"Onegin"
The National Ballet of Canada
Four Seasons Centre for the Performing Arts
Toronto, Canada
March 19 & 22, 2014
by Denise Sum
Copyright © by Denise Sum 2014
John Cranko's "Onegin" is a ballet that never tires from repeated viewings. The dramatic story, evocative music, and memorable choreography coalesce into a cohesive whole that is timeless and genuine. No surprise then that "Onegin" has become an audience favourite in Toronto. The leading roles of Onegin, Tatiana, Olga and Lensky have been sought after and cherished by generations of dancers. "Onegin" stands out from other full-length narrative ballets in a number of ways. For the most part, the story is told through the steps themselves rather than mime. Each pas de deux and variation conveys a mood and advances the plot. Tatiana and Onegin are separated by her honour and his misjudgement, rather than death. It is painfully realistic at times. Pushkin's universal story is one that rings true for anyone who has loved and lost.
2014 marks the 30th anniversary of the NBoC premiere of "Onegin" (with Frank Augustyn as Onegin and Sabina Allmann as Tatiana). The ballet is performed regularly, and was given a face-lift in 2010 with new sets and costumes by Santo Loquasto. The new designs feature a forrest of birch trees in the duel scene, a scrim with written verse, a grand rotunda in the ballroom and costumes that are more embelished. It is a "more is more" approach and one might feel nostalgic for the simpler designs by Jürgen Rose, but the new ones are thankfully not overly distracting.
Opening night was led by Xiao Nan Yu and McGee Maddox. Yu has been a revelation in the role of Tatiana ever since she was made her debut in 2000, a second soloist at the time. She continues to grow as an artists in this role, adding layers of nuance to her interpretation. She remains just as believable as the shy, hopeful country girl. While her romantic tendencies might make her vulnerable to falling in love with any elegant stranger, it is also very understandable that she would be drawn to Onegin. They are both outsiders, though in different ways. Yu's Tatiana, somewhat aloof, finds in him a sort of kindred spirit. He is unlike anyone she has ever met. She feels so connected to him that his rejection is utterly surreal -- she is literally frozen as the torn up letter falls to the ground. Her variation after that encounter captures her turbulent inner experience and confusion. The "mirror pas de deux" and the final act's pas de deux are the heart of the ballet and capture the essence of Tatiana's transformation. There are parallel steps in each, but the mood and context are completely different. Yu highlights this. She floats and soars through the mirror scene but moves with a heavy weariness in the final scene, weighed down by responsibility.
Maddox made his debut as Onegin four years ago. He is an unorthodox choice for the role. His mannerisms are more natural and contemporary. He does not present with the formal, noble carriage usually associated with the role. Nonetheless, his technique has become more polished and controlled over the years, allowing him to be more expressive in his movements. He is also an impressive partner, navigating Cranko's tricky partnering and sweeping lifts with aplomb. In terms of acting, there is work to be done. His Onegin is of the narcissistic cad variety and his inner turmoil is left a mystery. Subtlety is lacking as he shakes his head to himself and rolls his eyes at the young lovers, or is almost comically engrossed in his game of solitaire. He dances with Olga because he can. Maddox's Onegin is distraught in Act III and appears as if he is suffocating in the St. Petersburg ballroom, but the impact is diminished because he has been completely unsympathetic up to this point.
In a different cast, Sonia Rodriguez was paired with veteran principal Aleksandar Antonijevic. This was an emotional performance as it was Antonijevic's final Onegin (he retires at the end of the summer season). Antonijevic still dances with remarkable technique and beautiful lines, but it was his capacity to bring Onegin to life that was most moving. His interpretation hints at a difficult past, perhaps involving losses or disappointments that have left Onegin cynical and jaded. There is a sober self-awareness that makes his personal struggle all the more challenging. Antonijevic makes some dramatic choices that are different but work well for him. When he forces Tatiana to take back her letter, he storms away, irritated. But for a second he pauses and turns to look back at her with sadness. He recognizes his own bitterness and ennui that hinder his capacity for love, while understanding that Tatiana will soon mourn the loss of her youthful idealism. He dances with Olga because he cannot tolerate such ruminations. He sinks deeper into depression after the duel and drifts through the St. Petersburg ballroom scene in a daze. Rodriguez is a frequent partner of Antonijevic and the pair had a strong connection throughout the ballet. She conveyed Tatiana's vulnerability in a direct and honest way. She was phenomenal in the final pas de deux, in terms of the sheer physicality of her dancing and anguish at having to turn away her first love. Both dancers were visibly drained as the curtain went down.
Jillian Vanstone danced Olga opposite Stuttgart guest artist Evan McKie at the opening. She was a last minute substitute for Elena Lobsanova. One could hardly tell, however. Vanstone and McKie appeared beautifully in sync with each other, dancing a sweetly loving pas de deux in the first act. McKie is a dream as Lensky. He is completely at home in Cranko's choreography, bringing an effortless flow and sensitive phrasing to the steps. His heart-wrenching variation in the woods is filled wih disillusionment and despair as he arches his back, looking to the heavens for answers. Vanstone also danced Olga at Antonijevic's final performance of Onegin, but this time opposite Piotr Stanczyk. Stanczyk's Lensky is more intense and serious from the start.
Patrick Lavoie and Jonathan Renna were both loving and dutiful in their turns as Prince Gremin. The corps were in fine shape all around. "Onegin" has a long history with the NBoC and is close to the company's heart. May it continue to bring out the best in its dancers for years to come.
Photos:
Xiao Nan Yu and McGee Maddox in "Onegin". Photo by Aleksandar Antonijevic.
Evan McKie in "Onegin". Photo by Aleksandar Antonijevic.