant expression. Her pirouette, as always, was pure elegance, her grand jeté an exhilarating flight, each movement honed to perfection. She captivated the audience with a natural confidence, her expressive eyes speaking volumes without a single spoken word.
- In contrast, Pierre Deschanel, with his powerful leaps and commanding stage presence, provided the grit, the fire, the testosterone that perfectly balanced the scene. He danced with an unbridled passion, bringing to life a "Parisian rake," his movements as sharp and vibrant as the lights of the cabaret. He wasn't a classical dancer, more a charismatic street urchin in a tailored suit. His dances, often solo and dramatic, showcased his masterful technical skill as he poured every ounce of emotion into each move. The audience could not help but be swept along in his performance, each dramatic pose an invitation to the gritty heart of the dance.
It's difficult to imagine the cabaret's spectacle without the jovial melodies of Emmanuel Chabrier. His music, often light-hearted and almost whimsical, is a vibrant backdrop to the stage's energetic spectacle. From the lilting, romantic waltz "Adieu à la valse" to the captivating, fiery Tango "Une nuit à Buenos Aires," Chabrier's music transported the audience through an emotional roller coaster of experiences, each number captivating with a different flavour of romance, excitement, and nostalgia. It was more than just a musical accompaniment; it was a character itself, a living breathing entity that pulsated with the life of the stage.
What struck me was the way Chabrier's score seamlessly weaved through the choreographed chaos. While his music was definitely danceable, with infectious rhythms and memorable melodies, the composition itself felt remarkably complex, capturing the intricacy of each character and the overall dynamism of the performance. He painted sonic portraits with music, not just background music, it was the heart of the show.
Chabrier wasn't just a composer; he was a storyteller. He crafted musical worlds through the rhythms and melodies, evoking images, emotions, and a distinct sense of place, making the cabaret come alive with vibrancy. And the dancers, through their choreographed performance, captured this sonic world, interpreting his music with passionate movements, vibrant facial expressions, and dynamic stage presence.
The original staging was a little dated, but it only added to the charm, as if we had been transported to a glamorous night club from the 1930s. The costumes, oh those fabulous costumes, glittering in silks and satin, shimmered under the lights. The bold colours, the playful patterns, the theatrical flourishes—they all breathed life into each character and set the mood for a vibrant evening of spectacle. They created a beautiful, shimmering visual symphony, adding to the magical ambiance that enveloped the stage and the audience.
Bar aux Folies-Bergère wasn’t just a ballet, it was a symphony of sights, sounds, and emotions, a glorious homage to the heart and soul of Parisian cabaret. From the exhilarating Can-Can to the sultry Tango, from the corps de ballet's energetic ensemble performances to Sylvie Legrand's expressive interpretations, it was a truly dazzling experience. Emmanuel Chabrier's score brought the scene to life, transforming the stage into a vibrant world of laughter, heartbreak, and unforgettable memories.
A dance aficionado would revel in the technically-brilliant performances. A music lover would fall in love with the masterful storytelling in each musical cue. And an ordinary audience member? They would simply be captivated by the vibrant energy, the visual beauty, the sheer joie de vivre that this performance conveyed.
I was raptured. Bar aux Folies-Bergère was a masterpiece, a love letter to Paris, a joyous celebration of dance, and an ode to a time of glamour and spectacle. I’m a firm believer that ballet has the power to transcend words and languages. And on that night, at the Folies-Bergère, it truly did. The music, the dance, and the sheer theatricality coalesced into an experience that lingers, a sweet memory that stays etched in my soul, reminding me of the magic of a Parisian night.