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HOUSTON BALLET CAPS 40TH ANNIVERSARY SEASON WITH
LA FILLE MAL GARDÉE
Sir Frederick Ashton's Comedic Masterpiece Delights Audiences
HOUSTON, TEXAS -- From June 10-20, 2010, Houston Ballet revives Sir Frederick Ashton's La Fille mal gardée, hailed by The New York Times as "the most enchanting ballet in existence." (March 4, 2003) Set in the countryside in eighteenth century France, the ballet tells the story of Lise, a young maiden who must choose between the handsome, penniless farmer Colas and the wealthy simpleton Alain whom her meddling mama wishes her to marry. Audiences will delight in the witty choreography and host of colorful characters in this joyous celebration of love and life that is perfect for the entire family. La Fille mal gardée (roughly translated in English as The Wayward Daughter) is a two-act comic extravaganza by one of Britain's greatest choreographers featuring a maypole dance, a clog-dancing widow, dancing chickens and a live pony on stage. Houston Ballet will give seven performances of La Fille mal gardée at Wortham Theater Center in downtown Houston. Tickets may be purchased by calling 713 227 2787 or by visiting www.houstonballet.org.
"Ashton has a unique style of his own -- which is understated, pure and humorous -- that is a true accomplishment for dancers to be able to master," remarks Houston Ballet Artistic Director Stanton Welch. "It's a milestone for dancers to be able to dance the role of Lise and Colas in this work. La Fille mal gardée is Ashton's greatest and most popular full-length ballet. It's true romantic comedy, and one of the few ballets that you can leave the theater humming and singing along afterward."
"It is impossible to imagine British ballet without Frederick Ashton," observed the English dance critic John Percival. Born in Ecuador in 1904 and raised in Peru, Sir Frederick Ashton was founder choreographer of The Royal Ballet and served as director of that company from 1963-1970, creating a body of 80 major works that have become the cornerstone of the British ballet repertory, including Symphonic Variations (1946), Cinderella (1948), La Fille mal gardée (1960), and A Month in the Country (1976). He lifted English ballet to a worldwide reputation by helping to shape and define "the English style:" a soft, fluid, lyrical, musically sensitive classicism. The English critic Alastair Macaulay has written, "The ballet style shown in Ashton's ballets is a particularly intricate one, with upper and lower body maintaining a lively activity, and many internal embellishments of head, arms, épaulement and footwork." Ashton was also the founding choreographer of another seminal British dance troupe, Ballet Rambert, now known as Rambert Dance Company, Britain's oldest professional dance ensemble. He died on August 18, 1988, in Sussex, England. Along with George Balanchine, Ashton is regarded as one of two greatest ballet choreographers of the twentieth century.
Ballet Master Phillip Broomhead Coached by the Master
Houston Ballet Ballet Master Phillip Broomhead will return to the role of The Widow Simone in La Fille mal gardée (The Wayward Daughter). Mr. Broomhead trained at The Royal Ballet school, joined The Royal Ballet in 1981, and rose to principal in 1986. "I worked extensively with Ashton starting at the age of 16, and La Fille mal gardée was one of my first school performances," Mr. Broomhead remembers. His first roles in the ballet were walk-on parts, and he gradually moved up to boyfriend roles, and even worked with Ashton on the role of Colas. "Ashton was instrumental in forming my style," he continues. "I was very much an Ashton dancer. He later coached me in various roles, including The Dream and The Two Pigeons. During my first year at The Royal Ballet, he created a lead role for me in his last piece, Varii Caprice."
Mr. Broomhead recalls rehearsals with Ashton, "He was wonderful to work with. He was demanding in a quiet way, but never raised his voice. He always came up to you and pushed you into a specific position." Regarding the famous choreographer's style, he remarked, "The Ashton style is a natural dance form. In Fille it is slightly exaggerated. It has to do with going back to a dance style from the Romantic era, and using a lithographic look. All the girls are in poses -- in a charming way."
