Review by Gemma Keliher
From iconic perfumes to some of the most recognizable designs in fashion, it would surely be safe to say that everyone has heard the name Coco Chanel. Further proof to this, is the already sold-out season of Queensland Ballet’s Coco Chanel: the Life of a Fashion Icon. Created and choreographed by Annabelle Lopez Ochoa, this co production between Hong Kong Ballet, Atlanta Ballet, and Queensland Ballet only premiered in Hong Kong in 2023 and yet has already proved a successful concept with an Australian audience.
Described as a “complicated legacy” the production doesn’t shy away from any aspect of Gabrielle ‘Coco’ Chanel’s life, taking its audience through the good, the bad, and the ugly. Unlike the designs, the only truly ugly aspects lie in the troubled truths of Chanel’s past, with the program forewarning the problematic ties with Nazi Germany. I highly recommend grabbing a program to familiarise yourself with the synopsis, which gives important detail to the rich and layered life that plays out on stage through a mix of realism and abstract storytelling.
What initially sets itself up as a rags to riches tale, we only briefly spend a moment in the period of poverty just before Chanel begins to rise into higher Parisian society, humorously directed by her Shadow Self to the man who initiates that rise. While much of the remaining narrative focuses on her building up her brand and work (always pushed to work by her chain-smoking Shadow Self) the story doesn’t gloss over the inappropriate and turbulent parts of her life, including her many love affairs. We become entranced by the romance between Chanel and her lovers, before this sweet image is shattered repeatedly by the appearance of wives and families upstage, awaiting at the top of the grand staircases. A simple image that carries a great deal of weight.
These shifting staircases make up the largest element of staging, becoming a strong focal point that is well utilised by the choreography. Sleek and minimalistic, Jérôme Kaplan’s entire set feels pulled right out of an editorial. The stage is seamlessly transformed from boutique, to workroom, to a liminal space for the more abstract elements of the narrative to play out in. Based on the life of a fashion icon, the expectation for costuming is high - thankfully Kaplan’s costumes hit the mark for me by capturing the beautiful simplicity and minimalism Chanel is known for, providing a very thoughtful elegance as we move through changing fashions.
I enjoyed the creative use of prop lighting from the bottom lit chairs that raised to become chandelier style decoration, and the floating flowers. The lighting, by revival lighting designer John Buswell after Billy Chan, appeared to become more symbolic in the second Act, aiding the clarity of the narrative. Also supporting the narrative emotionally was composer Peter Sale’s score, performed beautifully by Camerata – Queensland’s Chamber Orchestra led by Conductor Nigel Gaynor.
As a practical effect, I loved the use of the seamstresses’ wheeling desks, complete with lengths of fabric pulled from within that become woven into the movements. There was such clear communication in Lopez Ochoa’s choreography during scenes such as the design process, and the ongoing love story between Chanel and Boy Chapel, before it’s untimely end with Boy Chapels death. This ballet provided me with many intriguing firsts, one of which being witnessing a gracefully choreographed car crash to end Act I. Thankfully, moments of light offset the darker elements of her life. I was particularly delighted by the clever ways her life achievements were transformed into choreography, such as the iconic Chanel logo, personified by the entrancing pair Georgia Swan and Edison Manuel, and the humorous lead up to the creation of the signature CHANEL N°5 perfume. Shortly becoming the moment Chanel’s shadow self directs her towards businessman Pierre Wertheimer, danced by Luke DiMattina, who we continue to see have a turbulent working relationship.
In the title role, Neneka Yoshida as Coco Chanel was hands down a standout of the evening. Always remaining elegant and graceful, Yoshida gave a passion filled performance that breathed life and truth into the story. The ever-present Kaho Kato as Shadow Chanel gave a dignified presence, always pushing her other self towards power and money. Kato and Yoshida offset each other nicely in these roles. Patricio Revé gave a strong performance as Arthur Edward 'Boy' Capel, skilfully bringing a sense of ease to the choreography, and his partner work with Yoshida’s Chanel was grounded and emotive during their scenes together.
D'Arcy Brazier as Étienne Balsan, Joshua Ostermann as Igor Stravinsky, and Vito Bernasconi as ‘Baron’ Hans Günther von Dincklage all performed their parts well as the very varied lovers throughout Chanel’s life. Bernasconi’s challenge wasn’t only due to playing a Nazi officer, but also in the unique way of moving as the choreography drew heavily from military marching movements, which he demonstrated cleanly. Alisa Pukkinen as Chanel's Sister, Julia, and Vanessa Morelli as actress Gabrielle Dorziat (an early fashion success), both held their own during their moments in the spotlight.
I would have liked to see slightly more polish with some of the group numbers, and with the on stage set transitions. The downside to such an elegant and clean set was anything that wasn’t perfectly in sync or moving smoothly stood out all the more. This can all be forgiven by the pure innovation that is Coco Chanel: the Life of a Fashion Icon. There is something special in witnessing new works, and this ballet has successfully captured the essence and complexities of a timeless icon. Such an early success of the season indicates that a biography style narrative provides a great basis for a ballet, and I can only hope this is the first of many ‘Life of an Icon’ shows to be created.
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