The Lady of the Camellias

Derek Deane’s The Lady of the Camellias, performed by Shanghai Ballet at QPAC’s Lyric Theatre, was an unforgettable portrayal of love, sacrifice, and redemption, told through breathtaking dance and exquisite artistry. Based on Alexandre Dumas fils’ celebrated novel, this production seamlessly wove the elegance of classical ballet with the raw emotion of its timeless story.

QI Bingxue delivered a spellbinding performance as Marguerite Gautier, the tragic heroine. Her portrayal captured Marguerite’s vulnerability and strength with incredible grace and poise. Every arabesque and grand jeté was perfectly executed, reflecting both the beauty of her character’s love and the pain of her eventual surrender. Bingxue’s expressive acting, combined with her technical mastery, made Marguerite’s journey deeply moving, culminating in a heart-wrenching and transcendent finale.

WU Husheng as Armand Duval was equally compelling, embodying the charm and inner torment of Marguerite’s young lover. His partnership with Bingxue was seamless, with lifts and intricate choreography performed with an effortlessness that belied their complexity. Husheng’s emotional range brought Armand’s anguish to life, particularly in Act 2, where his conflict between love and pride drove the drama to its emotional peak.

Among the supporting cast, TU Hanbin as the Baron stood out with his comedic timing and light-hearted presence, providing welcome moments of levity. ZHAO Meici as Olympe was another standout, her impeccable technique and extraordinary legs and feet lending every movement a mesmerising quality. Her commanding presence created a striking counterpoint to Marguerite’s fragility, elevating the drama and tension of the story. Ivan Gil-Ortega’s nuanced performance as Armand’s father added gravitas to the story, grounding the tragedy in his firm yet sorrowful resolve.

The ensemble dancers were flawless, with their synchronised movements and intricate formations creating a visually stunning backdrop. The group sequences were a highlight, particularly the opening number of the second act, where dancers formed enthralling patterns in a swirling circle of lifts and leaps all reflected in a cleverly used mirror which was raised above the stage at the back. Another standout moment was the powerful routine performed by 14 male dancers, showcasing incredible elevation, strength, and precision, all while maintaining a cohesive flow.

The production was visually opulent, with exquisite costumes by Adam Nee that beautifully utilised colour and texture to enhance each scene. Friðþjófur Þorsteinsson’s lighting design was masterful, using timing and atmosphere to guide the audience’s emotions and focus. Staging transitions were seamless, with opulent props and backdrops that evoked the grandeur of 19th-century Paris. A particularly effective moment occurred in the first act when the story moved to a ballet within the ballet, and the gorgeous backdrop curtain and lighting combined to create a magical setting.

Carl Davis’ evocative score was a crucial element of the production, heightening the drama and adding depth to the storytelling. From eerie undertones to sweeping romantic melodies, the music perfectly complemented the choreography, enveloping the audience in Marguerite’s world.

The production’s climactic scene, where Marguerite succumbs to her illness, was breathtakingly poignant. Bingxue’s portrayal of her character’s death was tender, dramatic, and hauntingly beautiful, leaving a profound impact on the audience.

Derek Deane’s The Lady of the Camellias was a triumph of storytelling through dance. Shanghai Ballet’s extraordinary talent and artistry made this glittering tale of Parisian love and tragedy an unforgettable theatrical experience. This season is exclusive to Brisbane and a production not to be missed.

Tamzin Lockhart