Prague: lightness, seduction and depth of 'Liliom'
In a national premiere, the Czech National Ballet presents one of the last and very rare works by choreographer John Neumeier
by Vito Lentini
The peculiar choreographic work "Liliom", which John Neumeier dedicates to Ferenc Molnár's 1909 play of the same name and the famous 1945 Broadway musical "Carousel" by Richard Rodgers and Oscar Hammerstein, dates back to 2011. Two references that define the cornerstones of the American choreographer's creation, now presented for the first time in Prague by the Czech National Ballet directed by Filip Barankiewicz, who has long been committed to rediscovering lesser-known creations of 20th century dance theatre.
A first-rate opportunity for the historic troupe founded in 1883 and now embracing a challenging title capable of "telling a truly touching story, a tale of love, pain and hope," Barankiewicz observes. Longing, weakness and redemption indeed run through this choreographic adaptation that brings back memories of an imaginary American amusement park at the time of the Great Depression: here the existential drama of Liliom - an amusement park barker - and young Julie entwined in a relationship racked with frustrations, longings, reveries and genuine redemption.
"Liliom" and the Czech crew
Modulating the virile seductions of the protagonist with a nonchalant acting style is Giovanni Rotolo, who with this work gains in temperament, magnetism and sensitivity; by his side, Alina Nanu restores Julie's vulnerable yearnings with elegance and refinement, and among them, the young son Louis, entrusted to Javier Wong, stands out. A creation that reconfirms Nuemeier's proverbial attention to defining the psychological depths of each character, using a heterogeneous choreographic vocabulary and never forgetting to emphasise, again and again, multiple and repeated planes of immanence and transcendence: this is the case, for example, of the character known as Balloon Man, who is committed to embracing the tormented soul of the protagonist after his death and here rendered with the luminous purity of John Powers.
Emotional refinements and sharp contrasts in a long work that also benefits from a rich score by French composer, conductor and pianist Michel Legrand, who skilfully sketches an irresistible dialogue between the State Opera orchestra and the Top Big Band on stage. Liliom' thus enriches the repertoire of a company that is in full maturity and once again experiences the inescapable opportunity to meet characters that impose on each performer the need to 'embody the contradictions and complexities of life', as Barankiewicz emphasises, referring to the value of the works of Neumeier, a choreographer who for over fifty years has linked his name, as Artistic Director and Chief Choreographer, to that of the Hamburg Ballet.
The show will still be on stage until 22 November, alternating with 'Shéhérazade' in Mauro Bigonzetti's choreographic version and the triple bill 'Beyond Vibrations', but before Christmas, the Italian ballet dancers will flock to Turin: the Prague company will stage John Cranko's version of 'Romeo and Juliet' for ten performances at the Teatro Regio.
