DANCE: THE EXQUISITE HOUR
PREVIEW BY SUNDAY FRANCIS-REISS
‘Gielgud in Beckett by Bejart,’ is how The Equisite Hour is being billed, and even if you are only aware of one of those names, it should be enough to entice you. The production is the meeting of three wonderfully creative artists – a ballerina, a choreographer, and a playwright – and is an atmospheric blend of theatre and dance that presents a unique reflection on the human condition.
Maina Gielgud has a long and venerable dance history, both as a soloist and principal artist as well as being Artistic Director of the Australian Ballet for fourteen years. Some years after retiring as a dancer, Gielgud began acting classes, and found that she loved it. ‘Because of my love for classical ballet’s theatre craft side,’ she explains.
Maurice Bejart (who passed away in November last year) has choreographed for dance companies from Lausanne to Persia, and worked with Gielgud ‘during his most creative period, 67-71,’ Gielgud recalls. She describes Bejart as ‘a great friend.’ It was while visiting Bejart six years ago that Gielgud, by then retired as a performer, told him of her desire to act professionally. Bejart was inspired to rewrite the Samuel Beckett piece Happy Days, specifically for her.
Bejart’s interpretation, The Exquisite Hour, gives the story line to an ageing ballerina. Instead of being buried in sand or mud, as Beckett’s character is, Gielgud is submerged in pink pointe shoes. Although it was ‘completely unexpected’ for Gielgud to return to the stage, the work is a rich creative collaboration and has a very personal significance.
‘The woman is going through all the aches and pains, physical and psychological, of someone getting older. She’s someone who is making the best of it in every possible way, regardless of how circumstances might be.’
Apart from teaching, Gielgud hadn’t been in pointe shoes for six years. Ballet has changed significantly since the 60’s and 70’s, when Gielgud was a principal artist. ‘Today,’ she says, ‘there’s a lot of emphasis on virtuosity, and stunning technique, rather than the emotional side of it.’
When asked to describe The Exquisite Hour, Gielgud is happily ambiguous: ‘you can’t say it’s a ballet and you can’t say it’s a play, it’s somewhere in between.’ As with most of Beckett and Bejart’s works, the ultimate message is ‘very much in the eye of the beholder.’
The Exquisite Hour
August 12-17
Theatre Royal
Tickets: $66-$74, 1300 364 001 or www.ticketek.com.au
