Dance Review by Clement Crisp

LA FILLE MAL GARDEE

ĞLa fille mal gardeeğ looks in spanking form in its present revival. The dance is bright, quick, sure; characterisations are sunnily right - I thought Jonathan Burrows’ portrayal of a centenarian notary’s clerk last Tuesday night (when Mukhamedov claimed Colas for his own) a brief but madcap piece of doddering.

On Friday, Mr. Burrows assumed Simone’s clogs and fichu, and snapping with vitality, was quick of wit as of step, and plainly delighted to be playing to a brand new daughter, Nina Ananiashvili.

Miss Ananiashvili is our first Russian Lise, and she is a treasure. Ms. Ananiashvili understands the sweetness of the girl’s temperament, and seems joyfully responsive to Ashtonian style.

Her Bolshoi training means that movement will be writ large (but not coarse), and her gazelle jump lifts the choreography as it has not been seen to soar since Nerina.

She savours the physical possibilities of the role quite as much as she does its dramatic sense, and each dance incident is fully stated, and beautiful in outline.

As actress, she plays with complete ease: she is at home in the part already, and whether churning butter or avoiding Alain’s attentions or dreaming of matrimony and melting into Colas’ arms, she touches our hearts. It is a most welcome debut.

Stuart Cassidy was her stalwart and devoted Colas.

He played the role as he danced it - with complete sincerity and an attractive innocence: the young farmer is a winningly direct character in this reading.