Robert Tanitch review Echoes of Eternity at London Coliseum
The Chinese were out in force to see the Shanghai Ballet in a modern Chinese ballet based on Bai Juyi’s 9th century narrative poem, The Song of Everlasting Regrets. The reception was muted.
Echoes of Eternity is a mixture of ancient and modern, Western neo-classical and Chinese expressionism. The synopsis in the programme is merely extracts from the poem.
An emperor (Wu Husheng) is so besotted with a concubine (Qi Bingxue) that he spends all his time with her and ignores his duties as a ruler. The country is invaded. She realizes he has to give up sex and concentrate on the war.
She commits suicide. Dulce et decorum est pro patria mori. The performance ends on the emperor emoting rather than leading his army to victory.
There is not enough narrative for a two act ballet. The first act feels like a prologue. The lyrical slowness alternates with bursts of energy. The second act has a bit more drama.
Patrick De Bana’s choreography relies on the mime and the physical skills of the dancers in the leading roles. It is the hotchpotch music which gives the performance its emotional drive.
There is some effective running around in circles by the warriors. Dhao Hanbing is wafting loveliness as the Moon Fairy, a symbol of Death. Zhang Wenjun is fleet-footed Chinese servility.
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