Mário Radačovský, Ballet of the National Theatre of Brno’s artistic director for more than a decade, clearly has a penchant for creating narrative ballets. He has tackled subjects as diverse as Beethoven, Michelangelo and Warhol, so creating a full-length contemporary piece about one of the most influential figures in the world of fashion, Gabrielle Bonheur “Coco” Chanel (1883-1971), must have seemed irresistible.
Simply titled Coco Chanel, it unfolded in a series of key episodes, rather than relating her entire life story. This was eloquently done by focusing on the significant people she encountered both romantically and professionally, as well as highlighting her fiercely independent spirit. It is this spirit that Radačovský captured so well.
The production opened with the sound of footsteps and with the appearance of Kristýna Kmentová, guest artist with the company, in a classic black and white suit, walking pensively through the auditorium and up on to the stage. She looked at her reflection in the mirror and delivered an anguished solo. This powerful beginning set the tone for what turned out to be a touching portrait, which revealed far more about Chanel’s emotional journey and her steely determination, than her successes on the catwalk.
Scenes showing the hectic preparations for shows, the alterations that inevitably have to be made and a selection of vibrantly coloured and textured costumes (Ľudmila Várossová) paraded by the dancers, drove the action forward. On top of this, Marek Hollý has designed attractive sets which were more than functional for the many swift changes of location.
There was an intriguing pas de trois for the character of Étienne Balsan (Ilia Mironov), his girlfriend Émilienne d’Alençon (Emilia Vuorio) and Chanel whereby she inveigles her way into their lives, managing to win them both over. This allowed her entry into the highest echelons of society.
The ensemble dances ranged from the 1920s Charleston to modern day breakdance, hip-hop and contemporary dance which at times made it quite uneven and lacking in continuity. It was, nevertheless, athletically danced and easy on the eye. There was briefly a Strictly Come Dancing glitter ball which made me pause for thought and wonder where this was heading.
Choreographically, the highlights were undoubtedly the outstanding duets for Chanel and her one true love, Arthur “Boy” Capel (Adrian Sánchez), who died tragically in a car accident. First, there was palpable chemistry between the two dancers and most importantly, there was real invention, particularly in the lifts. It helped that Sánchez came across as a relaxed and very attentive partner, but Kmentová just flew into his arms with an assurance that translated as real trust. At one point, shortly before his untimely demise, he was kneeling, facing upstage when Kmentová sat on his shoulders facing the audience. He simply stood up without a wobble and walked to the back without holding her, in a nonchalant, ‘Look mum, no hands!’ kind of way.
Chanel also had a relationship with a Nazi spy, Hans Günther von Dincklage (rather chillingly played by Glen Lambrecht) and once again the interaction between them was more effective than the group of marching SS officers. It was clear from the start, that Chanel's life was a lonely one and this theme was repeated throughout, giving a sense of continuous, underlying melancholy.
There were many nice touches – three men walked across what was effectively the unused orchestra pit carrying flower petals. Chanel smelled each in a sensuous moment that nodded to her famous perfumes. The putting on and taking off, of her shoes took on a mysterious significance. Many of the nuanced connections between the main characters were probably down to the individual interpretations, which were very memorable. However, the company is not reliant on the opening night cast, as I believe it boasts four alternative casts, offering great challenges for the dancers.
If there seemed to be a slight lack of cohesion, this was in part to do with a great many pieces of varied music that included composers Yan Tiersen, Alexandre Desplat, Jacques Brel and Dmitri Shostakovich. All recorded, it felt like a bit of a mash up with Shostakovich's Andante from his Piano Concerto no. 2 winning the stakes.
Radačovský leads a very good team of strong dancers and the Brno audience gave the opening night a well-earned, standing ovation. In Kmentová, he has a leading lady who has such a strong stage presence and a sincere approach to the role, it is worth going just to catch her in this very distinctive and valid evocation.
Deborah's press trip was funded by the Ballet of the National Theatre of Brno