Sir Frederick Ashton intended a man to dance The Widow Simone, in the English tradition of the pantomime dame. A role that provides ample opportunity to showcase a crack sense of comic timing, it is a convention that Ashton employed to great effect in both Fille and his landmark production of Cinderella, where he himself memorably portrayed one of the stepsisters. One of the challenges of The Widow Simone is walking the fine line that separates comedy from overacting. "It's very easy to go over the top with this type of character," explains Mr. Broomhead. "The goal is to keep it as normal as possible. You're playing a comic role, but she's a normal peasant widow who has a lot of pathos and understanding. It requires a lot of acting." Mr. Broomhead cites several past Royal Ballet dancers who were memorable Widow Simone's such as Brian Shaw and Brian Emblen, the latter being the most influential. "Every time I think of the role, I see Brian," he explains.
La Fille mal gardée
The Oldest Existing Ballet in the Repertoire
The very first staging of La Fille mal gardée premiered in 1789, on the eve of the French Revolution, and in some respects the ballet heralded the changes which were about to overtake the political and social structure of France. To begin with, La Fille mal gardée was first performed in "provincial" Bordeaux, as opposed to Paris, then the artistic and political center of France. The choreographer, Jean Dauberval, was out of favor in the capitol and had been hired by the well equipped Bordeaux Opera House. In addition, La Fille mal gardée was a comedy, a rarity in an era when tragedies and allegorical dance-drama abounded. Last but not least, the theme of the ballet was quite bourgeois and its characters decidedly middle class. Based on everyday life, La Fille mal gardée brought eighteenth century ballet down to earth.
Utilizing the original score by Ferdinand Hérold, freely adapted and arranged by John Lanchbery, Ashton's version of La Fille mal gardée received its premiere by The Royal Ballet at Covent Garden in London on January 28, 1960, featuring Nadia Nerina, David Blair, Stanley Holden, and Alexander Grant in the principal roles. Lanchbery, an acclaimed British ballet conductor, collaborated with Ashton and composed pieces to suit his needs. He created new numbers for the mime scenes, the first act pas de deux, Alain's comic solo, the Widow Simone's clog dance, and the finale, seamlessly melding them with Hérold’s earlier work.
In Ashton's version of La Fille mal gardée, the choreography closely follows the plot of Dauberval's original 1789 staging, making it the oldest existing ballet story in the repertory. While creating the work, Ashton met with Tamara Karsavina, who taught him several comic and mime scenes. As a young dancer in St. Petersburg, she danced the role of Lise at the Maryinsky Theater, giving Ashton's choreography a link to past productions. Another source of inspiration was his love for the English countryside and folk customs. His additions of the maypole dancing and the clog dance are among the most beloved parts of the work. The ballet's longevity is credited to its charm and comic universality. La Fille mal gardée entered Houston Ballet's repertoire in 1992, and the company last performed the work in 2004. In addition to La Fille mal gardée, Houston Ballet has three other works by Ashton in its repertoire: Façade (1931), The Two Pigeons (1961) and Les Patineurs (1937).
Houston Ballet's performances of La Fille mal gardée are made possible from the generous support of JPMorgan Chase, The Wortham Foundation, Cooper Industries and Riviana Foods Inc.
The Story of La Fille mal gardée
Roughly translated, La Fille mal gardée means "The Wayward Daughter," and focuses upon the love story of two young people, Lise and Colas, and the ambitious plans of Lise's mother, the Widow Simone. The ballet is set in the French countryside in the eighteenth century, and begins at the dawn of a busy day at the farm. A rooster and some hens jump down from their roost and dance. Lise, disappointed at not seeing Colas, leaves a ribbon tied in a lover's knot as a token of her devotion. Colas finds it, and binds it to his staff. The lovers meet, but are interrupted by Simone, who sets her daughter a task churning butter. Colas, hiding in the loft, joins her. The work is shared and then forgotten as they declare their love. The farm girls summon Lise to play, but her mind is elsewhere. Her suspicious and ever watchful mother catches her and chastises her. Just then Thomas, the pompous and wealthy proprietor of a vineyard, arrives with his son Alain. Aware of their mission, Simone dismisses Lise. Thomas is there to ask for Lise's hand in marriage for his son. When Lise returns, Alain coyly and clumsily shows off his paces. Lise is amused and a little shocked by his antics, but not interested. They set off for the harvest.
