Theatre Review: Les Ballets Trockadero de Monte Carlo, Newcastle Theatre Royal

The Advertiser Series: SILLY ELLIOTS: Les Ballets Trockadero de Monte Carlo SILLY ELLIOTS: Les Ballets Trockadero de Monte Carlo

WHETHER you have always found classical dance’s sense of humour gene to be slighter than a male dancer’s tights, or alternatively if you wear your “ballet buff” badge with pride, the “Trocks” have something for you.

The premise is to affectionately send up ballet’s historical hits. The packed house loved it. Whether they are there for the dance or the gags is open to debate, though.

The “greatest hits” from ballets include Swan Lake, Les Sylphides, Le Grand Pas De Quatre and Walpurgis Night, but I think the joke is showing its age a bit after nearly 40 years.

The laughs are about madeup Russian names, the frozen faces, inch-thick with slap of a dozen dragged-up primas all vying for the spotlight.

I thoroughly enjoyed the ludicrous curtain-call-stealing antics of Pas de Quatre with strings of pearls and floral headdresses forged into weapons to conquer attention.

Walpurgis Night was the closest to a serious interpretation you can have from men in drag in comical ballet mode.

The show is playful with the genre of classical dance, while clearly being in love with the medium.

The company are all highly talented ballet dancers.

However, I don’t know if the staid lighting and a filthy stage floor were satirical, or just laziness.

Paul Giselin as Ida Nevasayneva as the Dying Swan was perfection, shedding feathers faster than a peacock in November.

Boysue Dikobe was both a sprightly Pan and a hilarious prima. This received a rapturous reception, but to win over a new audience, the Trocks have to find new ground now. There is life, laughter and a lot of clever dancing from this lot.

Sarah Scott


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