Starstruck
Eden Court Theatre, Inverness 24/4/26
Scottish Ballet
Original Choreography and Direction for Pas de Dieux : Gene Kelly
Additional chorography and Scenario: Christopher Hampton
Music: George Gershwin, Maurice Ravel and Frederic Chopin
Having experienced the first incarnation of ‘Starstruck – Gene Kelly’s Love Letter to Ballet’, the first production after lockdown, I was thrilled to see Scottish Ballet had extended the performance to two acts and was bringing this new production to Eden Court in Inverness.
This is bold new piece, as is expected from the wonderful Scottish Ballet and its Artistic Director Christopher Hampton, and it doesn’t disappoint. For ballet lovers this is not a rerun of the traditional three act favourite but an incarnation of Gene Kelly’s vision. Collaborating with Patricia Ward Kelly, Gene’s widow, Hampton has created a piece which challenges his company, much as his reincarnation of ‘Coppelia’ two years ago.
As a professional dancer, trained in Ballet and Jazz, this was right up my street. It encouraged me to revisit the man and his genius. Gene Kelly was an award-winning dancer, actor, choreographer and singer. Everyone knows him for’ Singing in the Rain’ (simple work of genius) His style was self-described as ‘dance for the common man’. This style belied his strong technique, athleticism and background. I recently discovered he also spoke four languages fluently. Initially his ambition was to be a sportsman and he then dropped out of law school to run his parents dance school. Moving into movies he developed the different way of filming dance, creating a completely different image from Fred Astaire. He created ‘Pas de Dieux’ for Paris Opera in 1960 which forms the first Act of ‘Starstruck’, set in a rehearsal studio as an audition for a new work depicting the feisty relationship between Zeus and Aphrodite. And then the story unfolds. A love story evolves between the choreographer and the star ballerina. Left with a half-finished ballet the choreographer falls asleep and dreams of silver screen fantasy. Act two revisits the studio and the star ballerina arrive. They start the dress rehearsal set in the clouds of Mount Olympus. They fly to the French Riviera with Eros and typical shenanigans take place involving a handsome lifeguard, the chorographer interrupts giving out notes (typical!) she dallies with a handsome stagehand, but the choreographer and the star are reunited. We then move on the première at the Paris Opera for the finale and the dance studio returns to an empty stage where the next magic will evolve. A dancer’s tale.
The star ballerina was danced by Principal Marlen Fuerte Castro and the Choreographer (who has the role of drawing it all together) was danced by Principal Yuri Marques. There was a standout performance by Andrea Azuri as pianist/Eros. Note also Harvey Evans made a handsome film star/ stagehand. The orchestra were in fine form under the baton of Martin Yates, playing a challenging score embracing the jazz of Gershwin and the classical music of Ravel and Chopin, plus the star turn of pianist Lynda Cochrane. I cannot write a review without mentioning the terrific stage design and additional scenario of Lez Brotherston OBE and lighting by Lawrie McLennan. I was impressed by the studio set turning into a beach and also enjoyed the flying basket. As a footnote, I was not sure the corps could take on the relaxed style of jazz technique. This a difficult transition for classically trained dancers who are expected to deal with different choreography and multiple costumes changes and characterisation. Bravo to Scottish Ballet who bring something new every time. I hope they bring back the stunning version of ‘Coppelia.’ We are lucky in the Highlands to have them visit Eden Court and I hope that continues.
