Review: Le Corsaire, English National Ballet

The ENB advertises this as, “Probably the best ballet you’ve never seen.” Most full-length ballets  are either very familiar, such as Swan Lake and The Nutcracker, or are based on well-known stories, such as the Royal Ballet’s recent Alice in Wonderland. Unless you have read Byron’s poem The Corsair, buying the excellent programme is therefore essential. This will give you the full story which starts with the pirate captain, Conrad, and his faithful slave, Ali, going to rescue Menora, the woman he loves, from a slave trader. Having rescued her amid much joyful dancing, the most famous part of the ballet is the dance between Ali and Menora. This is not technically a pas de deux, as Conrad dances part of it with him but the most exciting choreography is given to the relatively junior soloist Joan Sebastian Zamora who drew the loudest cheers of the night with his astonishingly athletic leaps and twists, while Erina Takahashi was superb as Menora. I felt a little sorry for Yonah Acosta’s Conrad as his part, originally a non-dancing one, is very much in the background but he came into his own later in the ballet.

After the slave dealer has recaptured Menora, Act III features the Pasha’s opium-induced dream, Le Jardin Animé, in which the flowers of his garden come to life, dancing beautifully with students from the English National Ballet as the buzzing insects around them. After this pastoral interlude, it is back to the action as Conrad recaptures Menora and they sail off into the sunset – only to end up shipwrecked. The production and costume design by Bob Ringwood is very different from his productions for films such as Batman and Alien III but equally stunning, permitting a smooth transition from scene to scene without interruption, particularly in the third act which moves rapidly through five separate scenes. In summary, a hugely enjoyable family show, even if it is a story of murder and kidnap by pirates, sexual slavery and a drug-induced hallucination!

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