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
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.
Share this article
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Creative renditions of the Bard's works in dance
A sparky, faithful rendition of a classic
Serious quality in ballet star's last goodbye
Young love in yellow tights
Emotion and politics skilfully combine in Ratmansky's old-new ballet about the French Revolution
Unfeminist comedy in Jean-Christophe Maillot's Shakespeare ballet
A peerless Odette almost makes up for production's psychological shortcomings
The Russians are back, marking 60 years since they first took London by storm
Canny brand synergy encourages fans to keep Promming
Serious choreography and lush design make this Surrealist fairytale a visual treat
Visiting Aussies are engaging in lush production, but the plot's not all that
Superstar ballerina and new partner Sergei Polunin lack lustre in self-commissioned contemporary triple