Jean Dauberval's La Fille mal gardée, which was first presented in Bordeaux, France in 1786, was a milestone for ballet, as it was one of the first based on real-life folk rather than mythology or shepherds and shepherdesses.
The plot concerns two youngsters in love, Lise and Colas, who manage to foil the attempts of the girl's mother, the Widow Simone, to marry Lise off to a wealthy farmer's simpleton son, Alain.
There have been numerous versions of the ballet under different titles staged throughout Europe and America. Tamara Karsavina, who appeared in the Petipa-Ivanov creation under the title "Vain Precautions," has summed up the work succinctly: "The story of La Fille mal gardée lends itself admirably to ballet treatment; there is not a dance in it that does not flow directly out of a real-life situation."
Frederick Ashton created his version for the Royal Ballet in 1960 and it premiered at the Royal Opera House, London, with Nadia Nerina as Lise, David Blair as Colas, Stanley Holden as Widow Simone (the role has traditionally been performed en travesti), and Alexander Grant as Alain.
Alexander Grant, Christopher Carr, and Grant Coyle staged Ashton's production for American Ballet Theatre last season, and the reception made it one of the company's most prodigious successes in its 63-year existence. It is no less so in ABT's current season at the Metropolitan Opera House (May 5-June 28).
Hilarity reigns from the moment the ballet commences with Tobin Eason as the inflated Cockeril strutting onto the scene, followed by four hens imitating every one of his movements—scratching, pecking, so completely fowl-like that we couldn't help thinking that Ashton must have made a thorough study of the creatures.
And then Lise and Colas meet in snatches, constantly interrupted by Mama Simone, who attempts to fend Colas off by throwing everything she can lay her hands on at him. Simone even places Lise across her knee and paddles her bottom in order to get her to behave. But Lise prevails during the youngsters' stolen meetings, climaxed by a pas de deux utilizing winding and unwinding ribbons. Despite the onlookers' fears of tangling, everything glides along with mesmerizing facility.
Thomas and Alain enter with a cart drawn by a dear little pony, and the farmyard scene concludes with Lise, Simone, and their two visitors taking off to the harvest in the cart. They head to the cornfield, where the harvesters, after working in the field, relax in group dances and solos. In addition to the above pas de deux, exquisitely performed by Xiomara Reyes as Lise and Angel Corella as Colas, master choreographer Ashton exhibited his propensity for creating and extending national dances in an intricate maypole scene, plus a Lancashire clog dance, in which Simone adds to the merriment.
Alain is mocked by the crowd for his clumsy attempts to play the flute and to dance and is rescued by his devoted father. A storm begins and everyone runs for shelter.
Act II, set in the interior of the farmhouse, also offers steadfast hilarity as Lise attempts to steal the house key from the dozing Simone so that Colas may enter. Simone tries to distract Lise by playing a tambourine and encouraging her to dance, but Simone soon falls sound asleep. What follows is the shortest but most endearing of all the pas de deux. Despite the closed door, love again finds a way—here through the door's transom, as Lise is lifted up, tenderly embraced by Colas, and swung from side to side.
When the harvesters bring in their produce, Colas is hidden behind the stacks. The widow goes out to pay the harvesters after telling Lise to get on with her chores. Lise, thinking she is alone, mimes the joys of married life. Colas jumps out from behind the stacks and, taken by surprise and embarrassed, Lise starts to cry. He wipes her eyes with his handkerchief and encourages her to blow her nose into it. The tenderness of this scene compels us to use the word "endearing" again and again.
When Lise hears Simone approaching, she hustles Colas into her bedroom. The suspicious mother, surmising that the lovers have been meeting, practically hurls Lise into her bedroom and locks the door.
Alain and Thomas arrive with a notary to complete the marriage contract. After the signing, Simone hands Alain the key to the bedroom door, and to everyone's surprise and dismay, he unlocks the door only to have Lise and Colas emerge. They beg Simone for forgiveness and her blessing. She finally gives in, and the entire town celebrates despite the fury of Thomas and Alain.
Ashton illustrated rare humanity in his treatment of the tearful reaction from Alain, who is comforted by his upset father. The way in which the choreographer indicated that Alain, although simple-minded, was capable of experiencing deep hurt couldn't fail to win sympathetic reaction from all viewers.
Xiomara Reyes and Angel Corella turned out to be a dream of perfection as the young lovers—an absolute joy to behold. Kirk Peterson displayed vast comic and mime ability as Simone, and Joaquin De Luz, obviously trained by Alexander Grant (the original and incomparable Alain), was a credit to his mentor, as he mastered all aspects of the role with broad humor as well as pathos. Ethan Brown, always a fine character actor, impressed as his brusque but devoted father.
Frederick Ashton's lustrous creation never fails to leave us with a golden glow that lingers for many a day. If anyone is attempting to win followers to ballet, they couldn't do better than by taking them to Ashton's La Fille mal gardée.
Danspace Closes Spring Season
Danspace Project closes the spring 2003 season with Wil Swanson/Danceworks in "Wild Human Poetry" as part of the City/Dans series. Wil Swanson will be presenting his two newest works: "cubic legroom" (U.S. premiere) and "Naked Singularities" (2002).
Venue: Danspace Project, St. Mark's Church, 131 East 10th St. (at Second Avenue), NYC. Performances: Thurs.-Sun., June 26-29, at 8:30 pm. Tickets: $12, or TDF vouchers, reservations available by calling the box office at 1-212-674-8194.