fri 24/10/2014

Anna Karenina, Eifman Ballet of St Petersburg, London Coliseum | Dance reviews, news & interviews

Anna Karenina, Eifman Ballet of St Petersburg, London Coliseum

Dance by and for people with no interest in dance

Anna and Vronsky, in Eifman's Anna KareninaPhotos: Khana Kudryashova

An apocryphal story tells of an awful theatrical adaptation of the story of Anne Frank. When the Nazis arrive to search the house where the family are in hiding, an enraged theatre-goer shouts, “She’s in the attic!” Well, I didn’t quite point Anna Karenina to the train station, but the thought crossed my mind.

Boris Eifman has always divided the critics. Western audiences tend to respond the way they do to car crashes: they are appalled, but find it hard to look away. Russians, meanwhile, virtually stand on their seats and scream for more. Eifman, who since 1977 has run his own company in the teeth of Soviet hostility, is now garlanded with praise at home, having new studios and a school created for his own company.

But his ballet vision is, to Western eyes, still stuck firmly in those decaying decades of the fin-de-Soviet empire, when the Lycra ballet was king, and clutch ‘n’ grope the method of choice. If Ken Russell could choreograph, Anna Karenina is the ballet he would have made. Maurice Béjart (or, as the great critic Arlene Croce spelt it, “Beige Art”) did choreograph, and this was precisely the type of thing he made.

Eifman doesn’t waste much time or trouble on design or music. The set, by Z Margolin, is a gilt-turned balcony which looks like a Faubourg St-Honoré chocolate shop transported to a Midlands market-town in the 1950s. The music is not only taped, but is bits and pieces of Tchaikovsky, wrenched asunder at will to suit the choreography.

The story is reduced to its bare minimum, simply Anna (Nina Zmievets) torn between an agressive husband (Oleg Markov) and a loved son, and Vronsky (Oleg Gabyshev), all swoony rapture. There is no attempt to show the society the trio live in, to explore why Anna is unable to settle. Karenin has no tragic grandeur, he is not the caring but restrained man, but simply a bully, and a rapist to boot.

Comments

What a sour review. I saw 2nd

What a sour review. I saw 2nd night and bought a cheap ticket as I wasn’t sure I would like it & have now booked a better seat for Onegin.

I couldn't disagree more.

I couldn't disagree more. Ballet does not need to be a narrative but a study of the emotive elements of a narrative. Eifman wisely chose to ignore the narrative fluff in the novel and focus on the rawest of emotions, which his modern lighting and sound suited perfectly. To say in your subtitle that this is 'Dance by and for people with no interest in dance' is utterly offensive given you then start your article highlight "Russians, meanwhile, virtually stand on their seats and scream for more." Are you some relic of the cold war unable to see any merit in anything non-Western?

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