Some of the most enduring and powerful fairytales are dark and dangerous. Ballet Preljocaj’s ‘Snow White’ is a potent reminder of this.
With its decidedly un-Disney aesthetic and sensibility, Ballet Preljocaj’s smoky, atmospheric production probes the darkness of our social values and their impact on the human psyche.
Inspired by the original nineteenth century Brothers Grimm ‘Snow White’, Artistic Director Angelin Preljocaj captures the striking similarities between the classic fairytale and today’s youth-obsessed society. Preljocaj states in his program notes that he believes we are entering the era of the “Snow White Complex” where older women, through the help of diet and modern medicine, remain beautiful and seductive like their daughters, causing a rivalry between them. This is, of course, the story of 'Snow White'.
Preljocaj’s contemporary choreography, with the help of Jean Paul Gaultier’s stunning costumes, pointedly re-imagines the story’s archetypal characters – the innocent and virginal Snow White, and the powerful but evil Queen. Snow White (Emilie Lalande) moves with the freedom and openness of youthful vigour. While the Queen (Cecilia Torres Morillo), dressed in a sexy black grown split to the hip, slinks across the stage with knowing seduction.
Torres Morillo’s star moment is her brilliant transformation from seductive Queen into the poison-apple-wielding witch. She removes her crown, unraveling her black hair, twisting and hunching her body. This transformation speaks to the societal impact of this narrative – of how we understand powerful women, of what jealously does to us as people, and how we as a society read the physical traits and actions of others.
Preljocaj’s pointed characters are brought to life through his choreography, which is less classical ballet, more contemporary dance, combined with dance theatre. The stunning pas de deux between Snow White and the Prince (Redi Shtylla) is one of the most affecting moments of contemporary dance. The concept of love-at-first is captured by the sudden absence of music as Snow White and the Prince dance together in silence, before repeating the dance sequence to the swelling music. When the Price later finds an unconscious, poisoned Snow White they repeat their love pas de deux, this time with the Prince desperately manipulating her limp lifeless body. This is Preljocaj using repetition to perfection.
While the dance is exquisite, the production is full of spectacle that will also appeal to the dance novice. From the seven abseiling miners (who reference Disney’s seven dwarves) who fly up and down a floor-to-ceiling rock wall, to the mirror trickery that reveals Snow White in the forest, the production elements make for an aesthetically exciting piece.
The Mahler score is played beautifully by Queensland Symphony Orchestra, which is enhanced by an atmospheric soundscape of chinking gates, forest noises, and whispered cries. This production truly ignites all senses, including smell. When the step mother is ordered to dance herself to death wearing iron shoes as punishment for poisoning Snow White, the pungent smell of her burning feet engulfs the theatre.
This powerful and dark fairytale has made its mark on the QPAC stage in an Australian exclusive that is truly exciting for Brisbane.