After working in the fields, the harvesters, led by Colas, relax in a joyful dance. Lise and Alain dance, but Colas intervenes, and Lise makes it clear where her preference lies. One of the harvesters plays the flute, to everybody's general delight. Alain thinks he will have a try, but the harvesters mock him. He is rescued from his horseplay by his indignant father. The field is now left clear for the triumphant Colas, who dances with Lise. Simone joins in the merriment of the harvesters, but they are interrupted by a storm that drenches them, scattering them far and wide.
Mother and daughter, soaked by the rain, return to the farmhouse. They sit down to spin. Work, thinks the mother, should keep Lise out of mischief. But Simone is overcome by sleep and Lise, who has seen Colas through the gate, tries to take the key from her. Simone awakes and, in order to remain watchful, plays the tambourine for Lise to dance. But the taps grow feebler, she begins to nod, and soon Simone is fast asleep.
Colas opens the top part of the farmhouse door and leans towards Lise. She runs joyfully into his arms. The knocking of the harvesters, coming for their pay, awakens Simone. Simone tells her daughter to get on with her chores as she leaves to give the harvesters a drink. Lise, thinking she is alone, dreams of the delights of married life. Colas cannot resist, and comes out from hiding. She is bashful at having been taken by surprise, but once again they declare their love, exchanging scarves as a token.
As Simone reappears, Lise hustles Colas into her bedroom. The ever-suspicious mother realizes that the lovers have been meeting, and in her turn hustles Lise into the bedroom, locking the door.
Alain and his father now arrive with a notary to complete the contract. When it has been signed, Simone hands Alain the bedroom key. After a moment of idiotic indecision, he opens the door and to everyone's dismay Colas and Lise come out. The lovers fall on their knees to ask Simone for forgiveness and a blessing. In spite of Thomas and Alain, she finally gives in amid general rejoicing.
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HOUSTON BALLET’S 40TH ANNIVERSARY
LA FILLE MAL GARDÉE
("THE WAYWARD DAUGHTER")
FACT SHEET
WHAT: LA FILLE MAL GARDÉE
("The Wayward Daughter")
Music by Ferdinand Hérold (1791-1833)
Freely adapted and arranged by John Lanchbery (1923-2003),
from the 1828 version
Choreography by Sir Frederick Ashton (1904-1988)
Scenario by Jean Dauberval
Set and Costume Designs by Sir Osbert Lancaster
Lighting Design by Christina R. Giannelli
Staged by Alexander Grant with assistance from Grant Coyle & Christopher Carr
Generously underwritten by:
JPMorgan Chase, The Wortham Foundation, Cooper Industries, Riviana Foods Inc.
ABOUT THE PROGRAM:
A glorious romantic comedy full of color and laughter, La Fille mal gardée is set in the countryside in eighteenth century France. The ballet tells the story of Lise, a young maiden who must choose between the handsome, penniless farmer Colas and the wealthy simpleton Alain whom her meddling mama wishes her to marry. In La Fille mal gardée, folk dance and classical ballet meet in a joyous celebration of love and life that is perfect for the entire family.
WHEN: At 7:30 PM on June 10, 12, 18, 19, 2010
At 2:00 PM on June 13, 19, 20, 2010
WHERE: Brown Theater, Wortham Theater Center
501 Texas Avenue in downtown Houston
TICKETS: Start at $18. Call (713) 227 ARTS or 1 800 828 ARTS
Tickets are also available at www.houstonballet.org and
Houston Ballet Box Office at Wortham Theater Center, 501 Texas Ave. (at Smith St.)
FOR MORE INFORMATION: Visit Houston Ballet on the web at www.houstonballet.org.
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