The Snow Queen

The Snow Queen is a story of smoke and mirrors, and there were plenty of both in the English National Ballet's new commision. The direction and choreography are Michael Corder's and the music Prokofiev's. This is a brand new ballet, but it feels very classical - partly perhaps because the greater part of the music was written for a ballet with a similar plot, and has been cleverly arranged by Julian Philips, and partly because Corder obviously knows his ballet. We have the tradition set pieces: the palace scene with courtiers dancing, the village peasants, the stunning gypsies, the lyrical innocents and the wicked Queen. The balance of the scenes is perfect, and the choreography for each character suits their role perfectly.

Hans Christian Andersen's fairytale is entirely recognisable in this adaptation, despite some obvious changes - we lose the Enchantress and her everlasting summer, and instead gain a beautiful dream sequence with two Rose Sprites. Gerda receives kindness from the gypsies because she has given her shawl to the Gypsy Girl. It is the Snow Queen herself who makes the magic mirror, not a troll, and her evil actions may stem from her sadness (expressed in a melancholy solo) at its failure. These changes make perfect sense for the humanity of the story - the cause and effect in the plot, and also make very good use of the medium of ballet. Corder understands that ballet can be a pretty blunt instrument for storytelling, but a truly expressive medium for emotion. The alterations to the original story are all insightful, thoughtful, and I think even the purists will be happy!

The theme of mirrors, seeing accurately and being deceived is of course reflected in the set for the Snow Queen's Palace, with its jagged pieces of mirror. But it also appears in Kay and Gerda's first and last duets - where Kay playfully covers Gerda's eyes, and she gently throws off his hands. The initial dance is full of childish play, and its reprise subtly more grown up. Just as Gerda's curved and fluid motion contrasts with the Snow Queen's angles this shows Corder's skill at choreographing, and the dancers at interpreting their roles. Daria Klimentova was a diminutive but imperious Snow Queen. In fact her stature makes her seem almost vulnerable when alone, in contrast to her power when transported by her hench-Wolves, played with subtle menace. Then she flies, swoops and soars. Crystal Costa as Gerda plays a straight role, at times sad but not soppy. And Yat-Sen Chang playing Kay is not just a great dancer but a powerful actor as well. His facial expressions and interactions are perfect to describe the changes he goes through in the course of the story. As well as the soloists, the ballet involves a number of semi-solos - named characters - many of whom are animals. The Reindeer (Max Westwell) was particularly charming, galloping about!

All in all this production is overwhelmingly beautiful. The crystals, the snow, the colours, the lighting make it very festive. The attention to detail is first class and the dancing spot on. I was amazed to learn I was watching the 14th performance EVER of this production. It's only been to Liverpool and Bristol so far - its London Coliseum run doesn't start till December. But there's no sign it's still getting into its stride. This is a fully formed classic, and one I thoroughly recommend!

Jen Pawsey (DI Reviewer), 31/10/07

---