The Fairy Doll
Posted 16 June 2003 - 07:27 PM
The story is quite simple; it concerns a toy shop into which a wealthy but unsophisticated farmer and his family enter, as well as an English lord and his family. The owner of the toy shop displays all his mechanical dancing dolls: Chinese dolls, a Japanese doll, a harlequin, an Upper Austrian Lady, a baby doll, a moor, a Spanish doll, a Hungarian, a poet (stuffed, not mechanical), and the Fairy Doll, the most prized. The Englishman buys the Fairy Doll (just handing the shop-owner his wallet after the amounts he offers are deemed too small) and the farmer buys the harlequin and the Upper Austrian. The shop closes, and midnight approaches. The Fairy Doll steps out of her case and summons the other dolls out of theirs. They dance, along with several toys that have come to life: chess pieces, a cello, a hammer, bowling pins, &c. At one o'clock, they all step back into their cases, but the shop-owner has heard a noise, and comes into the room with a light. The Fairy Doll's case lights up and she stepes out of it to confront him. Suddenly, all the lights go up, and he is surrounded by the dolls. The curtain falls.
It's a gem of a ballet. Easy to understand, clear mime, an imaginative concept (the baby doll sings "Papa, Mama" for example), the dances are interesting but not unharmoniously technical. Ideal for a student production, perhaps as a springtime companion to Nutcracker, especially as it is only about an hour long, with no intermission. It gets to the point, there's no "filler" (unlike "Excelsior"). Pointework is not overused (only one variation is en pointe--the drummer girl). Delightful:).
Posted 16 June 2003 - 07:35 PM
Posted 16 June 2003 - 07:38 PM
Are you certain it's from Harlequinade, though? Someone asked that of Jackson, and he said he had not heard it in either Balanchine's version, Romanov's version, or an old Russian staging at the Maly Theater in St. Petersburg. Perhaps it just didn't get used...?
Posted 17 June 2003 - 08:06 AM
company, she danced an "enhanced" version of the title role with choreography by Ivan Clustine (who had already staged a version in Moscow prior to the one by the Legats). None of the "Harlequinade/H's Millions" I've seen (Boris Romanov's for Ballet Russe de Monte Carlo, George Ge's for the Finnish
National, George Balanchine's for NYC Ballet, and a presumed Petipa revival for the Maly) have anything that corresponds choreographically to the Pas de Trois. Let's not take the credit away from the Legats without better evidence. ....
Where does the Drigo music come from? Perhaps from "Harlequinade", but it was in repertory in Petersburg in 1903. Would Drigo (who was still alive then) have used the identical measures in 2 ballets? I suspect that it may have come
either from another Drigo ballet or was composed for "Fairy Doll" and when that went out of the regular repertory, the music may have found its way into "Harlequinade". But that's guess work.
Posted 17 June 2003 - 01:55 PM
Posted 22 June 2003 - 01:22 PM
Posted 22 June 2003 - 03:41 PM
Posted 22 June 2003 - 07:16 PM
The tape we were shown of the Vaganova Academy students performing the Legat pas de trois was very interesting and detailed. The only version I'd seen before was the current Maryinsky version, which is almost identical to that performed by the Universal Ballet Academy. It was very nice, and a cute pas de trois, but it lacked some small details that were in the film that I would not like to see lost.
Posted 24 June 2003 - 07:18 AM
But according to Horst Koegler, the complete ballet "with Hassreiter's choreography more or less intact", has frequently been revived in Vienna and was filmed for Austrian tv in 1971. Was that the film shown at the Kennedy Centre?
Posted 24 June 2003 - 09:05 AM
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