Alberta Ballet`s Un-Dress Rehearsal

They start in skivvies. And it`s expensive underwear, too. It's designer, in fact.

Canadian designer Paul Hardy has created the 35 unique costumes that Alberta Ballet dancers are wearing, including the cream and sienna coloured delicates that mark the first scene in its new production.

This was the media`s first full glimpse of Fumbling Towards Ecstasy, the new Alberta Ballet production based on the music of Sarah McLachlan and set to open in Calgary next month.

Grande Expectations: Love Lies Bleeding Opens

Elton John touched down in Alberta on Thursday night, though the man himself wasn’t there.

The occasion was the world premiere of Love Lies Bleeding, an Alberta Ballet production, based on Sir Elton’s music, that bends the rules of genre and gender.

The over-the-top costumes, pop music — to which the performers often lip-synched — and the sometimes over-used multi-media staging may have snubbed the traditional tutu crowd, but it certainly justified the budget. Artistic director Jean Grand-Maître’s ballet was expensive — over $1-million, in fact. The song and subject choices also had people wondering.

And now the question is: Was it worth the risk?

Elton: Behind the Scenes of the Ballet

Jean Grand-Maitre presents a complex, toe-tapping portrayal
of the legendary Sir Elton John

Half a dozen couples stand, stiff and silent as mannequins, on the hardwood floors of a large dance studio. They seem to be embracing; their faces close to each other as if whispering a secret.

The room is hushed as rollicking gin-house piano music fills the air. There is a clap, and a sharp voice begins to count, yelling: “One! Two! Three!” in time with the music’s beat. With each shout and clap, the dancers move swiftly into a tightly controlled pose of classical ballet: one woman is lifted high above her partner, another’s leg is resting above a shoulder, and another is angled away from her mate, tango-esque. The process is repeated; every clap of hands and shout reveals a new pose.

It is, purposefully, a tableau reminiscent of the opening scene in Bob Fosse’s Cabaret: mechanical and slightly disjointed, yet performed with the stunning agility and grace of highly trained dancers. There is something both beautiful and tragic in this sequence, like watching over and over the moment a carefree child is struck frozen by fear. And then, bizarrely, there is a man on roller-skates weaving his way between the partners. The music is almost deafening; familiar but new as well. Behind him struts a sinister, bowler-capped fellow, clicking his heels like a hedonistic jazzman. It is a captivating scene.

Click Here to continue reading this story
on Avenue Magazine's website

Published in Avenue Magazine (Calgary & Edmonton editions) April 2010